Monthly Archives: May 2015

Larry Cohen Collection

Larry Cohen Collection: “Hell Up In Harlem”

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Hell Up In Harlem

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Today, I’ll be wrapping up the first two-week stretch of the Larry Cohen Collection with the 1973 sequel to “Black Caesar”: “Hell Up In Harlem.”

“Hell Up In Harlem” was once again written, directed, and produced by Larry Cohen as a direct follow up to his first hit, “Black Caesar.”

Outside of Larry Cohen, the producers for “Hell Up In Harlem” were b-movie legend Samuel Arkoff (“Q”) and a trio returning producers from “Black Caesar”: James Dixon, Janelle Webb, and Peter Sabiston.

The cinematographer for “Hell Up In Harlem” was once again Fenton Hamilton, who also acted as director of photography on “It’s Alive” simultaneously.

The effects work on “Hell Up In Harlem” is credited to Marvin Kerner, who has worked on sound effects for films such as “Black Caesar,” “Gymkata,” and “China O’Brien.”

The editors on “Hell Up In Harlem” were Peter Honess (“Troy,” “Highlander,” “It’s Alive”) and Franco Guerri, who previously worked as a camera operator on the Larry Cohen film “Bone” and as an assistant editor on “Black Caesar.”

hellupinharlem3The music for “Hell Up In Harlem” was performed by soul icon Edwin Starr, who took over the job from James Brown (who did the work for “Black Caesar”). The score was composed by Fonce Mizell and Freddie Perren, who wrote numerous hits for The Jackson 5 over their careers and were top-tier music producers as part of “The Corporation”. The score also had input from Barry De Vorzon, who composed the theme song for “S.W.A.T.” and provided music for the film “The Warriors.”

The cast for “Hell Up In Harlem” is once again headlined by Fred Williamson, and features other returning players from “Black Caesar” in D’Urville Martin (“Dolemite”), James Dixon (“The Stuff,” “Q”), Gloria Hendry (“Live And Let Die”), and Julius Harris (“Super Fly”). The biggest new addition is Margaret Avery as the new love interest for Gibbs, who is best known from “The Color Purple.”

The story of “Hell Up In Harlem” picks up following a slightly altered recap of the conclusion to “Black Caesar,” and shows Gibbs recover and expand his criminal empire across the United States. Inevitably, he is betrayed once again, leading to one last bout of heated revenge.

The reception for “Hell Up In Harlem” wasn’t nearly as warm as it was for “Black Caesar”: it currently holds Rotten Tomatoes scores of 13% (critics) and 52% (audience), along with an IMDb rating of 6.1.

hellupinharlem2“Hell Up In Harlem” was intriguingly filmed on weekends during the making of “It’s Alive,” because that was the only time when both Larry Cohen and Fred Williamson were available to make the film. Both men were working on different movies for different studios at the time, and most of the team had to pull numerous 7 day work weeks to get the film completed.

The fact that “Hell Up In Harlem” was a rushed production completed on weekends doesn’t at all surprise me, because the entire film feels rushed, strained, and exhausted. There clearly wasn’t as much passion thrown into the creation of the film as there was for “Black Caesar,” and the result is that the film feels a bit passive and routine, lacking a certain necessary energy from top to bottom.

One of my biggest issues with “Hell Up In Harlem” is that it negates the fantastic ending of “Black Caesar.” Also, the film really shouldn’t exist, as the story is effectively wrapped up in “Black Caesar.” The film was clearly solely made because of the profit potential for a sequel, and it ironically feels soulless because of it.

hellupinharlem5The score for “Hell Up In Harlem” isn’t quite as memorable or catchy as the one for “Black Caesar.” As good as Edwin Starr is, he is a downgrade from the power of James Brown. That said, both the theme song and “Big Papa” are pretty fantastic.

“Hell Up In Harlem” is entertaining as segments, but it doesn’t feel like a coherent work on the whole. I think this is mostly because of the way the film was thrown together in a rush, and the fact that the story had to be somewhat manifested out of thin air in the wake of “Black Caesar.”

People seem to like “Hell Up In Harlem” better in retrospect, surprisingly. I think that this is partially because it is a little more over the top than “Black Caesar,” which gives it some more campy value. However, fans of “Black Caesar” seem to be particularly harsh of the sequel for not living up to the quality of the original work, whereas most of the critics of “Black Caesar” were detractors from the world of mainstream cinema.

Some credit has to be given to “Hell Up In Harlem” for having a much cooler title than “Black Caesar,” but it also doesn’t immediately ring a bell as a sequel. I’m not sure whether that was intentional or not, or if it is necessarily an advantage or a hindrance to the film as a whole. I would be curious to get someone’s opinion of “Hell Up In Harlem” if they had never seen “Black Caesar,” and if that would make them more or less generous to it from a critical point of view.

Another thing that I do like in “Hell Up In Harlem” is the character development allowed for Helen, Revered Rufus, and Papa Gibbs. One of the weaknesses of “Black Caesar” is that there isn’t much detail in the accessory cast, and it is squarely focused solely on Gibbs throughout the run time. “Hell Up In Harlem” at least gives these three accessory characters time and room to grow and develop, which makes the film better for it.

hellupinharlem4The conclusion of “Hell Up In Harlem” tries to recapture some of the emotion and shock from “Black Caesar,” but lightning doesn’t strike twice, and it ultimately feels contrived and plays like a clear imitation.

Overall, “Hell Up In Harlem” is not awful, but it also isn’t particularly good. In comparison to “Black Caesar,” it doesn’t even hold a candle. The fact that it was created due to the financial success of the previous film rather than based on necessity or sense started it off with a bit of a handicap, and the rushed production didn’t do it any favors. It is still worth checking out if this is a genre that is up your alley, but it isn’t as essential of a watch as “Black Caesar.”

Larry Cohen Collection

Larry Cohen Collection: “Black Caesar”

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Black Caesar

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Next up in the Larry Cohen Collection is the blaxploitation classic “Black Caesar,” starring Fred “The Hammer” Williamson.

“Black Caesar” was written, directed, and produced by Larry Cohen. It was his second directorial feature after “Bone,” and his first taste of real financial success in the film industry.

The cinematography on “Black Caesar” was provided by frequent Larry Cohen contributor Fenton Hamilton, who also worked on “It’s Alive,” “It Lives Again,” and the sequel to “Black Caesar”: “Hell Up In Harlem.”

The effects and makeup on “Black Caesar” were provided by Rick Baker, who has now won significant accolades as a special effects guru for films like “An American Werewolf in London,” “Men In Black,” “It’s Alive,” and “Ed Wood.”

blackcaesar4The producers on “Black Caesar” outside of Larry Cohen included the actor James Dixon (“God Told Me To,” “Q,” “The Stuff”), Peter Sabiston (“It’s Alive,” “Bone”), and Janelle Webb (“A Return To Salem’s Lot”).

The music for “Black Caesar” was provided by the Godfather of Soul himself, James Brown, and is arguably one of the best blaxploitation soundtracks of all time.

The editor on “Black Caesar” was George Folsey, Jr., who also cut such movies as “The Kentucky Fried Movie,” “The Blues Brothers,” “Coming To America,” and Larry Cohen’s first film, “Bone.”

The cast for “Black Caesar” is headlined by blaxploitation legend and former NFL star Fred Williamson (“From Dusk Til Dawn,” “MASH”), with an accessory cast filled out by Gloria Hendry (“Live And Let Die”), Art Lund (“It’s Alive III”), Val Avery (“Papillon,” “The Magnificent Seven”), and D’urville Martin (“Rosemary’s Baby,” “Dolemite”).

The story of “Black Caesar” follows the meteoric rise and fall of a black hitman who works himself into organized crime by working contracts for the mob and blackmailing members of the NYPD.

blackcaesar2Famed singer Sammy Davis, Jr. reportedly turned down the lead role in “Black Caesar,” which opened the door for Fred Williamson to become one of the most iconic figures of the genre.

The story of “Black Caesar” is based on the acclaimed film “Little Caesar” from 1931 (not to be confused with the pizza chain), which was directed by Mervyn Leroy and starred Edward G. Robinson.

2009’s well-regarded blaxploitation parody “Black Dynamite” takes a few shots at “Black Caesar,” particularly in the content of the story and the soundtrack. For instance, the similarities between the tracks “Mama’s Dead” from “Black Caesar” and “Jimmy’s Dead” from “Black Dynamite” are, to say the least, a bit notable.

“Black Caesar” ultimately spawned a successful sequel, “Hell Up In Harlem,” which was also written, directed, and produced by Larry Cohen. Williamson reprised his role despite his character’s death in “Black Caesar,” and the fact that he was under contract with another studio during the filming of the sequel. Cohen and co. ultimately filmed on the weekends while making “It’s Alive,” because it was the only time that Williamson was available.

I couldn’t dig up any financial information or a solid number on the production budget for “Black Caesar,” but it was definitely constructed on the cheap side and made a significant profit on it. The film currently holds a 6.1 score on IMDb, along with Rotten Tomatoes ratings of 55% (critics) and 65% (audience), making for a mixed reception. Regardless, it is considered a classic of the blaxploitation genre.

“Black Caesar” has a few pacing flaws, in that it feels like it skips forward rather quickly in parts rather than building up the rise of Gibbs through the criminal world. It still gets the point across, but it feels like there is a lot more detail and focus on the back end of the movie than the rise to power, which is kind of the opposite of most crime stories.

blackcaesar6I noticed that a lot of criticisms of the film at the time were focused on it being too violent or crass, which seem more like complaints leveled against the genre as a whole rather than this film. Within the crime and blaxploitation genres, “Black Caesar” is top of the line if you ask me, and is incredibly well crafted by most standards.

Fred Williamson’s at times charming and emotional performance arguably makes the movie what it is. He does a pretty fantastic of building a character who is violent, sinister, and criminal while also keeping the audience pulling for him throughout the story, which is no easy task for a murderous, megalomaniacal rapist like Tommy Gibbs.

blackcaesar5Audiences apparently hated the ending of “Black Caesar,” which concludes with Gibbs dying penniless in a gutter after being mobbed by a black gang. Personally, I thought it was a perfect conclusion.  It places Gibbs where he started the story, and allows the community which he scorned to take its revenge on him. Throughout the film, Gibbs has a crusading mentality that he is fighting for his community by forcing his way up the criminal ladder. However, this conclusion, which shows his old neighborhood in shambles, proves that this simply wasn’t at all the case, and that Gibbs  was just a selfish and grandiose jackass who abandoned his home the minute that he found success. Of course, this ending was partially erased in order for “Hell Up in Harlem” to exist, and Cohen even tried to change it for the wide release of “Black Caesar” before it went out.

blackcaesar3Last but not least, the climax of “Black Caesar” is at once memorable, shocking, fulfilling, and perfectly suited for the film. Gibbs takes his ultimate revenge on the racist police officer who assaulted him as a child (while working as a shoe shiner) by covering his face in shoe polish, forcing him to sing, and slowly beating him to death.

There are a fair number of similarities between “Black Caesar” and Brian De Palma’s take on “Scarface” from 1983. Both films depict an outsider going through a rise and fall in the criminal world, cursed by their own ambitions and greed. Personally, I like “Black Caesar” a little better than “Scarface,” if only on the strength of the leads. I’ve never been a fan of Pacino in “Scarface,” but Williamson in “Black Caesar” is top notch, and handles the complexities of his character well.

blackcaesar7Overall, “Black Caesar” is more than deserving on the praise that it has acclaimed over the years, and is a justified classic of the blaxploitation genre (and crime movies in general). I highly recommend it for fans of crime movies, blaxploitation flicks, or Larry Cohen in general. It provides an interesting window to see where Cohen’s experience as a filmmaker came from, and how it influenced his later films in the thriller and horror genres.

Larry Cohen Collection

Larry Cohen Collection: “The Stuff”

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The Stuff

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Next up in the Larry Cohen Spotlight is perhaps my favorite of all of his films: the campy consumerism satire, “The Stuff.”

“The Stuff” was written, directed, and co-produced by Larry Cohen, in cooperation with his production collaborators Paul Kurta (“Q,” “Perfect Strangers,” “Hell On Weels,” “Veronica Mars”) and Barry Shils (“Special Effects,” “It’s Alive III”).

The makeup effects for “The Stuff” are credited to a team including Ed French (“Creepshow 2,” “C.H.U.D.,” “Paul Blart Mall Cop,” “Dragonball: Evolution”), Michael Maddi (“The Blob,” “Saturday Night Live”), Steve Neill (“God Told Me To,” “It’s Alive III,” “Q,” “Laserblast,” “Full Moon High,” “Battle Beyond The Stars”), Rick Stratton (“Class of 1999,” “Star Trek: The Next Generation,” “Galaxy Quest”), and Craig Lyman (“Winter’s Tale,” “The Happening,” “The Cotton Club”).

The special effects work is credited to one Bret Culpepper, who worked on other productions such as “Re-Animator,” “The Beastmaster,” and “Back to the Future Part III” as a special effects worker and technical advisor.

The visual effects team for “The Stuff” comprised of David Allen (“Robot Jox,” “Dolls,” “Q,” “Laserblast”), Jim Danforth (“The Prophecy,” “Ninja III: The Domination,” “The Thing”), Jim Doyle (“Showgirls,” “Breakin’ 2: Electric Boogaloo,” “A Nightmare On Elm Street”), Paul Gentry (“Space Truckers,” “RoboCop 3,” “Predator 2”), John Lambert (“Soultaker”), David Stipes (“Real Genius,” “Night of the Creeps,” “Arena”), and Ted Rae (“Lawnmower Man 2,” “Jaws 3-D,” “Night of the Comet”).

thestuff2 thestuff3 thestuff5The cinematography on “The Stuff” was provided by Paul Glickman, who also acted as director of photography on Larry Cohen movies “God Told Me To” and “Special Effects.”

“The Stuff” was edited by Armond Lebowitz, who also cut the Larry Cohen movies “Q: The Winged Serpent,” “Special Effects,” and “Full Moon High.”

thestuff6The stunt coordinator on “The Stuff” was Jery Hewitt, who has worked on a diversity of films such as “The Big Lebowski,” “Fargo,” “Christmas Evil,” “Michael Clayton,” “No Country For Old Men,” and “Cop Out.”

The cast for “The Stuff” is headlined by frequent Larry Cohen collaborator Michael Moriarty, with additional roles filled out by Garret Morris (“Saturday Night Live”), James Dixon (“It’s Alive”), Andrea Marcovicci (“The Hand”), Paul Sorvino (“Goodfellas,” “Repo! The Genetic Opera”), Danny Aiello (“Hudson Hawk,” “Moonstruck”), and Patrick O’Neal (“Under Siege”). In the background, you might spot recognizable faces like Eric Bogosian (“Special Effects”), Abe Vigoda (“The Godfather”), Patrick Dempsey (“Loverboy,” “Scream 3”), Laurene Landon (“Maniac Cop,” “Maniac Cop 2,” “It’s Alive III”), Brooke Adams (“The Dead Zone,” “Days of Heaven”), and Mira Sorvino (“Mimic,” “Mighty Aphrodite”).

thestuff8The story of “The Stuff” surrounds a mysterious dessert that takes the consumer world by storm, thus throwing the established dessert industry into a panic. They collectively hire a former intelligence agent named Mo Rutherford to investigate the product and discover the secret recipe via corporate espionage. As the covert investigation proceeds, however, “The Stuff” becomes increasingly eerie, suspicious, and dangerous. After a series of team-ups with a disgruntled mascot, a paramilitary organization, and an orphaned child, Rutherford decides to take The Stuff head on.

“The Stuff” features some really interesting effects work, including a bedroom attack by the stuff that pays homage to “A Nightmare On Elm Street,” even using the exact same effects room for the shot.

The Stuff itself was made up of an assortment of materials depending on the scene: ice cream, yogurt, fire extinguishing foam, and a wretched fish bone-meal concoction were all used at one point or another, and some of the shots are even superimposed animation.

thestuff10Arsenio Hall was apparently considered for the role of Chocolate Chip Charlie, which ultimately went to “Saturday Night Live” alum Garrett Morris.

There was an extensive copyright dispute over the effects used in “The Stuff,” which led to a lengthy legal battle (Effects Associates, Inc v Cohen) that set significant precedence for the ownership of effects work done for films, and is actually a pretty interesting read for anyone with a cursory interest in copyright law.

The reception for “The Stuff” was somewhat mixed: it currently holds Rotten Tomatoes scores of 70% (critics) and 45% (audience), with an IMDb rating of 5.9. “The Stuff” was made on a $1.7 million budget, and received only a limited theatrical release with an undisclosed total gross. However, it has certainly become a cult classic thanks to effects, acting, and bizarrely humorous plot.

As with many of Cohen’s films, “The Stuff” provides a significant element of social commentary, particularly about consumerism and the food industry. There is even a specific call-out in the dialogue about the fact that the recipe for Coca-Cola is kept secret, and no one seems to care.

thestuff9The effects work on “The Stuff” is often mocked for its ridiculousness, but I actually though that it was pretty impressive work given the low budget on the film. Sure, it is definitely squibby and cheesy, but it certainly got the job done on budget. Apart from some dated super-imposed effects, the film still looks pretty good, thanks in large part to the extensive use of practical effects.

thestuff4The plot of “The Stuff” becomes very similar to “Invasion of the Body Snatchers” as it progresses, with many people being replaced or possessed by the nefarious dessert treat. Larry Cohen would later co-write his own version of “Invasion of the Body Snatchers” with 1993’s “Body Snatchers,” ultimately directed by Abel Ferrara.

The performances in “The Stuff” are distinctly and astoundingly over the top, particularly on the parts of Moriarty, Sorvino, and Morris. I absolutely adore Moriarty’s southern-fried pseudo-buffoon ex-intelligence agent, and even the child actor gets to go over the top with his infamous grocery store freak-out:

Overall, “The Stuff” is probably one of my favorite films, and is just about the pinnacle of what a good-bad movie can be. The performances, effects, and writing are all spot on, and create what is almost a Platonic ideal of a b-movie. It should go without saying, but “The Stuff” is a solid recommend from me for just about everyone. It is clever, funny, sharp, goofy, and just the right amount of gory.

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Roar

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Roar

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Today’s feature is a bit of a curiosity, in that it is possibly the most dangerous movie ever filmed: 1981’s “Roar,” starring Tippi Hedren, Melanie Griffith, and a shit-ton of lions. Many thanks to the Gateway Film Center for screening the film, and the Alamo Drafthouse for helming the re-release.

“Roar” was written, directed, and produced by Noel Marshall, who is best known for acting as a producer on “The Exorcist” and a handful of other pictures, as well as being the husband of the famed actress Tippi Hedren (who also starred in and produced “Roar”).

The cinematographer and supervising editor on “Roar” was Jan De Bont, who went on to become a successful director and director of photography on some significant Hollywood movies (“Leonard Part 6,” “Speed,” “Speed 2,” “Twister,” “Die Hard,” “The Hunt For Red October”).

The distinctive music for “Roar” was composed by Terrence Minogue, who has no other credited film work. It was performed, however, by the National Philharmonic Orchestra, a recording orchestra out of London that can be heard on soundtracks for movies such as “Supergirl,” “Alien,” “Total Recall,” and “The Exorcist.”

One of the other producers on “Roar” was Banjiro Uemura, who also later produced the Hayao Miyazaki classic animated film, “Spirited Away.”

“Roar” was filmed at a southern California ranch owned by Tippi Hedren and Noel Marshall, where the family for years acquired and raised countless big cats, and lived alongside them not unlike as depicted in the film.

The cast of “Roar” was a true family affair, headlined by Tippi Hedren and director Noel Marshall, who also acted as the primary financiers for the film. Most of the rest of the cast is filled out by their children: John Marshall, Jerry Marshall, and the later Hollywood star and two-time Golden Raspberry winner Melanie Griffith (“Working Girl,” “Body Double,” “Bonfire of the Vanities,” “Crazy in Alabama”).

The story of “Roar” centers around a family traveling to visit their radical big cat researcher father, who is embedded with a pride of lions while simultaneously introducing an assortment of foreign wild cats into the pride. Just before the family arrives, a new, aggressive lion arrives to challenge the balance and leadership of the pride, putting the family in significant danger.

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“Roar” is likely best remembered due to the multiple attacks and maulings that occurred on set during filming. Noel Marshall at one point had to be hospitalized for his wounds, which reportedly required years to recover from. He was also bitten through his hand in a sequence that remained in the finished film. Likewise, Melanie Griffith required plastic surgery after the film, and reportedly fifty stitches to her face. The assistant director, Doron Kauper, was nearly killed after one of the lions tore open his neck and attacked his face. John Marshall reportedly needed over fifty stitches to repair a wound from a lion bite. Tippi Hedren not only broke a leg after falling off of an elephant, but also needed more than thirty stitches after being bitten on the back of her head by a lioness. Reportedly, Tippi Hedren has said of the experience of being bitten by a lion:

“Let me tell you, it hurts when you’re bitten by a lion. It’s not only that you may have an open, gaping wound, plus shock, but the pressure of those enormous jaws is so strong that it hurts”

“Roar” ultimately took over a decade to actually complete from writing to release, partially due to the death of a number of the lions in the wake of a tragic flood of the property resulting from a local dam break.

The idea for the story of “Roar” was apparently conceived of by Hedren and Marshall while making a movie in Africa, during which they discovered an abandoned house on a wild game reserve that had become overrun by a pride of lions. The financial success of the 1966 lion-centric movie “Born Free” also seemed to signal that the idea could be financially viable.

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Tippi Hedren later founded the Roar Foundation, which supports the Shambala Reserve for wild and endangered cats in Acton, California (many of which have descended from the cats used in “Roar”). Hedren is now a staunch animal rights activist who opposes the private ownership of big cats, and regrets letting her family live in proximity to the dangerous animals. She wrote a book about the making of the movie in 1985, called “Cats of Shambala.”

In 2015, the Alamo Drafthouse produced a re-release of “Roar” that marked the first time that the movie has hit American theaters. The initial release of the film only played in international markets, grossing only $2 million of the reported $17 million budget.

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The reception for “Roar” was understandably mixed. The film is more of an astounding spectacle and experience than it is a sensible motion picture, which has led to it receiving Rotten Tomatoes scores of 70% (critics) and 58% (audience), along with an IMDb rating of 6.4.

It is really hard to view and analyze “Roar” like one would a typical motion picture, because it is truly impossible to separate the film from its astounding back story and the shock of seeing the experience on screen.

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From the point of view of looking at “Roar” like a standard film, it is just terrible. Plot lines are dropped (what happened to the disgruntled poachers?), the story is nonsense, and the acting (can you really call it acting?) is pretty atrocious on the part of the Marshalls. The pacing and shots are generally jarring as well, because the film was very much dictated by the cats’s behavior, which was naturally erratic and unpredictable, something that is explicitly acknowledged in the credits. The entire film feels like a sequence of shots that were aimlessly strung together in the editing stage, which is a film-making practice that typically only Terrence Malick can get away with.

“Roar” is very obviously a message movie, which is a bit confusing and wrong-headed given how violent the large cats are over the course of the story. There is also a lot of genre confusion, in that the film was not portrayed or marketed as a horror movie, despite how terrifying the product is to watch. The story tries to play off the conclusion as peaceful, with the humans adapting to living around the lions in peace, which frankly makes no sense after all of the chaos and violence that they have inflicted on the family.

Speaking of which, the only character who reacts to the various dangerous animals like a human actually would is Mativo, a supporting character who spends most of his time trying to get his coat back from an assortment of deadly animals. However, even his terror at the cats is overcome by the end of the film, when he joins the family in cuddling and playing with the pride of lions. At the very least, he should be upset at the fact that the cats absolutely destroyed his jacket, and also managed to sink his boat.

Overall, despite the fact that “Roar” is a pretty awful movie by film standards, I consider it a must-see for movie fans. It isn’t a film so much as it is a shocking and baffling visual experience, which is one of the most honestly terrifying things that I have ever watched. I don’t consider it “so bad it is good” like most of the films I cover, but more as a truly unique experience that belongs more in a category with films like “Cannibal Holocaust” that are defined by their back story, rather than the product on screen.

Larry Cohen Collection

Larry Cohen Collection: “Maniac Cop 3”

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Maniac Cop 3: Badge of Silence

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Next in the Larry Cohen collection is the finale of the Maniac Cop trilogy: “Maniac Cop 3: Badge of Silence.”

“Maniac Cop 3” was once again written and produced by Larry Cohen, and was initially directed by William Lustig of “Maniac Cop” and “Maniac Cop 2” as well. However, he ultimately walked off of the film when the initial cut only came in at 50 minutes, refusing to film any additional footage. Producer Joel Soisson (“Dracula 2000,” “The Prophecy,” “Mimic 2”) filled in for the additional sequences, and the film was ultimately Alan Smithee-d for the DVD release.

maniaccopthree3The cinematography for “Maniac Cop 3” was provided by Jacques Haitkin, who also did photography work for “The Ambulance,” “Shocker,” “Evolver,” “A Nightmare on Elm Street,” and “Galaxy of Terror.”

The effects team on “Maniac Cop 3” was comprised on experienced makeup and special effects technicians, including Howard Berger (“The Cell,” “The Faculty,” “In The Mouth of Madness”), Robert Kurtzman (“Tusk,” “It Follows,” “John Dies At The End,” “From Beyond”), Bill Miller-Jones (“Maniac Cop,” “Hell Comes to Frogtown”), Greg Nicotero (“Seven Psychopaths,” “Ghosts of Mars,” “Torchwood”), Stephen DeLollis (“Reservoir Dogs,” “Pulp Fiction”), Larry Fioritto (“Halloween 4,” “Knight Rider”), Bruce Mattox (“Capricorn One,” “The China Syndrome”), Wes Mattox (“Django: Unchained,” “Deep Blue Sea,” “Daredevil”), and Robert Phillips (“Volcano,” “Se7en,” “Shocker”).

maniaccopthree6Outside of Larry Cohen and Joel Soisson, the producers on “Maniac Cop 3” included Michael Leahy (“Pulse”) and W.K. Border (“Trekkies,” “The Prophecy,” “Bill & Ted’s Excellent Adventure”).

The editors on “Maniac Cop 3” included David Kern (“Maniac Cop,” “Maniac Cop 2”), Michael Eliot (“Stargate SG-1,” “Stargate Atlantis”), and Rick Tuber (“Lie to Me,” “Nash Bridges,” “ER”)

The score for “Maniac Cop 3” was provided by Joel Goldsmith, who worked on the music for “Kull The Conqueror,” “Laserblast,” and the television show “Stargate SG-1.”

maniaccopthree1The cast of “Maniac Cop 3” is headlined by returning players Robert Z’Dar and Robert Davi, with an accessory team made up by Robert Forrester (“Jackie Brown”), Jackie Earle Haley (“Watchmen”), Doug Savant (“Teen Wolf”), Grand Bush (“Lethal Weapon,” “Demolition Man”), Paul Gleason (“Die Hard”), Gretchen Becker (“The Doors”), Caitlin Dulany (“Winter’s Tale,” “Class of 1999 II”), and Ted Raimi (“Midnight Meat Train”).

The story of “Maniac Cop 3” picks up some time after the events of “Maniac Cop 2,” after the honorable burial of Matt Cordell following his name being cleared. However, a mysterious voodoo priest resurrects the Maniac Cop with unclear motives, while the NYPD is still trying to deal with a crime epidemic on the streets.

maniaccopthree5“Maniac Cop 3” had a rather poor reception, earning a 4.9 rating on IMDb along with an abysmal 18% Rotten Tomatoes audience score. It is widely considered to be the worst in the series, and was given a thorough roasting by the podcast “We Hate Movies.”

“Maniac Cop 3” was given an NC-17 by the MPAA, which killed any chance of it getting a theatrical release. It debuted on HBO, and eventually got a home video release. I wasn’t able to dig up any budget numbers for the flick, but the fact that it failed to make it to theaters leads me to believe that it was likely a losing proposition.

The biggest problem with “Maniac Cop 3” is that you can tell that the movie was padded out. For instance, the entire final car chase sequence feels like lagniappe: the story is over and resolved, and there’s just no real reason for the chase to happen. However, it does allow Robert Davi to light a cigarette with Maniac Cop’s detached arm, so how upset can you be? In any case, the additional footage throws a massive wrench into the pacing of the film, which wasn’t all that well paced to start with.

maniaccopthree7Robert Davi gets a lot more screen time in “Maniac Cop 3” than he got in “Maniac Cop 2,” and I think he did a pretty decent job carrying the load as the sole lead for the feature. Of all the problems with the film, he didn’t seem to me to be one of them.

The plot to “Maniac Cop 3” is pretty much nonsense. Essentially, it is “Bride of Maniac Cop,” but there’s no real connection between Kate and Cordell. Further, Cordell’s story is over, and it doesn’t make sense why he would want to come back to life at this point. His drive for revenge is what propelled him throughout the franchise, and in “Maniac Cop 3” it just isn’t there.

“Maniac Cop 3” does attempt to explain Cordell’s seemingly superhuman powers with voodoo magic. However, it is unclear if he was resurrected prior to the beginning of the franchise. It seems like that has to be what happened, because it is never explained how he went from brain-dead to god-like between the events of the back story and the beginning of “Maniac Cop.” However, there is a definite lack of clarity there.

maniaccopthree4Overall, “Maniac Cop 3” is more of a good-bad entertaining watch that the other two films in the series. The first two are actually pretty good b-movies, whereas “Maniac Cop 3” is just an embarrassing parade of nonsense and behind the scenes drama. That said, there are some entertaining moments, like the Maniac Cop driving a car while on fire, and playing skeet with an innocent pedestrian. If you have the tolerance to sit through bad b-movies, you might want to give “Maniac Cop 3” a shot.

Larry Cohen Collection

Larry Cohen Collection: “Maniac Cop 2”

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Maniac Cop 2

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Next up in the Larry Cohen Collection is “Manic Cop 2,” which continues Matt Cordell’s crusade for revenge against the city officials and criminals who set up his imprisonment and murder.

“Maniac Cop 2” was once again written and produced by Larry Cohen, with William Lustig also taking up the directorial reins for the sequel.

The director of photography on “Maniac Cop 2” was James Lemmo, who was one of the cinematographers from the first “Maniac Cop,” and also worked with William Lustig on “Vigilante.”

The effects team on “Maniac Cop 2” included Wayne Beauchamp (“Pray For Death,” “Children of the Corn,” “C.H.U.D. 2: Bud the Chud”), Bill Miller-Jones (“Hell Comes to Frogtown”), Dean Gates (“Day of the Dead,” “Super Mario Bros,” “Maximum Overdrive”), John Carter (“Evilspeak,” “The Sword and The Sorcerer”), John Eggett (“Heart Condition,” “Deadly Games”), Jeff Naparstek (“King of New York,” “Winter’s Tale”), Matt Vogel (“C.H.U.D.,” “The Thin Blue Line,” “American Gangster”), and Larry Arpin (“Blood Diner,” “Evil Dead II,” “The Dentist”).

maniaccoptwo5Outside of Larry Cohen, one of the other producers on “Maniac Cop 2” was John Engel, who also produced “James and the Giant Peach” and worked on the film “Cabin Boy.”

“Maniac Cop 2” was again edited by David Kern, who, in addition to “Maniac Cop,” also worked on films such as “It’s Alive III,” “Crazy In Alabama,” “Rush Hour,” “Sky High,” and “George of the Jungle.”

The score for “Maniac Cop 2” was once again provided by Jay Chattaway, who also provided music for “Maniac,” “Vigilante,” and the Steven King adaptation, “Silver Bullet.”

Bruce Campbell, Robert Zdar, and Laurene Landon reprise their roles from “Maniac Cop,” joining new additions to the franchise Robert Davi (“Die Hard,” “License to Kill”), Clarence Williams III (“Half Baked,” “The Butler”), Claudia Christian (“Babylon 5,” “Arena”), Michael Lerner (“Barton Fink,” “Godzilla”), Charles Napier (“The Silence of the Lambs,” “Rambo: First Blood Part II”), and Leo Rossi (“Halloween II,” “Leonard Part 6”).

maniaccoptwo4The story of “Maniac Cop” picks up right after the events of “Maniac Cop,” with the NYPD still not acknowledging the survival of Matt Cordell, but clearing previously accused detective Jack Forrest regardless. However, the killings continue, and another serial killer arises, preying on exotic dancers throughout the city. Against the odds, the two killers join forces against the police and the city, out for revenge and chaos.

Director Sam Raimi (“Army of Darkness,” “Spider-Man”) once again appears in a cameo role, as the well-noted and instantly-recognizable character actor Danny Trejo (“Anaconda,” “Machete,” “Breaking Wind”) in one of his first on-screen performances.

“Maniac Cop 2” currently has a 5.8 rating on IMDb, as well as Rotten Tomatoes scores of 60% (critics) and 41% (audience), which is interestingly higher than the original “Maniac Cop.”

The budget of “Maniac Cop 2” was notably higher than the original, topping off at an estimated $4 million. The movie, however, went direct to video in the United States. I wasn’t able to dig up any gross information, but given the lack of success of the first film, I would be shocked if it made a significant profit over its foreign theatrical run.

maniaccoptwo2“Maniac Cop 2” received praise for its use of New York City locations and excellent practical effects, particularly the pyrotechnics in the film’s climax, which make for a significantly explosive conclusion.

Some fans of “Maniac Cop” were upset by the quick dispatching of the characters that returned from the first film. My point of view on that is, the main character of “Maniac Cop” (Tom Atkins) didn’t make it all the way through that movie, so how can it be a surprise that main characters get killed off here?

maniaccoptwo3William Lustig said in an interview that he considers “Maniac Cop 2” to be his best work, saying:

I do consider ‘Maniac Cop 2′ to be my best film. It was the film [where] I felt as though myself and my crew were really firing on all cylinders. And I think we made a terrific B-movie. We tried to make it a better film [than “Maniac Cop”]. Take the ideas and concepts and first and improve upon them.

“Maniac Cop 2” provides more action than the first movie, which is one of the biggest complaints I noticed people having with it. At the same time, that happens at the expense of some of the effective atmosphere of “Maniac Cop,” but only to a certain degree.

Overall, “Maniac Cop 2” is a pretty solid sequel to the original, and is far better than the typical horror sequel by far. Robert Davi is a good addition to the franchise without any doubt. However, it feels a little bit like two movies forced into one: the first segment of the film basically just wraps up the story of the first, and then it gets on to its own story. It makes the whole film feel just a little weirdly paced and off-focus.

For fans of “Maniac Cop,” Larry Cohen, or William Lustig, this is a film worth checking out. For fans of Bruce Campbell, he doesn’t appear in much of the movie, and isn’t his typical hammy self either. This isn’t a campy movie, and if you have your expectations about that straight going into it, you’ll find something to enjoy.

Larry Cohen Collection

Larry Cohen Collection: “Maniac Cop”

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Maniac Cop
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Next up in the Larry Cohen Collection is the cult classic “Maniac Cop,” a battle of the chins between Bruce Campbell and Robert Z’Dar.

“Maniac Cop” was written and produced by Larry Cohen, and ultimately spawned a franchise of three movies. The film was directed by William Lustig, who is best known for his sleazy cult classic films “Maniac” and “Vigilante.”

The cinematography on “Maniac Cop” was provided by two people: James Lemmo (“Maniac Cop 2”) and Vincent J. Rabe (“Hit List”), neither of whom have had much in the way of significant film credits.

The effects team for “Maniac Cop” included makeup work by Brad Look (“Thor,” “Star Trek: First Contact,” “The Hunger Games”) and Bill Miller-Jones (“Hell Comes To Frogtown,” “Maniac Cop 2,” “Maniac Cop 3”), visual effects by Larry Arpin (“The Dentist,” “The Expendables,” “Leprechaun,” “The Ambulance”), and special effects work by David Atherton (“Face/Off,” “Shocker”), John Naulin (“From Beyond,” “Re-Animator,” “Highlander II,” “The Omega Code”), Paul Staples (“Fatal Games”), and Laszlo Stumpf (“Cyborg,” “American Ninja 2”).

maniaccop3Aside from Larry Cohen, the producers on “Maniac Cop” were James Glickenhaus (“Frankenhooker,” “The Exterminator,” “McBain”) and Jefferson Richard (“976-Evil II”), who also served as a second unit director on the film

The editor for “Maniac Cop” was David Kern. who also did editing work on “Rush Hour,” “Rush Hour 2,” “The Running Man,” and “It’s Alive III.”

The music for “Maniac Cop” was provided by Jay Chattaway, who also scored William Lustig’s movies “Maniac” and “Vigilante,” as well as the Larry Cohen film “The Ambulance” and the notorious Chuck Norris flick “Invasion U.S.A.”

The art direction and production design on “Maniac Cop” was provided  by Jonathan Hodges, who has worked as a property master and carpenter on films like “Pulp Fiction,” “Reservoir Dogs,” “Chopping Mall,” “House,” and “Critters.”

The cast of “Maniac Cop” reads like a b-movie all-star team: Bruce Campbell (“The Evil Dead,” “Army of Darkness”), Tom Atkins (“Halloween III,” “The Fog”), Robert Z’Dar (“Soultaker,” “Samurai Cop,” “Tango & Cash”), Richard Roundtree (“Shaft,” “Q: The Winged Serpent”), Jill Gatsby (“Vampire’s Kiss,” “Class of 1999,” “The Ambulance”), James Dixon (“It’s Alive”), and beloved director Sam Raimi (“The Evil Dead,” “Drag Me To Hell”).

maniaccop6The story of “Maniac Cop” follows an investigation into a series of murders committed by a man dressed as a police officer in the streets of New York City. The NYPD is desperate to find the culprit as the public is whipped into a frenzy of suspicion and distrust of the department. Meanwhile, the investigation begins to uncover a possible suspect with a motive for revenge against the NYPD brass.

Two of the stars of “Maniac Cop,” Bruce Campbell and Robert Z’Dar, have both gone by the nickname of “The Chin” due to their distinctive facial structures.

Sam Raimi, the acclaimed director of films like “The Evil Dead” and “The Evil Dead II,” appears not only as an actor in “Maniac Cop,” but also worked behind the camera for the St. Patrick’s Day parade sequence in the movie.

maniaccop9Famed boxerJake LaMotta, whose biography provided the source material for Martin Scorcese’s “Raging Bull,” acts in a brief cameo in “Maniac Cop” as one of the unnamed police officers.

“Maniac Cop” was filmed back to back with another William Lustig film, “Hit List,” which starred Leo Rossi (“Leonard Part 6,” “Maniac Cop 2”) and Lance Henriksen (“Aliens,” “The Last Samurai”).

maniaccop2Over the past couple of years, rumors have surfaced about a potential “Maniac Cop” remake or prequel involving director Nicolas Winding Refn (“Drive,” “Only God Forgives”) and writer Ed Brubaker (“Captain America: The Winter Soldier”), though I haven’t been able to dig up anything since May 2014.

“Maniac Cop” was not particularly well-received, and currently has Rotten Tomatoes scores of 50% (critics) and 39% (audience), along with an IMDb rating of 6.0. That said, it certainly has a dedicated cult following.

“Maniac Cop” didn’t make money on it’s limited theatrical release, grossing under 700,000 on a 1.1 million budget, but still turned into a horror franchise of some note with a series of three films.

Just as any good horror movie should do, “Maniac Cop” latches onto a public anxiety. In this case, this fear is of the police abusing their position of power, which puts people in a position of helplessness due to the corruption in the institution.

“Maniac Cop” doesn’t exactly take a stance on the police in general, and presents both pro- and anti-cop sentiments. The corruption of the institution is emphasized, as well as the (justified) lack of public trust in it. At the same time, a few of the police officers are portrayed as “good” cops: honest, principled, and willing to stand up to the institution at its worst.

maniaccop7“Maniac Cop” received a harsh reception at the time, in the sense that people seemed to either love it or hate it. It is undoubtedly a b-movie made with generally low quality, which turns off a certain amount of viewers to start with. It also takes elements from a number of genres, such as mystery, slasher, and your typical cop flick, which is a mixture that didn’t necessarily work for everyone. Further, it isn’t as campy or hammy as you might expect for a film with Bruce Campbell in the lead: he actually plays his role pretty straight, which is unusual. It doesn’t help that the movie is also a pretty slow burn, something that most slasher fans don’t have much patience for.

Personally, I like “Maniac Cop.” It is a bit slow, but the intrigue and performances kept me from ever getting bored with it. Likewise, the mixture of the genre elements made it a little more interesting to me than just your typical slasher flick, and the elements of social commentary on the police were more than welcome. I also appreciate that it maintains some of the gritty ambiance of William Lustig’s earlier film “Maniac,” which is one of the stronger elements of that flick.

maniaccop8Something that I will agree with the detractors of “Maniac Cop” is that Campbell isn’t quite campy enough for what audiences expect from him, which may have been intentional on either his or Lustig’s part. I also would have loved more of Richard Roundtree in the film, to help illustration more of the corruption in the department (also because he’s just great).

Overall, I think b-movie fans will generally find things to enjoy about “Maniac Cop,” though I think specially Cohen and Lustig fans will like it the best of anyone. General audiences are a bit of a toss-up: I’m sure there are many who would find it too dull, but I don’t think that is necessarily true across the board. I’m interested to see if the remake actually happens, because I feel like Refn’s style could fit the film quite well, and adapt the story effectively to current audiences. I also think that now may be the perfect time to bring back Cordell, as public anxieties about police run amok seem to be at an all-time high.

Larry Cohen Collection

Larry Cohen Collection: “Phone Booth”

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Phone Booth

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Next up in the Larry Cohen Collection is the the 2002 thriller hit “Phone Booth,” starring Colin Farrell and Kiefer Sutherland.

the screenplay for “Phone Booth” was written by Larry Cohen, around the same time that he wrote “Cellular,” which was designed to be a similar yet opposite story. It removes the element of immobility that exists in “Phone Booth,” but retains the connection to the phone.

“Phone Booth” was directed by Joel Schumacher, who has helmed such films as “Falling Down,” “Batman & Robin,” “Batman Forever,” “The Lost Boys,” “8MM,” and “The Number 23” over his career as a director.

The cinematographer on “Phone Booth” was Matthew Libatique, who was nominated for an Academy Award for his work on “Black Swan.” He also provided photography for movies like “Iron Man,” “The Fountain,” and “Requiem for a Dream.”

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The effects on “Phone Booth” were provided by a team that included James Fredburg (“Big Trouble In Little China,” “The Abyss,” “American Horror Story”), Trenton Driver (“World Trade Center”), and Chad Baalbergen (“Smokin’ Aces,” “Fallen”). The visual effects were specifically designed by Nathan McGuinness, who has worked on films like “Battleship,” “The Island,” “Kangaroo Jack,” “Man On Fire,” “Minority Report,” and “Catch Me If You Can.”

The music for “Phone Booth” was provided by Harry Gregson-Williams, who also provided scores for “Gone Baby Gone,” “Shrek,” and “Man On Fire,” among other movies.

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The producers on “Phone Booth” included Ted Kurdyla (“Fallen”), Gil Netter (“The Blind Side,” “Dude, Where’s My Car?”), and, oddly enough, comedy guru David Zucker (“The Naked Gun,” “Top Secret,” “Airplane”).

“Phone Booth” was edited by a man named Mark Stevens, who also cut movies other movies for Schumacher such as “The Number 23,” “Batman Forever,” and “Batman & Robin.”

The cast for “Phone Booth” is headlined by Colin Farrell (“In Bruges,” “Winter’s Tale,” “Seven Psychopaths,” “Daredevil”), and also includes Kiefer Sutherland (“The Lost Boys,” “Stand By Me,” “24”), Forrest Whitaker (“Battlefield Earth,” “The Butler,” “The Last King of Scotland”), Katie Holmes (“Batman Begins,” “The Singing Detective”), and Radha Mitchell (“Man On Fire,” “Pitch Black,” “Silent Hill”).

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The plot of “Phone Booth” follows a top-tier publicist who is held hostage in a phone booth by a crusading sniper. Over the course of the film, the sniper attempts to force the publicist to publicly confess and atone for his bad behaviors and deceptions of those around him.

The phone booth in “Phone Booth” was actually functional, and someone read the caller’s lines over the phone to Colin Farrell during filming. Sutherland’s audio was recorded later, and then edited in.

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The plot of the film takes place in real time, adding to it’s realistic tone and tension. Even more interesting is that the movie was filmed in chronological order, something that isn’t often done.

Reportedly, Colin Farrell’s confession finale was shot in just one take, which is particularly impressive given the sequence’s length and gravity.

Larry Cohen has cited the sniper sequence from his early film “God Told Me To” as one of the inspirations for him to write the sniper-centric screenplay for “Phone Booth.”

Before Colin Farrell landed the lead role, actors such as Mel Gibson, Will Smith, and Jim Carrey were all considered for part, but were either not available or turned it down.

The original screenplay for “Phone Booth” received a 2008 stage adaptation in Japan, playing in both Tokyo and Osaka to favorable reviews.

The original story for “Phone Booth” apparently ended with the caller being killed off in the final raid, but it was changed during the production to allow the character to survive.

Before Kiefer Sutherland was brought on, Ron Eldard was initially cast as the voice, but ultimately had to drop out of the production.

The theatrical release of “Phone Booth” was pushed back by the studio due to the Beltway sniper spree killings in October of 2002, and would up getting its release a couple of months later.

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“Phone Booth” grossed just under $98 million in it’s worldwide theatrical run on a budget of $13 million, making it a significant financial hit.

“Phone Booth” also received a generally positive reception from critics and audiences, and currently holds an IMDb rating of 7.1, along with Rotten Tomatoes scores of 71% (critics) and 64% (audience).

Colin Farrell really made a name for himself as an actor in “Phone Booth,” and is huge reason why the movie is as acclaimed as it is. Sutherland’s voice has also become somewhat iconic due to his performance here, and is now a regular voice actor in commercials and video games.

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Outside of the performances, the concept behind “Phone Booth” and the tension built in the screenplay both deserve a lot of props. The idea of being trapped in a phone booth by a sniper taps into a lot of simultaneous fears: the fear of being watched, claustrophobia, the anxieties of being publicly exposed, and more. The setting alone creates an immense amount of tension, and the way the film is written manages to add on to it.

My only particular complaint with “Phone Booth” is that the color filtering is pretty extreme, to the point of being a little distracting. I think that was a bit of a fad to do at the time, and a lot of cop procedurals and action films were really bad about it (and still are). The film is so thoroughly bathed in blue that you would swear that the story takes place in an alternate dimension where Earth has a blue sun.

Overall, “Phone Booth” is a fantastic thriller movie, and probably one of the better ones of the new millennium. The performances are solid, the writing is clever, and the premise is both simple and enthralling. If you enjoy a good thriller, “Phone Booth” is undoubtedly worth checking out.

Larry Cohen Collection

Larry Cohen Collection: “Q: The Winged Serpent”

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Q: The Winged Serpent

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Next up in the Larry Cohen Collection is the monster movie “Q: The Winged Serpent,” starring Michael Moriarty and David Carradine.

“Q: The Winged Serpent” was written, directed, and produced by Larry Cohen. It was his ninth theatrical feature, following just one year after “Full Moon High.”

The cinematographer for “Q” was Fred Murphy, who has more recently provided photography for films like Stephen King’s “Secret Window” and the slasher mash-up “Freddy vs Jason.”

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The effects team for “Q,” which was comprised of a number of model makers and stop motion experts, included David Allen (“Robot Jox,” “Laserblast,” “Dolls,” “The Stuff”), Randall Cook (“Laserblast,” “Fright Night,” “Ghostbusters,” “The Lord of the Rings”), Roger Dicken (“The Blood Beast Terror,” “White Dog,” “Alien”), Dennis Gordon (“Robot Jox,” “Demonic Toys,” “Shrek”), and Peter Kuran (“Lake Placid,” “RoboCop 3,” “Tango & Cash,” “Starship Troopers,” “Star Wars: Episode IV – A New Hope”).

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The music for “Q” was provided by a man named Robert O. Ragland, who has written scores for many b-movies over his career, including “The Touch of Satan,” “Grizzly,” and “10 to Midnight.”

One of the executive producers on “Q” was Paul Kurta, who has recently produced television shows like “Hell on Wheels” and “Veronica Mars.” He also produced a number of other Larry Cohen films, such as “Special Effects,” “The Stuff,” “Perfect Strangers,” “It’s Alive III,” and “A Return To Salem’s Lot,” as well as the cult classic “Empire Records” by Allan Moyle.

“Q” was edited by Armond Lebowitz, a regular Larry Cohen contributor who also cut “Full Moon High,” “Perfect Strangers,” “The Ambulance,” “Special Effects,” and “The Stuff.”

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The cast for “Q: The Winged Serpent” included David Carradine (“Death Race 2000,” “Kill Bill”), Michael Moriarty (“The Stuff,” “It’s Alive III,” “Law & Order”), Candy Clark (“The Man Who Fell To Earth,” “American Graffiti”) Richard Roundtree (“Shaft,” “Brick”) Malachy McCourt (“Ryan’s Hope”), and James Dixon (“It’s Alive”).

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The story of “Q” follows an investigation into a string of mysterious murders, which ultimately leads to the discovery of a large carnivorous creature prowling the skyscrapers of New York City. The NYPD must then figure out how to track and destroy the beast before it kills again, and figure out where exactly it came from.

Larry Cohen decided to make “Q” after he was fired from another movie (“I, the Jury”), because he wanted to be able to justify the expensive hotel room in New York City that he had already paid for. Cohen conceived of the story while admiring the Chrysler building, and noting that it would be an awesome place to have a monster’s nest. Amazingly enough, Q ultimately vastly outperformed “I, the Jury” on a fraction of the budget,

The film’s script was highly improvised, as you can probably imagine from the impromptu beginnings.  David Carradine wound up accepting his role before ever seeing a script (he was a friend of Cohen’s from the army), and didn’t get to read it until the first day of shooting. Michael Moriarty improvised entire sequences of the film, such as his bar piano audition, and he has even claimed that the dog’s grumpy reaction to his performance was 100% real.

Bruce Willis expressed interest in playing the role that ultimately went to David Carradine, but it was decided at the time that he wasn’t bankable enough for the role. At the time, he had only been an extra on television, and wouldn’t reach stardom until the late 1980s. Likewise, Cohen considered giving Moriarty’s role to a then-unknown New York improv comedian named Eddie Murphy, but was convinced otherwise for the same reasons that he didn’t cast Willis.

Segments of “Q” were actually filmed on the top of the Chrysler Building, which was immensely complicated given the state of disrepair of the area at the time. Unlike the Empire State Building, the top of the Chrysler Building didn’t have a finished observation area (or even windows), was open air, and was littered with junk and supplies. The building was even having lights installed on the top during filming, which Cohen managed to use to his advantage. The baskets on the side of the building in the final shootout were not installed for the production, but were actually already there for the lighting installation.

Some foreign versions of the poster for “Q” feature the monster with feathers and teeth. This is because the posters were created before anyone had actually seen the movie, and the artists only had general descriptions of what the monster looked like.

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“Q” was made on a low budget of just over $1 million, and although I wasn’t able to dig up the box office and gross information, it was undoubtedly profitable. However, “Q” had a mixed critical reception, and currently hold Rotten Tomatoes ratings of 65% (critics) and 42% (audience), along with an IMDb score of 6.1.

Unfortunately, in today’s world of ever-advancing computer special effects, stop motion has aged pretty poorly. That said, given the low budget, “Q” is about the best stop motion work that you will find in film. Still, today’s audience expects more from effects, which I think biases some people against the film.

Most reviews I have read love Moriarty’s cracked, eccentric performance, though some find it too hammy or aggravating. There’s also no arguing that the character is an unlikable scumbag, but the film seems perfectly aware of this.

“Q” is in many ways ridiculous, and has humorous elements that were not alluded to in the advertising. I imagine that people at time were conflicted on how to take that. Dark comedy is kind of like licorice, it either resonates with you or it doesn’t. Either way, you don’t necessarily want it to be a surprise.

Of all of the complaints about “Q” that I have seen, the most common one has been that the plot is too slow or dull. It is certainly like a fast-paced film, and has a couple of notable sub-plots, but I didn’t find any of it too uninteresting or distracting myself. I think that mostly comes down to whether or not you like Moriarty’s character, as he gets a lot of the screen-time.

Roger Ebert’s review of “Q” notes that much of the movie plays as a sort of dedication to Samuel Arkoff, the legendary b-movie producer whose studio produced the movie:

Arkoff has been producing films for thirty years now, and even if he was honored with a retrospective at the Museum of Modern Art, his heart still lies with shots of a giant flying lizard attacking a woman in a bikini on top of a Manhattan skyscraper. He’s just that kinda guy. There are, in fact, several shots in “Q” that owe their ancestry to Sam Arkoff. I am aware, of course, that Larry Cohen gets credit for having written and directed this movie, but where would Cohen or any other director be without the rich heritage of a quarter-century of American-International Pictures made by Sam Arkoff?

Ebert’s review also brings up a significant plot hole in the story of “Q” that is glossed over in the film: “How did one Quetzalcoatl get pregnant?”

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Regardless, the stop motion effects and plot both provide fantastic send-ups to both the classic Ray Harryhausen films and the famous Japanese monster movies, and is a more honest and genuine ode to those works than any of the remakes and attempted reboots that have been done over the years. “Q” is a dedication to the history of b-movies, and does so fantastically if you ask me. Not only that, but the writing and performances are entertaining, particularly Moriarty’s character. You can tell that this was a fun movie to make, and it comes across in all of the performances. I highly recommend checking it out if you are a horror and monster movie fan, because you are bound to find something to like here.