In the year 2022, orbital satellites carry nuclear missiles and maintain flight patterns around the moon. When a satellite repair ship, known as a “refab” ship called Spaecore 1, attempts to intercept a satellite for maintenance, the system wide computer goes into an unexplained power failure that jeopardizes communications, life support, and navigation. Drifting helpless toward sector Centrus B-40, the dark side of the moon, all hope will be lost within 24 hours unless operations can be restored, but a mysterious spacecraft, NASA’s Discovery shuttle, heads toward them and docks onto their outer hull without so much of a hail from the shuttle. Captain Flynn and Lt. Giles investigate a seemingly abandoned ship until coming across a dead body of a presumed missing NASA astronaut, eviscerated with an opening left in a perfect triangle as the cause of death, and that opens the door to more questions than answer as a sinister presence boards their ship, pursuing damnation for their souls.
Just think, in two more years, weapons of mass destruction satellites will loom just above fluffy white clouds, ready to mushroom clouds out of targets with a 10-ton yield; at least that’s what director D.J. Webster and the screenwriters, identical twins Carey W. Hayes and Chad Hayes, modeled the future when conjuring up this delectable Sci-Fi horror film approx. 20 years ago. With special effects models and techniques that withstand against powerhouse space films, such as from the immaculate effects of Alien franchise, “The Dark Side of the Moon” becomes more than just a 1973 Pink Floyd album title Fabricated out of warped creativity of old and new concepts with a Biblical horror base that only the 1990’s could loosely spin into an hour and 27 minute feature, for many of the filmmakers involved, “The Dark Side of the Moon” credits as their first taste of a feature length, large scale production, especially with the mainly music video director D.J. Webster, who loves his closeups, and director of photography Russ T. Alsobrook, as they auto clicks into a team that seemingly have experience of seasoned veterans or, perhaps, spent some secretive, unlogged time in space. Who knows, but the outcome ruminates about the dark side of religion and how each of us deal with it internally.
When mullets and giant framed glasses are afoot, the late 80’s, early 90’s filming era is beyond evident with interestingly gritty characters lined up for an evil figure eager to knock them down and, of course, the story’s lead character is the mullet sporting pilot named Lt. Giles Stewart who is unwittingly thrust into the fast track of a hero’s lane. Giles’s atheism framework has a pleasant sardonicism about it when face-to-face with the immortal conqueror of his ship and crew. Will Bledsoe paints Giles as such as faithless space pilot, bound to duty, and willing to do anything to just not save himself, but others. One of the only recognizable faces, at least for myself, in the cast is John Diehl. The “Stargate” and “The Shield” television actor is best at being a wild card in turmoil situations and as shipmate Phillip Jennings, the same can be expected without being utterly conventional or warrant any kind of typecast label. Another actor to note is Alan Blumenfeld as the ship’s panicky Dr. Dreyfuss Steiner. Blumenfeld, who had a role in the best Jason Voorhees film, in my humble opinion, “Friday the 13th Part VI: Jason Lives, is once again stalked by a larger-than-life villain while maintaining a profusely sweaty persona that’s symbolically intended to be true, unadulterated fear. As a whole, the cast is amazing regardless of some first time filmmakers at the helm, rounding out with “Re-Animator’s” Robert Sampson as the ship’s Capt. Flynn, Joe Turkel from the first “Blade Runner,” “Blood Frenzy’s,” and overall erotic thriller goddess, Wendy MacDonald, stunt man (“Kill Bill Vol. 1 & 2, “Army of Darkness”) Ken Lesco, and another “Friday the 13th” actor, Camilla More, or Tina from “The Final Chapter,” as the stationary sexy, ship’s onboard computer-robot named Lesli – think on the same lines as Mother from “Alien,” but in the flesh.
What makes “The Dark Side of the Moon” very interesting is the film being an unofficial precursor to other science fiction horror films like “Event Horizon” that was released roughly seven years later. Space as this gateway to Hell concept is sorely under-appreciated and underutilized. Space is already vastly frightening to begin with and by adding a devilish abyss aspect to it makes the idea an absorbingly scary thought. What’s also fascinating is the Hayes brother. “The Dark Side of the Moon” is the brothers’ roots film; the proverbial patient zero that spread successful movie writing careers for the twins, spawning turn of the century horror with the remake of “House of Wax” that saw the on-screen death of Paris Hilton, had “Underworld” star Kate Beckinsale track down a killer in Antarctica in “Whiteout,” and they penned “The Conjuring” that constructed its very own universe.
“The Dark Side of the Moon” comes in at #2 on the Unearthed Films’ Classics label distributed MVDVisual. The newly restored 4K transfer of the Wild Street Pictures production is presented in a widescreen, 1.85:1 aspect ratio, region A Blu-ray release. Surprisingly sharp despite consistent low-lit scenes and not as washed like previous VHS versions, this restoration fine tunes the nitty-gritty specifics needed for proper presentation that doesn’t falter from heavy digital noise or blotch artifacts and shows no signs of enhancing The English language LPCM 2.0 audio track is strapping for a dual channel format. Dialogue pronounced clearly, ambient spaceship clinks and clunks create atmospheric range and depth, and the relentless brooding score by “Society’s” Mark Ryder and Phil Davies delivers shuddering spinal-tingles without being monotonously dull. Bonus features include a commentary with executive producer Paul and Unearthed Films’ Stephen Biro, interviews with Alan Blumenfeld, FX artist R. Christopher Biggs, and stuntman Chuck Borden, plus vintage audio track, trailers, photo gallery, and a insert booklet that dives into about the production and the cast. All packed into a nice little slipcover package. “The Dark Side of the Moon” pioneers into the future of space horror as a good ole dread-inducing fear-monger of the great expanse, deserving this Unearthed Films’ release, hands down.
Times are tough. Loads are scarce. For John Canyon, being an independent owner operator space trucker in the year 2196, without the influential assistance of conglomerate sponsors and big corporations, is the last freedom in the last great frontier, but even Canyon needs to earn a living and when a questionable load becomes his only way out of a jam with the authorities, Canyon and his new and young partner, Mike Pucci, snatch the haul bound for Earth. Manifested as carrying sex dolls, Canyon and Pucci become suspicious of their cargo that’s loaded with a fatal self-defense mechanism, but when encountered by space pirates, lead by former company man named Macanudo, the space truckers learn their hauling thousands of virtually unstoppable killer cyborgs programmed to conquer Earth.
In today’s age, a nationwide driver shortage threatens to slow down crucial logistics worldwide. Director Stuart Gordon (“Re-Animator,” “Dagon”) with co-writer Ted Mann had the inverse premonition that trucker cargo would be at a premium in the space; the point A to point B in a timely fashion has not and neither have the negotiations of rate costs and demurrage time in this world-saving adventure entitled “Space Truckers.” In the same science fiction-comedy vein as the similarly colorful Luc Besson’s “The Fifth Element,” “Space Truckers” has that unrefined inviting quality about it, categorized as blue collared heroes, that complete the dynamic character arcs, but what’s more interesting about “Space Truckers,” which was released a year earlier than Bruce Willis film, was that it was constructed on a third of the budget, making the film one of Stuart Gordon’s most expensive and ambitious projects chocked with square pigs in cages, a self-built cyborg with a ripcord sexual organ, and an army of ass-kicking fembots with disintegrated lasers…”Space Truckers” is out of this world fun!
In the realm of Sci-fi comedy or fantasy, one legendary actor has nailed his performance in every flop that’s too big for commercial audiences. From “Waterworld” to the movie adaptation of popular and beloved video game, “Super Mario Bros.,” Dennis Hopper ruled the 1990’s with memorable, fascinating, and engaging overweening characters, especially villains, but Hopper snags John Canyon, a long in the tooth trucker who prefers to work alone. Hopper’s in his element, in control, and in the lead role despite not being top bill; instead, a young Stephen Dorff would be eyed as the one to provide fresh protagonist momentum into the mid-nineties. Dorff’s rather low-key to Hopper’s giant persona and that’s inherit to the character’s written traits, by always complimenting and complying with and whatever John Canyon says, but the soon-to-be “Blade’s” Decon Frost actor has a sturdy performance that’s portly as any trucker can be portrayed and has great repertoire with Debi Mazar as a trucking hub waitress who needs a hitch a ride to Earth. Mazar’s all-natural New York City accent compliments her guido-type character attire and she downplays her beauty with instilling innocents and ramping up the wit when the scene calls for it. “Game of Thrones'” Charles Dance makes an appearance as the space pirate captain Macanudo and Dance has always has a steel complexion, but in “Space Truckers,” he lets his hair down as far as becoming subjected to hours worth of cyberpunk makeup and prosthetics that’s comically outlandish and utterly fleshy. Certainly not a role one would consider the actor who comes complete with a rich British accent and an urbane quality about him to then sport a sparkling fishbowl cranium and a battleship gray half a buttocks. The remaining cast includes George Wendt (“King of the Ants”) and Shane Rimmer (“The Hunger”).
CGI was relatively in the early stages of infancy; yet “Space Truckers” had an astonishingly working blend of computer generated imagery and palpable miniature models that were supported with an integrated futuristic edifice style of production design by Simon Murton, whose speciality is high concept science fiction with illustrative art department experience that includes “Demolition Man,” “Tank Girl,” “Judge Dredd,” and “Stargate.” Murton’s style incorporated with the bright colored visuals of neon flicker marquees, illuminating body parts, and red hot poker red infrareds hues are the very antagonistic views of a cold and dark space, yet Gordon and his crew envisioned characters who sought out color, who wanted nothing to do with the darkness, and that’s what made them colorful and maybe a bit off-kilter.
Stuart Gordon’s stellar “Space Truckers” rockets to a region B, 1080p Blu-ray courtesy of UK distributor Second Sight that delivers with a widescreen presentation, 2.35:1 aspect ratio, that has out of this world image quality vividly displaying the massive color palette through a 2K restoration from the 35mm negative. Running at nearly 24 fps, Second Sight’s edition is superior in detail, cleanliness, and balance amongst the coloring and despite being able to see the special effect wires, “Space Truckers” has one of the best restorations I’ve seen lately under the black Blu-ray box laced with new artwork by graphic designer Rich Davies. The English 2.0 LPCM uncompressed stereo track, with optional subtitles, has immense range across the board. From cheesy John Canyon dialogue to the vary of space-kindred ambience, not one track felt short to being muddled or murky. Colin Towns bigrig score is big country cadence that’s emits a well-rounded six pack from the dual channel sound. The robot’s disintegrations amplify a high pitch note that can be a thorn in one’s ear, but adds to the chaotic charm when all hell breaks loose in space. Bonus features include a new interview with Stuart Gordon delving into the film’s beginnings and his recollections with the stars, and a new interview with composer Colin Towns (“Rawhead Rex”), a new interview with Art Director Simon Lamont (“Event Horizon”). “Space Truckers” is 96 minutes of mudflappin’ mayhem strapped with slender models in killer robot suits and Charles Dance’s exhibiting his tin-can half-nakedness in a bizarro world of high concept meets tongue-and-cheek performances of a film that ultimately pits the epitome of the blue collar workforce as the unsung heros of space.