(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters.  If you’re the kind of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment.  If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
 
From the film’s IMDB.com page citation:
“A dozen British soldiers, lost in a Mesopotamian desert during World War I, are menaced by unseen Arab enemies.”
 
Take note, military film buffs: 1934’s The Lost Patrol is not your ordinary war film.
 
In fact, it many ways the flick directed by Hollywood legend John Ford from a script by Dudley Nichols, Garrett Fort, and Philip MacDonald might be the antithesis of the traditional wartime effort.  You see, this ragged band of British soldiers rarely come face-to-face with a mortal enemy: though they’re definitely out there hiding in the sand dunes, the combatants are fundamentally reduced to almost specters, goblins, or villains.  The script rather deftly positions these two sides in opposition but vastly reduced the amount of action (it’s almost non-existent on one level) to the point of absurdity … and this is because perhaps conflict of this type rises to the level of absurdity itself.
 
The setting is World War I, and a patrol of Brits are making their way across the vast desert when – in an answer to their prayers – they stumbled upon an oasis almost perfect for their use.  They’re given fresh water and afforded a good night’s sleep only to discover in the morning that a few of their men have fallen victim to sniper fire.  Lo and behold, they’re slow to learn that the enemy has practically led them here for the purpose of surrounding them and leaving them no way out.  Like the players in an Agatha Christie mystery, the men are brought down one-by-one, unable to escape even the elements of living in a wasteland they’ve never traversed.
 
Like any war picture, The Lost Patrol certainly could be said to make many thematic points.  War is hell – arguably an exercise in futility depending upon one’s perspective – and the script certainly underscores both the lack of humanity as well as humility of the men undertaking such a deadly campaign.  Also, I’d be remiss if I failed to point out that – not unlike Horror / Thrillers of any cinematic era – Patrol capitalizes on such plot threads as surviving against all odds and even gives lip service to camaraderie developed between characters who likely would have little to do with one another except for being thrown together into this catastrophe.  But where the film truly earns its best medals is the obvious study of how paranoia slowly and mercilessly invades the minds of even the most rational man: it rather loosely explores why some break while others endure, and there’s a fabulous sequence involving the always great Boris Karloff kinda/sorta becoming a Christ allegory near the final reel.
 
You see, there’s no big engagement here.  There’s no grand battle set to stirring music where a lone soldier marches up a hill to sacrifice himself for the greater good of civilization.  Instead, Ford’s film questions nationalism that leads some into acts of lunacy; and he gives the wartime experience a dose of theatrical realism it hadn’t quite seen since the inception of film.  Once you strip away a cause and simply focus on the day-to-day, it grows easier to raise concerns about how far good men are willing to stray from the course at the risk of their own humanity.  Even this isn’t handled with a heavy drumbeat, making Ford’s examination of conflict much more tenable and relatable than so many other directors have tried to explore over the years.
 
The Lost Patrol (1934) was produced by RKO Radio Pictures.  DVD distribution (for this particular release) has been handled by the fine folks at the Warner Archive.  As for the technical specifications?  While I’m no trained video expert, I can still assure readers that … this is John Ford – a verified master behind the camera – and you’re a fool if you think these images aren’t worth the time or money.  From what I’ve read, this was one of the earlier efforts to make use of wide open spaces – something he’s revered for doing uniquely well – and even incorporated an Academy Award nominated score to punctuate each emotional moment.  Lastly, if you’re looking for special features?  Well, there are a few extras – cartoons – drawn from the era; but there is, sadly, nothing picture specific.  A bit of a miss, if you ask me.
 
Recommended.
 
The problem in viewing a war classic like The Lost Patrol (1934) so many years after it first came to bold theatrical life is that it’s somewhat paled by comparison to so many other efforts in the passage of time.  Still, I challenge viewers to give it a spin: at a lean and mean 73-minutes, it’s a modest investment into one of the better psychological stories of yesteryear wherein men stumbled in their quest to be the very best when confronted by insurmountable odds.  Though Karloff’s descent into madness might not seen as monumental today; and, yet, back then it probably sent a few shivers down spines.  As always, Ford’s cinematography is top notch.
 
In the interests of fairness, I’m pleased to disclose that the fine folks at the Warner Archive provided me with a complimentary Blu-ray of The Lost Patrol (1934) by request for the expressed purpose of completing this review.  Their contribution to me in no way, shape, or form influenced my opinion of it.

​-- EZ

I've never been a believer of that old adage about celebrities passing away in groups of three; and yet 2026 keeps on trying to prove me wrong, it would seem.

As I often remind folks, a great many talents might only appear sparingly in what we cherish as genre projects; but I do try to remember them, especially when they've made an impact on audiences near and far.  That's why it saddens me this morning to report the news of the passing of actress Susan Saint James.  Clearly, her resume largely represents another time and another place to so many -- especially 'old dogs' such as myself -- but this Emmy-winning actress certainly deserves a small nod from SciFiHistory.Net today.  As a talent, she was always a bit ... well ... looney, maybe ... but she was about as good-spirited a player (in roles, at least) that I can recall.

As for her visits to the realms of the Fantastic?  She had a few.  In 1978, she enjoyed a role in a somewhat conventional TV-grade Horror known as Night Cries, a lady who's baby has died but is still behaving 'problematically' for her.  In 1979, she appeared opposite the funny George Hamilton in Love At First Bite, a vampire-themed Comedy.  Lastly -- very late in her career -- she enjoyed some modest screen time in The Haunting Of Bly Manor (2020) and Amazon's Upload.

Our warmest prayers are extended to the family, friends, and fans of Susan Saint James.

May she rest in peace.

​-- EZ

Amongst all of the original cast members for the legendary television series Star Trek, I think I had the greatest respect for Walter Koenig.

For those of you who grew up on an island, he played Chekov, a kinda/sorta upstart Starfleet addition to the original crew in Trek's second season.  There is plenty out there on the Information Superhighway that's been written about his casting; and, basically, it goes back-and-forth between the stories of creator Gene Roddenberry wanting to have a Davy Jones lookalike on the bridge to the speculation that incorporating a Russian into the bridge crew would demonstrate just how far nations had gone to mend fences at a time when the Cold War was still raging in reality.  Whatever the case may be, he brought a sense of sometime reckless youth and strong nationalist pride to the series; and more power to him for landing such a gig so early in his career.

​But that isn't the reason I have the most respect for the guy.

Honestly, I forget when it was -- sometime in the late 1980's or early 1990's -- but it seemed as if the entire cast of regulars for the original Trek started to turn on franchise megastar Bill Shatner.  From what I recall, Nichelle Nichols (Lt. Uhura), George Takei (Lt. Sulu), and even long-time Shatner pal Leonard Nimoy (Mr. Spock) kinda/sorta started ragging on the fellow castmate for trying to monopolize both screen and script time with every project.  The scuttlebutt (again, as I remember it) was that they insisted that Shatner was demanding to take over bits and pieces of scenes and even whole dialogue for his character -- the captain of the ship and one of the big reasons fans come to these adventures in the first place -- and they were understandably bitter about it.  But ... did they have to air these grievances so publicly?  Couldn't they bury the hatchet in some way or, minimally, keep their rivalries respectful and private?  From what I remember, Shatner denied the allegations, but the whole thing turned into a really bad incident of dirty laundry.

Now ... the only one who was willing to sit down and actually discuss this matter with Shatner was Koenig.  He appeared on an interview show that his captain hosted; and the two of them had an occasionally spirited but respectful conversation about the conflict.  Shatner was apologetic over anything he recalled being remotely near the talking point, but Koenig -- in a rather humble fashion -- just kept politely telling him that it was in the past and nothing needed to be said about it.  While the two never quite reconciled the matter, it was very clear that Koenig wasn't holding a grudge and perhaps even wanted nothing to do with the disagreement any longer.  He had made his peace, and he didn't want to perpetuate an unnecessary grudge any further.

The truth here is that, fundamentally, Koenig couldn't just been being polite.  Granted, some years had gone by; and the way Hollywood work can be so hard to come by for franchise regulars might have left the actor bitter.  Yet, in his own words, he had chosen to move beyond such petty business, something I'm well aware that Nichols and Nimoy took to their graves (for all I know).  Regardless of what Koenig may've held in his heart -- which is his affairs, not mine -- he demonstrated the kind of mercy I think is admirable in human beings whenever I see it.  He chose the better route to personal satisfaction and happiness; and that's exactly why I admire him to this day.

Alas, none of us lasts forever; and word reached the World Wide Web just today regarding the man's passing.

Our warmest prayers are extended to the family, friends, and fans of Walter Koenig.

May he forever rest in peace.

​-- EZ

Oft times, I struggle through a great many Horror films never quite understanding their appeal.
 
As I’ve confessed many times on SciFiHistory.Net, a lot of conventional chillers just don’t do much for me.  While I’ve been told by many that I gravitate toward more cerebral Horror – the kind of set-up and circumstances wherein you kinda/sorta have to think about things a bit – I can still appreciate the jump scares and boundless frenetic energy needed to make a truly inspired thrill ride work.  The problem – at least, so far as I see it – is that rarely does the average Horror film challenge me strongly enough to embrace both the terrifying aesthetic and some solid relatable characters.  Like I said, I can appreciate the journey; but I do require a bit more scenery than most.
 
Thankfully, 2026’s The Cycle is exactly the experience I can point to and say, “There it is.”
 
Written (in part) and directed by Jordan Downey – along with scripting and cinematography assist from Kevin Stewart – the film is a stark reminder that terror is best ratcheted up on the back of talent who hit their marks, a central story that twists in ways that perhaps few see coming, and a measure of practical atmosphere (i.e. locations, real sets, and in-camera trickery) that combine effortlessly into one cohesive whole.  This doesn’t mean that the film’s perfect because there were a few sequences I didn’t understand in movie time – there’s an early flashback that plays out with some misdirection that kept me confused until roughly midway (when it finally got explained) – but for those of you who grew up loving the classic series The X-Files this is about as good a return to form as I’ve seen in years.  That speaks volumes.
 
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters.  If you’re the kind of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment.  If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
 
From the film’s IMDB.com page citation:
“A daughter unravels her father's dark past after his body, missing for 36 years, is found at a horrific crime scene.”
 
Fans of traditional werewolf stories – the kind which these days is usually ruined by the gratuitous overuse of computer-generated graphics – need to run (not walk) to The Cycle, an incredible throwback to the days wherein the transformation from man-to-wolf is rendered almost as frighteningly as are the predator’s seminal kills.  The Cycle not only makes fantastic use of practical special effects to have audiences wincing in delight but also – if we could be so lucky – see a resurgence of that lost art from to screens big and small.  Sure, it might be a bit more expensive; but it’s so damn stirring whenever it’s done right.  And, yes, The Cycle gets it grimly perfect.
 
Meg (played by Deborah Ann Woll) is the product of a broken home who – for no particular reason – grew up fascinated with the science of forensics.  At the start of her professional career, she’s become one of the specialists broaching the frontiers of death with her job at the state’s body farm.  When a local sheriff – Ian (Will Hochman) – discovers one body at a animal attack crime scene that doesn’t belong, he seeks out her assistance not only because she’s the expert but also as the deceased is tied directly to her: it would seem that Meg’s long-absent father Peter (David Myers Gregory) has finally resurfaced.  However, he’s dead … and the circumstances surrounding his demise pose questions that defy conventional logic.
 
Against the wishes of her mother Joni (Gretchen Corbett), Meg joins Ian and his law-officer-father Marks (Jeffrey Donovan) in trying to crack the case; and this is where Downey and Stewart’s script actually grows more absorbing.  Rather than tie matters up neatly, there’s a second surprise twist – an unexpected death – that sends The Cycle careening in a somewhat completely different direction.  While still a puzzle needing an answer, it’s the kind of problem that takes a bit of time to grow accessible.  It shouldn’t take long for watchers to realize that what happened – and is now continuing to happen – is a far deeper threat, one that’ll stretch the bounds of what rational people believe possible.   The genius of it all is the question: “Where do I go for answers when science fails?”
 
Woll is perfectly cast as the forensic pathologist who’s perhaps a bit too brainy for her own good.  Like The X-Files’ intrepid FBI Special Agent Dana Scully, Meg stays focused on facts and reality defining the breadth of her work; and she finds herself on untested ground when the bits and pieces she’s studied, learned, and put to good use miss the mark.  Doggedly, she maintains the kind of persistence that keeps her digging for an answer that ultimately fits the problem, even if arriving there risks herself and her personal reputation.  She knows the truth is out there, and she’ll stop at nothing to get it.
 
Similarly, I can’t give enough praise to veteran character actor Donovan.  For those unaware, he’s the guy who made TV’s Burn Notice (2007-2013) event viewing throughout much of its run; and – dammit all – someone needs to give this guy a brainy franchise not unlike The Cycle and let him work some magic once again.  Rather than relegate him to just another badge-wearing force for good, Downey and Stewart’s script (again) give their character something greater to be: he’s a father balancing the grief of not one but now two broken family relationships that serve as the motivation for him to, finally, do right by his blood.  Fortunately, he’s perfectly suited to step into a loose partnership with Meg, creating a fascinating father/daughter dynamic that would be incredible to see again.
 
Now – as can happen – The Cycle gets a bit existential in its big finale, along with getting a bit girl-bossy, and some might pick nits over the fact that there’s two endings in here instead of one.  However, I found that there was enough narrative reason for both, making its biggest sin a forgivable one.
 
The Cycle (2026) was produced by BondIt Media Capital and Tea Shop Productions.  A quick search of Google.com states that the film is presently available for streaming on AMC+ and Shudder.  As for the technical specifications?  Wow.  Both director Downey and Stewart deliver the kind of dark and moody atmosphere required to make the film quietly pulse and loudly rage when needed: it’s the kind of look that classic Horror has done for ages, and it still resonates whenever it’s tried.  Plus, they’ve recaptured the feel of 1981’s An American Werewolf In London in a way that is just phenomenal to see again.  Lastly, if you’re looking for special features?  Alas, as I viewed this one via streaming there were no special features to consider.
 
Strongly Recommended.
 
If anything, then The Cycle (2026) definitively proves that stories like The X-Files are still possible – perhaps a bit derivative – though storytellers might have to work a bitter harder at crafting them or finding ways to strip away some of the gloss of living in modernity to still make them work.  While some might find elements of the tale a bit convenient, there’s still no denying the fact that it’s all structured organically around these characters and their universe; and that’s what makes it a compelling and riveting watch.  Woll and Donovan make for a compelling pair to watch; and thankfully they avoid the usual trappings of romantic entanglement, instead choosing the solid father/daughter dynamic needed to make this story truly go bump in the night.
 
In the interests of fairness, I’m pleased to disclose that the fine folks at Shudder provided me with complimentary streaming access to The Cycle (2026) for the purpose of completing this review.  Their contribution to me in no way, shape, or form influenced my opinion of it.

​-- EZ

Folks, I'm seeing reportage online that the great actor Tom Skerritt has left us.

Though he hadn't done anything all that major in some time, Skerritt was easily a force all of his own throughout the bulk of his professional career.  He leaves behind a legacy of 176 screen appearances spread across an unthinkable six decades.  Those early roles were in a good handful of franchise genre properties that fans who frequent SciFiHistory.Net still love, but -- for what it's worth -- it really wasn't until 1979 that he came to life (and an unfortunate screen death) aboard Ridley Scott's groundbreaking Alien.  Also, he had a great role aboard 1986's summer blockbuster Top Gun, joining Tom Cruise in one of the biggest box office hits ever.

Our warmest prayers are extended to the family, friends, and fans of Tom Skerritt.

May he rest in peace ...

​-- EZ

PHILADELPHIA, PA — October 12, 2026 — With Ouija and Ouija: Origin of Evil attracting renewed attention following their arrival on Netflix this October, horror fans looking for another supernatural scare can discover Ouija Hell House, an independent horror film distributed by Breaking Glass Pictures.

Blending Ouija-board mythology, paranormal activity, and haunted-house suspense, Ouija Hell House follows a single mother who moves with her daughters into a secluded farmhouse in hopes of starting over. Their fresh beginning takes a terrifying turn when they discover an old Ouija board inside the house, unleashing a sinister presence that threatens their safety.

As unexplained disturbances escalate, the family finds itself confronting something far more dangerous than an ordinary haunted house. The film explores one of horror’s most enduring fears: what happens when someone attempts to contact the other side and something answers?

A New Destination for Fans of Ouija Horror

The renewed visibility of Ouija-themed films this Halloween season presents an opportunity for audiences to explore more supernatural horror stories. For viewers searching for Ouija-board horror, haunted-house nightmares, and films about families facing unexplained evil, Ouija Hell House offers an independent story built around these familiar genre favorites.

By combining the ominous symbolism of the Ouija board with the claustrophobic setting of an isolated farmhouse, the film delivers a chilling premise for fans of paranormal and supernatural horror.

“Ouija Hell House” is available through Breaking Glass Pictures. Horror fans can visit the film’s title page for additional information and viewing options.
​

About Breaking Glass Pictures:

Founded in 2009 and based in Philadelphia, Breaking Glass Pictures is a leading independent film distribution company focused on delivering thought-provoking, inclusive, and impactful films to audiences worldwide. With a strong history of championing LGBTQ+ cinema, documentaries, and bold independent features, Breaking Glass proudly supports visionary storytellers who challenge convention and spotlight underrepresented voices.
​
DISCLAIMER: Ouija Hell House is an independent motion picture distributed by Breaking Glass Pictures. It is not affiliated with, endorsed by, sponsored by, or connected to Netflix, Universal Pictures, Ouija, or Ouija: Origin of Evil. Those titles and companies are referenced solely for editorial and informational purposes.

​In 1987, three friends set out on a road trip to Point Pleasant, West Virginia, determined to uncover the truth behind the terrifying legend of the Mothman. Decades later, their long-lost videotapes resurface, revealing the chilling events that led to their mysterious disappearance. 

As their investigation takes them deeper into the forests and forgotten backroads surrounding Point Pleasant, they encounter increasingly disturbing evidence that the legendary winged creature may be far more than local folklore.

Building suspense through folklore, eyewitness testimony, and an unsettling sense of authenticity that recalls the best independent found-footage horror, The Point Pleasant Tapes delivers a haunting journey into one of America's most enduring paranormal legends.

Directed by Jesse P. Pollack and Dan Jones, the filmmakers behind the acclaimed true-crime documentary The Acid King.
​

Honestly, I forget who it was that coined the term ‘dirty Disney’ back in the 1980’s.
 
I think it was mostly likely owed to some movie critic, and it was meant to lump together those projects that – in some way or form – looked like something that the Walt Disney Company might’ve done except the plot got a bit too violent or the performances required a bit too much bloodshed.  Essentially, the point was a particular movie had a core that was squeaky clean enough morally to be something that fans of the Mouse House might consider in the entertainment roster, maybe even giving a cautionary ‘thumbs up’ to parents who might see a movie’s poster or video box art and wonder whether or not the flick was suitable for all audiences.
 
While getting a R-rating for its release, 1988’s Watchers is still surprisingly tame.  Oh, yes, there’s a good portion of grisly mayhem; and yet director Jon Hess – who helmed this theatrical adaptation of the Dean R. Koontz novel – clearly tried to keep things reasonably under control.  It’s a monster movie; but given the fact that it starred teen sensation Corey Haim at perhaps the height of his cultural appeal the powers that be likely wanted a product that could make bank with the largest audience possible.  The truth there is that – ahem – Watchers was a bit of a disaster: the project failed to earn one million dollars in ticket sales, and it pretty much vanished quickly from its limited theatrical play.
 
Regardless, the late 1980’s and early 1990’s fueled a great many smaller genre franchises on the back of promising home video rentals.  Because Watchers didn’t get the kind of exposure that many pictures enjoyed, it was a hit wherever films were rented (ask your parents and grandparents, folks).  Solid word of mouth had this thing enjoying an incredibly long shelf life, a development that prompted Hollywood heavyweight Roger Corman to go back into such waters with a small handful of sequels.  But without the hot and young property that was Mr. Haim in his heyday, those inferior efforts went to the dogs (as they say), perhaps a fitting metaphor for a property built on the shoulders of a telepathic version of man’s best friend.
 
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters.  If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment.  If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
 
From the film’s IMDB.com page citation:
“A boy befriends a stray dog that is being hunted by a dangerous creature and a ruthless government agent.”
 
Sometimes I come across a film that means so much to so many that just doesn’t work for me, and the latest is 1988’s Watchers.  While the flick does benefit from the makeover given to it by Toy Robot in this release, the production can’t quite shake that feeling that it was something either rushed into production too quickly or suffered through so many script rewrites that the only relatable character to emerge from the thick is the genetically engineered canine … and even he isn’t all that interested in his work here.  Mark my words: an interesting premise given a lackluster presentation will always – always – fail to start a proper fire.
 
Travis Cornell (played by Haim) is the great American teenager.  Though his father abandoned him and his mother Nora (Barbara Williams) years ago, he’s grown up to be mostly a good kid, one with a healthy libido that’ll have him always putting his hands on his gal pal Tracey (Lala Sloatman).  But when Tracey’s dad interrupts their coupling in the barn, Travis dashes for home, completely unaware that an escaped laboratory dog has jumped into the back.  What he also misses is the chance to be a hero: a lumbering monster telepathically linked to the canine makes its way into the barn, killing Tracey’s father and leaving her seriously wounded.
 
Meanwhile, NSO Agent Lem Johnson (Michael Ironside) shows up to begin his investigation into these newly escaped creatures.  Knowing full well that the monster – specifically bred to be the ultimate killing machine – will follow the dog to the ends of the Earth, Johnson and his partner Cliff (Blu Mankuma) find themselves in a race-against-time – or so it seems – to stop even more violence on ordinary citizens who won’t stand a chance against such villainy.  Eventually, Johnson and Cliff come to suspect that the Cornell family has taken in the dog – who they’ve named Furface – and have fled their home with the authorities in the wake.
 
Certainly, it’s easy to see that Watchers is little more than a traditional monster movie, and I say this as one who happens to love this type of yarns.  While Koontz’s original story gives the creature an added dimension by requiring the dog and the thing to work in some kind of existential union, there’s no denying that one is meant to be a force for good while the other … well, you know the drill.  Additionally, Furface is definitely of the cuddly variety – certainly not unlike something that might’ve been featured in a Walt Disney family comedy – while its counterpart … well, we don’t see a lot of it until the last reel, a good decision since the costume is little more than a gorilla with an augmented face.
 
Because Watchers functions on an easily understandable aesthetic, one could argue that its failure to win over theatergoers is the fact that so very little of its story stretches the bounds into something otherwise novel and/or interesting.  The script from Bill Freed and Damian Lee rather routinely sets up one kill after humdrum kill after another – thankfully, there’s very little gratuitous to the carnage, though there’s plenty of blood – with Travis, his mother, and Furface all conveniently escaping their doom in (mostly) the knick of time.  About the time one begins hoping for any modest spin on what’s been done before in pictures of this format, Travis decides to turn the tables on the monster and take a stand on behalf of all mankind.  How novel (not).
 
Additionally, it really doesn’t help matters that Haim – while perfectly good to look at for those who like his work – just kinda/sorta coasts through a story that truly needed more of a heroic swagger.  Perhaps his face was just too fresh or maybe even the script never quite put him in significant-enough danger for the peril to seem real, but Watchers never metastasizes into anything more than casual entertainment.  Why, even the monster meets his match in the last reel from little more than a few bullets from a conventional rifle; so how was this thing supposed to last very long on the field of battle for which it was intended?  That’s a big glaring hole that apparently no one thought needed filling.
 
Lastly, the great Michael Ironside seems utterly wasted in a role that didn’t benefit from his gravitas.  As a villain, the guy mores about chewing scenery than most of his contemporaries; and one would think that having him onboard would minimally force the writers to up their game to give him material worth the time and effort.  Sadly, he and his character never quite rise to the challenge: the script hints that – ahem – somehow he, too, is a lab creation – one perhaps bred to do the government’s dirty work as a field agent – but the happening comes entirely out of left field with little to no foreshadowing.  It all feels like the ravings of a mad author who hadn’t thought everything through, and anyone could’ve done what the remarkable talent accomplishes here.
 
Watchers (1988) was produced by Concorde Pictures, Centaur Films, Rose & Ruby Productions, Canadian Entertainment Investors No. 2 and Company, and Carolco Pictures.  DVD distribution (for this particular release) has been coordinated by the fine folks at Toy Robot.  As for the technical specifications?  While I’m no trained video expert, I can still assure readers that the provided sights-and-sounds and quite good throughout: images are quite crisp, but I did find some of the audio a bit muddled in spots.  Lastly, if you’re looking for special features?  The disc boasts a good handful of newly produced cast and crew interviews; and they’re all surprisingly good with each focusing on their recollections of putting their efforts to good use all those years ago.  While a commentary track would’ve been nice, these will likely appeal to fans of the franchise.
 
Alas … only Mildly Recommended.
 
As one who worked in home video retail back in the late 1980’s, I can assure you – despite a lackluster box office performance – Watchers (1988) was a huge hit on home video.  Though I personally found the film feeling a bit half-baked and perhaps even rushed, it’s still somewhat easy to see how audiences back in the day likely found modest appeal in its kinda/sorta ‘dirty Disney’ territory and made it a modest sensation.  Fans of practical effects might even find a little bit of joy in discovering it today; and, yet, the whole shebang still feels very much to me like something cobbled together in editing that needed a bit more time in script development and shooting to give it the theatrical chutzpah it needed.  As it remains, it’s a monster movie with barely a monster in it.
 
In the interest of fairness, I’m pleased to disclose that the fine folks at Toy Robot provided me with a complimentary Blu-ray copy of Watchers (1988) by request for the expressed purpose of completing this review.  Their contribution to me in no way, shape, or form influenced my opinion of it.

​-- EZ

​One of the most notorious and controversial horror films ever made, here is the cult classic that surpasses its reputation as a shot-gun blast to the senses...

Legendary director Ruggero Deodato's CANNIBAL HOLOCAUST presents the "found footage" of a group of four documentary filmmakers who experience brutal death at the hands of a savage South American tribe of flesh-eaters. This footage is so intense, so graphic and so unflinching in its realism that the filmmakers of CANNIBAL HOLOCAUST were arrested upon its original release and the film seized!

Nothing you have seen before will prepare you for this uncompromising masterpiece of cinematic nihilism. 

Bonus Materials

• 6-Disc Deluxe Edition! Includes 1 UHD, 4 Blu-rays PLUS a soundtrack CD!
• Spectacular new 4K restoration from the original 35mm and 16mm camera negatives presented in Dolby Vision UHD
• 3 different versions - original UNCENSORED theatrical version - new SPECIAL EDITION (the GREEN INFERNO documentary footage presented from the original 16mm camera negative in 1.37:1 for the very first time ) - and never-before-released 'unseen' version
• Animal cruelty-free viewing option
• Archival stereo DTS-HD Master Audio re-mix and original mono mix
• 2 feature-length commentary tracks - with director Ruggero Deodato and star Robert Kerman, and with stars Carl Yorke and Francesca Ciardi
• SEARCHING FOR CANNIBAL HOLOCAUST - new feature-length documentary by Calum Waddell
• IN THE JUNGLE - The Making of CANNIBAL HOLOCAUST - directed by Michele De Angelis
• In-depth interviews with director Ruggero Deodato, director of photography Sergio D'Offizi, production designer Massimo Antonello Geleng, camera operator Roberto Forges Davanzati, composer Riz Ortolani, and assistant director/co-star Salvatore Basile
• In-depth interviews with stars Robert Kerman, Carl Yorke, Francesca Ciardi and Luca Barbareschi
• Extensive still galleries and theatrical trailers
• 100 page book by Euro-horror expert Martin Beine
• BONUS CD – soundtrack album by Riz Ortolani, remastered and expanded with ten additional tracks, including three never-before-released cues
• Super-deluxe rigid slipcover with banned artwork from the original 42nd Street release by Marcus Boas
• Inner cover featuring beautiful, specially-commissioned painting by NYC underground artist Winter Anders Fiddes, printed on Japanese art paper
• PLUS – over TWO and a half HOURS of incredibly entertaining EASTER EGGS scattered throughout!
• AND OTHER SURPRISES!