On this day in 1970 (in the United Kingdom), the big city of London, England served as host for the exclusive theatrical premiere engagement of The Vampire Lovers.  Directed by Roy Ward Baker and screenwriters Harry Fine, Tudor Gates, and Michael Style are credited with adapting the original story from Sheridan Le Fanu, the Vampire Horror film starred Ingrid Pitt, Pippa Steel, Madeline Smith, and others. 

​According to our friends at IMDB.com, here's the plot summary:

"Seductive vampire Carmilla Karnstein and her family target the beautiful and the rich in a remote area of late eighteenth-century Gemany."

-- EZ

On this day in 1995 (in Turkey), Final Equinox enjoyed its original release with a broadcast television premiere.  Written and directed by Serge Rodnunsky, the film starred Joe Lara, Tina May Simpson, David Warner, Martin Kove, and others. 

​According to our friends at IMDB.com, here's the plot summary:

"The mob and the government race to be the first to recover a stolen alien artifact with unparalleled powers."

-- EZ

From Google.com:

Final Equinox is a 1995 low-budget science fiction action movie about a rough cop who must stop a criminal and the government from seizing a powerful alien artifact. [1, 2, 3]

Plot Overview

• The Conflict: A mysterious alien artifact with the power to create or repopulate life (and transform environments) is stolen from a high-security complex.
• The Race: Both criminal syndicates and a shadowy government agency race to recover the device.
• The Hero: A troubled, hard-drinking detective named Lugar is pulled into the off-the-books mission to track down his old nemesis, Torman. [5, 6]

Cast and Crew

• Joe Lara as Lugar
• Martin Kove as Torman
• David Warner as Shilow
• Vincent Klyn as Lex
• Director and Writer: Serge Rodnunsky [7, 8]

Production Details

• Runtime: 1 hour and 30 minutes (90 minutes)
• Release Date: October 30, 1995
• Style: Known as a classic 1990s direct-to-video B-movie, featuring early computer-generated imagery (CGI) for its climax. You can view more production details on IMDb. [1, 5, 9]

AI responses may include mistakes.

[1] https://www.imdb.com/title/tt0113065/
[2] https://tv.apple.com/us/movie/final-equinox/umc.cmc.6shr67ne9t39n4entf4kqgytr
[3] https://www.youtube.com/watch?v=jaIQa_AWZj4
[4] https://www.rottentomatoes.com/m/final_equinox
[5] https://theactionelite.com/revisiting-final-equinox-with-joe-lara-1995/
[6] https://www.explosiveaction.com/2011/01/final-equinox-1995.html
[7] https://baike.baidu.com/en/item/Final%20Equinox/3095121
[8] https://tv.apple.com/gb/movie/final-equinox/umc.cmc.6shr67ne9t39n4entf4kqgytr
[9] https://www.incluvie.com/movie/final-equinox-46749

Surf Nazis Must Die! [4K Ultra HD + Special Edition Blu-ray] delivers one of Troma's most notorious cult classics in an explosive 4K Ultra HD presentation. After a devastating earthquake leaves California's coastline in ruins, rival surfer gangs battle for control of the shattered beaches until Adolf and his neo-Nazi surf punks seize power. Their reign of terror comes to an abrupt end when they murder Leroy, the son of the formidable Mama Washington, who arms herself with guns and grenades before embarking on an unforgettable campaign of bloody revenge.

Combining post-apocalyptic action, outrageous satire, exploitation cinema, and Troma's trademark irreverent style, the film has remained a cult favorite for decades thanks to its over-the-top premise, memorable characters, and relentless energy. Gail Neely leads the cast as the unstoppable Mama Washington alongside Robert Harden and Barry Brenner.

This special edition is packed with extensive bonus material including the theatrical trailer, Projection Booth Podcast audio interview, Who Controls The Beaches?!? interview with Peter George, the original Blu-ray and DVD intros, scenes from the Tromaville Cafe, Waves Are A War Zone interviews with Peter George and Robert Tinnell, deleted scenes, Independent Artists VS. Corrupt Cartels, Radiation March, Soul Of Troma, the "INNARDS" music video, The Toxic Avenger In Ukraine, Troma Sleepover, and additional Troma trailers.

Presented as a 4K Ultra HD and Special Edition Blu-ray combo, this region-free release preserves one of Troma's most outrageous action-comedy cult films in a comprehensive collector's edition.
​

Bonus Materials

• Surf Nazis Must Die Theatrical Trailer
• Projection Booth Podcast Audio Interview
• 'Who Controls The Beaches?!?” An Interview With Peter George
• Original Blu-Ray Intro
• Original DVD Intro
• Scenes From The Tromaville Cafe
• Waves Are A War Zone: Interview with Peter George & Interview with Robert Tinnell
• Deleted Scenes
• Independent Artists VS. Corrupt Cartels
• Radiation March
• Soul Of Troma
• “INNARDS” Music Video
• The Toxic Avenger In Ukraine
• Troma Sleepover
• Troma Trailers

"​The cult classic."
     —Harley Lond, Film Crave

"In closing, Surf Nazis Must Die is a brilliantly conceived beach holocaust drama/revenge thriller that you can enjoy with the entire family."
     --Exclusive Magazine

"Don't miss: Extras include an introduction by Lloyd Kaufman,  interviews with director Peter George and producer Robin Tinell, deleted scenes, scenes from the Tromaville Café and The 'Soul' of Troma featurettes, a Projection Booth Podcast with George and promos for other Troma features."
     —Bob Bloom, Reel Bob

"George and editor Craig A. Colton work their magic on a remarkable cutting room performance with splicing in Hawaiian surfing footage with the Huntington Beach narrative in a near seamless manner."
     —Steven Lewis, It's Bloggin Evil

"Die-hards know what to expect...lots of blood, sex, nudity and good natured immaturity, generally presented with a big middle finger to the PC crowd."
     —Fluffy the Fearless, Free Kittens Movie Guide

"All of this is of course intercut with some really gnarly surfing footage that seems to be sourced by the film's creators and not from pre-recorded footage, however, I cannot confirm that."
     —Matthew Orozco, Macabre Daily

"Possibly one of Troma's best known mainstream films (from the title alone), it's a must own for any horror/cult film collector to have in their collection."
     —Stu Moran, Critical Blast

"Troma fans will definitely get a kick out seeing Mama Washington tear loose during the climax and enjoy the many entertaining bonuses also included on the disc."
     —Glenn Kay, Cinema Stance

"Surf Nazis Must Die is the courageous saga of a mother's undying devotion and quest for justice becomes a tidal wave of action and destruction!"
     —Bob Morello, Video Views

"Honestly, the best special feature here is the introduction of the film by Lloyd Kaufman that plays the moment you enter the disc."
     --Film Cultist

"Delightfully absurd, completely wrong, and undeniably enjoyable, Surf Nazis Must Die! is a must-see for those that like to take it sleazy!"
     —DanXIII, Horror Fuel

From Google.com:

Rogue Warrior: Robot Fighter is a 2017 low-budget independent science fiction action film written and directed by Neil Johnson. [1, 2, 3]

Plot Overview

• The Setting: The story takes place on a post-apocalyptic Earth several decades in the future.
• The Threat: An artificial intelligence network known as the "A.I. Scourge" deploys a hyper-weaponized robot army to control human cities and wipe out the remains of humanity.
• The Mission: Sienna, a rebellious robot-fighting arms dealer played by Tracey Birdsall, leaves Earth for the center of the galaxy. She searches for a mythical weapon capable of shutting down artificial intelligence on a planetary scale. [2, 4, 6]

Cast and Production

• Lead Star: Tracey Birdsall stars as the protagonist Sienna.
• Supporting Cast: Features William Kircher as Dr. Johnson/The Scourge and Daz Crawford as Skullcrusher.
• Filming Locations: Parts of the movie were shot in Yuma, Arizona, utilizing local desert landscapes. [2, 7]

AI responses may include mistakes.

[1] https://www.youtube.com/watch?v=0QuXQ03-krQ
[2] https://moriareviews.com/sciencefiction/rogue-warrior-robot-fighter-2016.htm
[3] https://www.latimes.com/entertainment/movies/la-et-mn-capsule-rogue-warrior-robot-fighter-review-20170601-story.html
[4] https://www.imdb.com/title/tt4937114/
[5] https://eclipsemagazine.com/sony-pictures-rogue-warrior-robot-fighter-cast-crew-chat-sci-fi-more/
[6] https://www.youtube.com/watch?v=rU-rr7LdG-s
[7] https://www.youtube.com/watch?v=HWlY2Yi8pEE

(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:
“When a once-fabled campfire tale becomes real, a group of campers uncover a profound secret that questions their very existence.”
 
Think what you may, but the wide, wide world of the Friday The 13th film saga has truly ruined the possibilities of storytelling within the traditional summer camp setting; and that’s only the first of many problems one encounters when trying to make a bit of sense out of Marshmallow (2025), a kid-centric SciFi/Horror hybrid from director Daniel DelPurgatorio and screenwriter Andy Greskoviak.  What starts out looking like it might be a bit more psychologically grounded takes a few twists and turns in order to get to a place wherein the central story – that of a young boy whose identity is murky from the first frame – ambitiously tries to explore how obsessive we’ve culturally grown with confronting (or not confronting) our grief; and, yes, that topic alone might be a bit too heady for a summer camp setting populated with more young faces than Stranger Things can shake a stick at.  Sadly, about the time one learns what’s really going on, you might be asking yourself, “Why should I really care?”
 
FYI: that’s not a good place to be … in any film … regardless of genre.
 
Young Morgan (played wonderfully by Kue Lawrence) is a bit of a neighborhood misfit, the kind who can’t even get the kids across the street to throw the ball to him.  Mom (Alysia Reiner) and Dad (Todd M. Friedman) have decided that maybe getting him out from under the wing of Grandpa Roy (Corbin Bernsen) might be good for the boy’s emotional development; but before those sunny days arrive the Grim Reaper pays Roy his big visit, leaving the boy even more despondent, uncommunicative, and Granddad-less than ever before.  The fact that he’ll now spend his summer in the same cabin as CJ (Sutton Johnston) – the typical schoolyard bully – means that life ain’t exactly shaping up to be all that grand with our film’s lead.
 
But there’s more wrong with Morgan than typically meets the eye.  Early in the picture, we’re shown sequences wherein the boy is plagued by vividly disturbing dreams involving water (i.e. flooding, drowning, etc.).  In these visions, it fills every room he occupies; and it even springs eternal from his own midsection in a violent instance.  Thus, it’s very clear that – for better or for worse – Morgan is far from the traditional suburban ‘plus one’ in the proverbial nuclear family; and it’s this initial characterization which casts him right away as a somewhat ‘unreliable narrator.’
 
Now, I’ve written quite a bit about this storytelling technique on SciFiHistory.Net, mostly because I’ve rarely seen it work to any film’s advantage.  When you legitimize an audience’s questioning of any tale’s central perspective, you’re fundamentally balancing the entire narrative on the edge of a knife: push it a bit too much one way, and the tale is quickly out of balance and hard to swallow.  A kid’s life can be hard enough – especially when you’re the local oddball to which Morgan appears – so adding some unexplained nocturnal visions and the looming death of the family patriarch – a presence we’re shown to be ‘looking out’ for the boy – I had no choice but to begin asking why things happen in such dark ways around him.  Is Morgan cursed?  Does he know something I don’t?  Why has the universe come down so hard on the buy?  Even though all of this does have a time and place in where Marshmallow ultimately delivers us, I’d still argue it was too much laid out far too quickly.  Textual foreshadowing should’ve been tempered.
 
Furthermore, Marshmallow’s setting – the idyllic summer camp with all of those relative highs and lows – never at once seems authentic.  Having spent the better part of three summers employed in such a place, I can tell you that nothing that plays out in the film ever realistically operates like a camp (i.e. semi-private lodging, little to no structure to daily activities, only a handful of paid counselors, the lack of discipline when one camper nearly kills two others, etc.).  Because the place felt more like a private summer escape than it did an authentic camp, I kept noticing things that were a bit suspect; and this general sense of incredulousness also helped to kill the effect of the twist once it’s finally delivered.  Perhaps restructuring the setting to be something like a summer getaway for emotionally troubled children might’ve removed some of the disbelief, but that’s hard to say as – critically – I can only react and assess what I’m shown.  Either way, the camp never worked like a camp, and that killed the effectiveness.
 
Additionally, far too many storytellers these days seem to have grown invested in having some big reveal upon which to build these humble universes.  Marshmallow is no different – in fact, perhaps it relies too much on hiding the reality when all that’s in here could’ve worked more astutely if the ‘big secret’ were known from the beginning – and that makes it a feature hard to discuss to any great extent without spoiling its best bits.  Since both the director and screenwriter committed to this script as is, there were just too many elements working against the grain for me to accept everything needed at face value: instead, it’s as if I knew a shake-up was always coming, and this heightened awareness made even the reveal feel smaller than it should’ve.  Some otherwise good work by a young cast wasn’t grand enough to make it work the way it should’ve, and – if surprises truly matter – then this one needed a bit more.
 
Regardless, I still managed to have some fun with Marshmallow.  Its tense moments are staged well enough to ratchet up a bit of tension – the obvious isolation of a woodland camp works every time it’s tried even when, logically, the setting never felt true – and, as I said, the handful of fresh, young faces are given some small character beats that give them a hint of legitimacy.  Mind you, I’ll almost always come away from a work like this wanting more – especially more character stuff because that’s what keeps me invested as a viewer – but there’s something to be said for staking out some territory and sticking with it whether or not all of the set dressing and context works.  There’s still an efficiency to making a film – even one that stumbles – and that will always give those of us who like to watch something to look at.  Marshmallow does, and it even makes you wonder ‘what if’ with its late-breaking surprise.
 
Marshmallow (2025) was produced by Hemlock Circle Productions and The Warner Davis Company.  DVD distribution (for this particular release) has been handled 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 are quite good throughout: thankfully, there’s a solid investment here in practical effects work – along with in-camera jump scares – and it’s effective.  Lastly, if you’re looking for special features?  Well, there’s a respectable audio commentary from director DelPurgtorio and two young stars that’s a bit light on substance but fun on the experience.  There’s also some deleted bits and a behind-the-scenes featurette that are interesting but brief.  The disc also includes some storyboards and a few other short films by the director.  All-in-all, it’s a pretty spiffy assortment that should keep fans busy for some time.
 
Recommended.
 
Though you won’t know it right out of the gate, 2025’s Marshmallow shares the same intellectual DNA as do such other flicks as 1940’s Pinocchio, 1975’s The Stepford Wives, and 2001’s A.I. Artificial Intelligence.  It takes a great while to get to where those films did – mostly by design – but those who are patient will be rewarded if even in small ways.  I don’t always encourage patience, and yet I’ll stand on the side of the picture this time out.  It earns it … if only in thematic ways.
 
While I can say that Marshmallow certainly won’t be to everyone’s liking, I’ll still assure you that it’s the kind of film I’ll usually spend more time with – even with subsequent viewings – because it tries to do something new and different with its material even though screenwriter Greskoviak mostly painted himself and his characters into corners they couldn’t emerge from without looking a bit silly.  Logically, it’s a pretty slimsy house of cards that can’t withstand a bit of pressure on any front; and – sorry, folks – there are far too many quirks that keep this one from crossing the finish line without feeling a bit tired in spots and contrived in others.  A follow-up – one that truly shows how far and wide this universe might be – could reshape it conditionally, but I wouldn’t expect that to right everything that was a bit wrong in this first installment.
 
In the interests of fairness, I’m pleased to disclose that the fine folks at Toy Robot provided me with a complimentary Blu-ray copy of Marshmallow (2025) 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

On this day in all the way back in the year 1976 (in the United Kingdom), Star Maidens blasted off on its television voyage into the unknown.  Created by Eric Paice (though credited as an original concept from Jost Graf von Hardenberg and Countess von Hardenberg), the serial starred Lisa Harrow, Christian Quadflieg, Christiane Krüger, Judy Geeson, Gareth Thomas, Pierre Brice, Derek Farr, and others.  According to our friends at IMDB.com, here's the series' premise:

"A planet from another solar system drifts into Earth's system and is detected by some Earth scientists who investigate."

Of course, there's always a bit more than a few sentences can provide, and Star Maidens -- from what I've read online -- was somewhat pioneering in that the series focused on a future society where gender roles were reversed ... meaning the women were in charge!  While I've only seen snippets on this one online sparingly, I'm quite certain there was a bit more to the story than that; but I'll also concede that -- what with Science Fiction always seeking to score some cultural points with the storytelling -- the gender-swap probably made for a great deal of solid and interesting drama. 
​

From what I know, Star Maidens lasted only a single season, one ripe with thirteen individual episodes that explored the bounds of this fictional universe.  I can also say that I've often heard it compared to Space:1999 with fans insisting that, thematically, it covered similar territory -- perhaps a bit too safely -- and even borrowed the whole aesthetic look of that previous show when producers hired several behind-the-scenes folk to develop the sets.
​

So happy fiftieth anniversary wishes go out today to the fans of Star Maidens!

Who knows if it'll endure another 50?

​-- EZ

Historically, Science Fiction and Fantasy and Horror films have almost always been looked on by studios as somewhat 'lesser works.'

Of course, don't misunderstand me when I say this: these studios and their corporate executives are certain happy to cash the check that roll in over and over and over again from box office receipts for the latest and greatest visual spectacle that won over the masses.  Everything in Hollywood is profit driven; and -- to a surprising degree -- genre films hold the titles of being the biggest earners throughout the decades.  The point, though, is that these fussyhats don't think highly -- generally speaking -- of such fare; and there are a great many of them who think such subject matter is beneath them.  This is why we don't get a vast number of accomplished auteurs helming some of these incredible visions.  Yes, we get a few, but there are far more who'd pretty much stick to their character driven dramas, their period pieces, or perhaps even a psychological melodrama to tide them over.  It's just the way things are.

This isn't always the case, and that's why I'm taking a few inches of column space this morning to celebrate the memory of director Nathan Juran on his birthday.  Born on this day all the way back in 1907, this Oscar-winning storyteller leaves behind a somewhat curious legacy.  When many Oscar-nominated directors wouldn't think about dabbling in the realms of the Fantastic, Juran did and, apparently, never thought ill of it.  Mostly, this was owed to his personal philosophy of making feature films, and I think it's a rare perspective -- especially as it relates to genre storytelling -- that deserves a nod on his special day.

From what I've read, he approached the art chiefly as if he were little more than a technician hired to translate a story from script to screen.  To him, filmmaking was a job -- a trade -- not unlike one that you or I would work; and it's this clinical separation of the industry reputation from the end results that quite probably kept him from worrying too deeply about assuming the mantle over some ... well ... otherwise secondary stories.  Arguably, not every Science Fiction, Fantasy, and Horror feature of the 1950's and 1960's were the kind of stuff remembered for raising the bar; and, yet, Juran's sensibilities of staying true to his craft was likely the focus that helped him stay sane ... or as sane as any filmmaker can be.

Naturally, no single picture should ever define a creator's body of work, and the same should be said of Juran.  While a few of these listed entries are a bit ... well ... half-baked, there's no denying the craftsmanship that went into completing them.  One might even suggest that there's a bit of genius -- albeit mad genius -- in them as well, as a few listed above have gone on to amass solid cult status.  I've read online that even Juran was surprised to learn that he'd somehow assembled something of a legacy; and that sounds exactly like a man who was more concerned with getting the work done than he necessarily was with producing art for the ages.

Here's what I wrote about him on the Daily Citation Page for September 1:

​Nathan Juran was an Oscar-winning director who leaves behind an incredible resume in the world of genre entertainment.  In his lifetime, he helped bring some amazing properties to the big and small screen, including 20 Million Miles To Earth (1957), The Brain From Planet Arous (1957), The 7th Voyage of Sinbad (1958), and First Men In The Moon (1964) as well as episodes of Land of Giants, Men Into Space, Voyage To The Bottom Of The Sea, The Time Tunnel, Lost In Space, and Land Of The Giants.  Though he's no longer with us, Juran was born on this day in 1907.  

​[Source: IMDB.com]

ExtraExtra Alert:

• In 2016, I caught a cable broadcast airing of First Men In The Moon (1964) on a channel to which I subscribe.  Interested readers can find my review right here.
• In 2022, I received an all-new home video release fo The Brain From Planet Arous (1957) from a distributor in exchange for review coverage on SciFiHistory.Net.  Interested readers can find my review right here.
• In 2025, I received an all-new home video release of Attack Of The 50 Ft. Woman (1958) from a distributor in exchange for review coverage on SciFiHistory.Net.  Interested readers can find my review right here.
• In 2026, I received an all-new home video release of The 7th Voyage Of Sinbad (1958) from a distributor in exchange for review coverage on SciFiHistory.Net.  Interested readers can find my review right here.

​-- EZ

On this day in 1981 (in the U.S.), the big city of Phoenix, Arizona served as host for an exclusive theatrical preview engagement of Death Valley.  Directed by Dick Richards from a story by Richard Rothstein, the film starred Paul Le Mat, Catherine Hicks, Stephen McHattie, and others. 

​According to our friends at IMDB.com, here's the plot summary:

"A divorced mother, her young son and her new boyfriend set out on a road trip through Death Valley and run afoul of a local serial killer."

-- EZ

On this day in 2002 (in the United Kingdom), audiences in attendance of the Festival Of Fantastic Films were treated to the big screen debut of Dark Heaven.  Written and directed for the screen by Douglas Schulze, the film starred Jon Bennett, Christina Sheldon, Jeff Boerger, and others. 

​According to our friends at IMDB.com, here's the plot summary:

"Officer Gabe Goodman may be the last man on earth and must confront deadly dark angels."

-- EZ
​