On this day in 2014 (in the United Kingdom), Demon Legacy enjoyed a general release on home video.  Directed by Rand Vossler from a story by Tracy Morse, the film starred John Savage, AnnaMaria Demara, Michelle Nunes, and others. 

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

"In a remote mountain lodge, five sorority sisters accidentally unleash an unholy entity, and must battle evil and each other to stop it from devouring mankind."

-- EZ

From Google.com:

Demon Legacy (also known as See How They Run or Haunting at Foster Cabin) is a 2014 supernatural B-horror movie directed by Rand Clark. It centers on five sorority sisters who retreat to a remote mountain lodge, where they accidentally unleash an ancient, demonic entity via a Ouija board. [1, 2, 3, 4, 5]

Key Details
​

• Premise: After going through a bad breakup, Michelle retreats to her family's secluded mountain cabin with her four closest friends to clear her mind. They drink, party, and eventually discover an archaic Ouija board in the basement, which unwittingly summons malevolent spirits.
• The Vibe: The film acts as a shameless, low-budget homage to classic 1980s cabin-in-the-woods films, drawing heavy comparisons to the Evil Dead franchise.
• Cast: The movie stars AnnaMaria Demara and Kate Siegel, and notably features veteran actor John Savage as well as Eileen Dietz (best known as the face of the demon in The Exorcist).
• Reception: It generally flew under the radar with mostly negative to mixed reviews, currently holding a 3.4/10 on IMDb. Critics and audiences often describe it as a cheesy, schlocky B-movie that relies on rapid-camera possession effects and features several notorious B-movie tropes. [1, 2, 3, 5, 6, 7, 8, 9, 10]

Where to Watch
​
If you are looking to see this campy horror flick, you can stream it for free on Tubi TV or view it via Apple TV. [4, 11]


AI responses may include mistakes.
[1] https://www.imdb.com/title/tt1334558/
[2] https://www.youtube.com/watch?v=b6uxWQcKxlA
[3] https://www.facebook.com/yet.scared.you.are/posts/demon-legacy-2014-is-the-story-of-five-sorority-sisters-at-a-remote-forest-cabin/1628954191390695/
[4] https://tubitv.com/movies/100026529/demon-legacy
[5] https://filmblitz.org/demon-legacy-2014/
[6] https://theschlockpit.com/2016/02/12/demon-legacy-2014/
[7] https://culturecrypt.com/movie-reviews/demon-legacy-2014
[8] https://letterboxd.com/film/demon-legacy/
[9] https://letterboxd.com/film/demon-legacy/watch/
[10] https://horrornews.net/86434/film-review-demon-legacy-2014/
[11] https://tv.apple.com/ie/movie/demon-legacy/umc.cmc.2lk5zwog7s8c22od01h1casid

On this day in 2009 (in the U.S.), Mega Shark Vs Giant Octopus took center stage for the throwdown of the cinematic century.  Written and directed by Jack Perez, the film starred Lorenzo Lamas, Debbie Gibson, Vic Chao, and others. 

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

"The California coast is terrorized by two enormous prehistoric sea creatures as they battle each other for supremacy of the sea."

-- EZ

(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:
“In a Post Apocalyptic Wasteland, a hardened Marshal uncovers a mysterious device and sets out in search of answers, while something powerful watches from above.”
 
Sometimes the job of a reviewer – good or bad – is to highlight not so much why a particular project deserves to be widely seen and/or praised so much as it is to shed a bit of favorable light on an otherwise forgettable flick that merits being found by a certain audience.
 
In that respect, let me clarify a few things right up front: 2026’s Wasteland Cop from writer/director Angelo Lopes isn’t an especially remarkable achievement that stands shoulder-to-shoulder with a great number of studio releases.  It has no big names.  It has no signature action sequences.  It lacks the narrative punch to likely be remembered well into the next decade.  Nor does it have the intellectual depth of something that might share shelf space with the greater works of George Lucas, Ridley Scott, Steven Spielberg, Alex Garland, Robert Zemeckis, or even – say – Stuart Gordon (for those of you who know the name).
 
But …
 
What it lacks it modestly balances with sheer guerilla independent filmmaking moxie – the likes of which genre fans clamor for in B-Movies but don’t see all that much these days – and that’s why I find it a cause for celebration … if even only a small festival of one’s closest friends and like-minded neighbors.
 
The Marshal (played by Brendan Guy Murphy) has stumbled across a piece of technology that shouldn’t be in the hands of the little people who’ve lasted as long as they have in the Apocalypse.  Lo and behold, there are those who’ll kill to recover this tech, including the blood-drenched and mutated Gungnir and a cabal savage wannabes who’ll stop at nothing for a chance to rise what services as daily life in the Wasteland.  Joined by a few of his law-abiding regulars, The Marshal sets his sights on unraveling the secrets behind this curious artifact even if it means taking down a criminal mastermind whose secret identity might lie perilously close to the famed lawman himself.
 
The upside to Wasteland Cop is that its clearly derivative, so much so that it likely won’t be difficult for those of us who traffic in genre releases to recognize some obvious influences.  The Marshal is a reasonably close facsimile to Mel Gibson’s fabled Mad Max (1979), even so much so that the two drive similarly souped-up police cruisers across the blighted plains.  It has replicants – a mildly watered-down interpretation of what Ridley Scott did famously in 1982’s Blade Runner – and perhaps even some small aesthetic nods to pictures like John Carpenter’s They Live (1988) and The Wachowskis’ The Matrix (1999).  Like George Lucas’s Star Wars (1977), this wasteland and its various locations look entirely lived in; and those visuals definitely lend themselves to a world that’s mainly fallen into disarray no matter how far or wide one might travel.
 
But it’s this homage that kinda/sorta also sets up Cop for a bit of a disappointment.
 
As an auteur, Lopes clearly knows what influences he’s wanted to draw from in crafting his own cinematic universe (I’m led to believe this isn’t the filmmaker’s first time in exploring what life looks like after our big collapse).  Those characters and sequences work best, largely because the writer/director has effectively harnessed those influences in translating them into this world: but – in the process – he’s left a lot of the small bits – the tissue necessary to link the chapters together – feeling a bit deadpan if not downright lifeless.  When these connective pieces don’t work as well – or if they can’t muster their own level of eloquence – the fuller effort suffers as a consequence, stalling the momentum built on what feels familiar.
 
Now, thankfully, this weakness doesn’t derail this effort.  Again – for those who need it spelled out – this is an independent film; and it should be approached entirely on that level.  It has no marquee names.  It has no studio-grade CGI budget.  The blood, sweat, and tears to bring this to life likely was done with an incredibly small fortune, one that still was money well spent to achieve a dream up in light and shadows.  Will it go down in genre history?  Probably not.  Will it get applause from those who embrace this kind of entertaining schlock?  You’re damn right it will; and I’m happy to consider myself among them.
 
In fact, I’ll make this point once again that I’ve made many, many, many, many, many times on SciFiHistory.Net: I much prefer the days when the SciFi Channel (I am NOT calling it Syfy) used to embrace this type of feature in its Friday and/or Saturday night movie slots.  With a bit of trimming and maybe a few extra bucks injected into the flick and maybe even another writer or two cracking this nut, Cop could very well win back fans to SciFi (still not calling it Syfy) for being both similar and different enough from what’s come before.  It’s a cinematic clone of something you’ve seen but without enough variances to give it a lingering freshness.  Here’s hoping that those who like this kind of ‘diamond in the rough’ schlock find it because rarely do small flicks deliver exactly what they promise.  There’s always a bit of nobility in that.
 
Wasteland Cop (2026) was produced by Lemonade Acre.  DVD distribution (for this particular release) has been coordinated by the fine folks at Indican Pictures.  As for the technical specifications?  While I’m no trained video expert, I can still assure readers that – for the most part – Cop has respectable sights and sounds – some of it obviously inspired by other films – and it all works well enough to keep one’s eyes interested but perhaps not one’s gray matter.  Lastly, if you’re looking for special features?  As per usual, there’s a making-of short that really works more as a bloated advertisement for the film itself – not complaining, just being honest – along with trailers for other genre releases.  Frankly, I would’ve liked more, but that’s just me being me.
 
Recommended.
 
Dammit, kids, I’m much too old to explain why I enjoy what I do; and – in spite of a sometimes-confusing narrative – Wasteland Cop is exactly the kind of good-natured, well-intentioned schlock I wish more storytellers would dabble in.  Yes, it’s flawed; but when a good portion of those flaws relate to the low budget reality of indie filmmaking I’ve learned to overlook a blemish or two if there’s enough ‘heart’ to carry me away.  This had it – not in spades – but well enough for me to accept it wholly for what it was: a throwback to kinder, gentler, clumsier adventures.  Were I in my late teens in the late 80’s sitting around the fraternity house with my beers and frat brothers, it’d likely be exactly what we’d be watching on VHS over and over again.
 
In the interests of fairness, I’m pleased to disclose that the fine folks at Indican Pictures (via Allied Vaughn) for providing me with a complimentary Blu-ray of Wasteland Cop (2026) 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 2014 (in France), The Rover enjoyed its theatrical unveiling for audiences of the Cannes Film Festival.  Written (in part) and directed by David Michôd, the film starred Guy Pearce, Robert Pattinson, Scoot McNairy, and others. 

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

"10 years after a global economic collapse, a hardened loner pursues the men who stole his only possession, his car. Along the way, he captures one of the thieves' brother, and the duo form an uneasy bond during the dangerous journey."

For the record:
To the film's credit, The Rover earned a great deal of praise from professional organizations celebrating cinematic excellence in its native Australia.

-- EZ

From Google.com:

The Rover (2014) is a gritty, bleak dystopian western directed by David Michôd, set in the desolate Australian outback ten years after a global economic collapse. It follows a hardened drifter (Guy Pearce) who hunts down the thieves who stole his car, forming an uneasy alliance with an injured gang member (Robert Pattinson) along the way. [1, 2, 3]

Plot and Setting

Set in a lawless, scorched wasteland, the story centers on Eric (Guy Pearce), a taciturn, ruthless loner whose car is stolen by a gang of desperate thieves. In their escape, the gang leaves behind one of their members—a wounded, naive, and slow-witted young man named Rey (Robert Pattinson). Desperate to get his only possession back, Eric forces Rey to help him track down the gang. What begins as a tense, transactional partnership evolves into a complex, tragic, and unexpected companionship. [1, 2, 3, 4]

Themes and Style

Rather than relying on non-stop action, the film is an intense, psychological journey that explores human morality and the erosion of decency in a fallen society. The setting is incredibly harsh and empty, emphasizing a world where life is cheap and traditional commerce has lost its meaning. It is heavily celebrated for leaving its catastrophic back-story open to interpretation. [2, 3, 4, 5, 6]

The Ending

The film culminates in a shocking reveal that re-contextualizes the entire movie. It turns out that Eric was not just trying to recover a car; he was hunting the thieves to retrieve the dead body of his loyal pet dog, which was in the car's trunk when it was stolen. He is so isolated by the post-apocalyptic collapse that the dog was his only remaining source of unconditional love and loyalty. He travels across the barren outback to ensure it receives a proper burial, ending the movie on a profoundly nihilistic and emotional note. [2, 7, 8]

Reception

The film was highly praised by critics, particularly for its daring pacing, striking cinematography, and stellar performances. Robert Pattinson, best known at the time for the Twilight franchise, received critical acclaim for shedding his heartthrob image to deliver a vulnerable, committed, and transformative performance as Rey. [2, 5, 6, 9, 10]

AI responses may include mistakes.
[1] https://en.wikipedia.org/wiki/The_Rover_(2014_film)
[2] https://www.imdb.com/title/tt2345737/
[3] https://www.rottentomatoes.com/m/the_rover
[4] https://www.imdb.com/title/tt2345737/plotsummary/
[5] https://www.youtube.com/watch?v=PxxAKTwVDRo
[6] https://www.rogerebert.com/reviews/the-rover-2014
[7] https://www.reddit.com/r/movies/comments/2d9c97/official_discussion_the_rover_2014_spoilers/
[8] https://www.reddit.com/r/movies/comments/1o0ufd0/what_are_your_thoughts_on_david_mich%C3%B4ds_the_rover/
[9] https://www.reddit.com/r/movies/comments/n7fy1t/i_think_the_rover_2014_is_a_perfect_5star_film/
[10] https://en.wikipedia.org/wiki/The_Trial_(1962_film)
​

Word has reached the World Wide Web this morning regarding the passing of voice actor Tom Kane.  I believe I'd read something about the man suffering a stroke (or something to that affect) a few years back (or so), but I thought I'd also read that he was slowly recovering.  As I'm not seeing a great deal of reportage on the subject as of yet, I just wanted to get up a quick announcement regarding the development.

Kane was one of those talents who was literally all over the map.  Vocally, there just didn't appear to be anything the man couldn't do; and a quick rundown of the titles he was associated with wouldn't even come close to doing justice to his fantastic career.  I will say that I think many acknowledge his contributions to Star Wars -- he voiced the Jedi Master Yoda for the Clone Wars across his run, along with some other lesser bits -- were particularly good; but with fandom stretching as far and as wide as it does, I'm sure his work has done nothing but generate smiles on the faces of untold millions.  Yes, he was that good.

​Interestingly enough, Kane's voice might even be celebrated by those who've absolutely no idea of his name: his bio on IMDB.com reports that among his many, many storied jobs, his pipes were also the official voice of the Walt Disney Monorail and Bus System.  Furthermore, he's recognized as the narrator for the Disney Park's 'Happily Ever After' fireworks celebration nightly on display in the Magic Kingdom.  Those facts alone indicate the man will live on in the hearts, minds, and ears of those who visit Mickey Mouse's fabled locations in the days and years ahead.  That is quite a legacy to hoist on one's shoulders, but Kane did it fearlessly.

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

May he rest in peace ...

​-- EZ

For those of you caught unawares ...

It was on this day all the way back in the year 1960 that those dreaded Russkies tried to get ahead in the original Space Race with the launch of Sputnik 4 (officially known as Korabl-Sputnick 1).  What makes this blastoff significant is -- from what I understand -- this was the former Soviet Union's first attempt to create a fully pressurized and recoverable capsule, a scientific development that would give that nation the chance to fully place an astronaut where no man had gone before.  The craft had a dummy onboard -- along with what's been reported as fully-functional life support systems -- but failed to make an effective de-orbit and, instead, stayed out there in the galactic heavens for the better part of two years.  Google.com reports that the craft eventually broke up in the atmosphere and re-entered our world in fragments that rained down over rural Wisconsin.

As always, thanks for reading ... thanks for sharing ... thanks for being a fan ... and live long and prosper!

​-- EZ

A high-impact fusion of martial arts mayhem, fantasy spectacle and video game mythology, the Mortal Kombat films brought arcade combat to the big screen with bone-crunching action, iconic characters and pure 90s attitude, helping turn a controversial fighting game into a global pop culture phenomenon.

Kicking off in 1995, Mortal Kombat, directed by Paul W.S. Anderson, delivers a fast paced, crowd-pleasing adaptation that pits Earth's greatest fighters against the forces of Outworld in a no-holds-barred tournament for the fate of humanity. Featuring unforgettable characters like Liu Kang, Sonya Blade, Johnny Cage and the thunderous Raiden, the film blends martial arts choreography, fantasy world-building and a now legendary electronic soundtrack to create one of the most influential video game movies of its era. The saga continues with 1997's Mortal Kombat: Annihilation, expanding the scale and mythology as the battle spills beyond the tournament into an-all out war between realms. With higher stakes, new fighters, monstrous adversaries and epic confrontations, the sequel embraces the franchise's operatic excess and supernatural chaos, pushing the Mortal Kombat universe into full fantasy spectacle.
​
Restored and packed with extras, this two-film collection celebrates the brutal fun, stylised combat and mythic world of Mortal Kombat, a landmark franchise whose unparalleled high-octane action embodies the adrenaline-fuelled spirit of the 90s in all its spectacular glory!
​

​Bonus Materials:
​

• 2-DISC 4K ULTRA HD LIMITED EDITION CONTENTS
• Brand new 4K restorations of the two films by Arrow Films
• 4K (2160p) Ultra HD Blu-ray presentation in Dolby Vision (HDR10 compatible) of the two films
• Original DTS-HD MA 5.1 surround audio and lossless stereo audio on both films
• Optional English subtitles for the deaf and hard of hearing for both films
• Collectors’ perfect-bound booklet featuring new writing on the films by Simon Ward and John Torrani
• Reversible sleeves featuring original and newly commissioned artwork by Matt Griffin
• Two double-sided foldout posters featuring original and newly commissioned artwork by Matt Griffin

 

• DISC 1 - MORTAL KOMBAT
• 4K restoration of the film from the original camera negative by Arrow Films approved by director Paul W.S. Anderson
• Brand new audio commentary with director Paul W.S. Anderson
• Brand new audio commentary with comic book expert and podcast host Dave Baxter
• Cage Match, a newly filmed interview with with actor Linden Ashby
• Leveling Up, a newly filmed interview with cinematographer John R. Leonetti
• Quarters to Millions, a newly filmed interview with producer Lawrence Kasanoff
• The Heavyweight, a newly filmed interview with designer and suit performer Tom Woodruff
• Mortal Kombat: A Journey Behind the Scenes featurette
• On-set interview bites with the cast and director and B-roll footage
• Theatrical trailers
• Image gallery

​

• DISC 2 - MORTAL KOMBAT: ANNIHILATION
• 4K restoration of the film from the original camera negative by Arrow Films approved by director John R. Leonetti
• Brand new audio commentary with director John R. Leonetti moderated by filmmaker Gillian Wallace Horvat
• Brand new audio commentary with comic book expert and podcast host Dave Baxter
• The Queen of the Night, a newly filmed interview with actor Musetta Vander
• Techno, Taiko, Orcho, a newly filmed interview with composer George S. Clinton
• The Man of a Thousand Deaths, a newly filmed interview with stunt performer J.J. Perry, who played Cyrax, Scorpion and Noob Saibot
• On-set interview bites with the cast and director and B-roll footage
• Theatrical trailer
• Image gallery

​

​One of the most notorious J-Horror films ever made, Takashi Miike's Audition exploded onto the festival circuit at the turn of the 21st century to a chorus of awards and praise. The film catapulted Miike to the international scene and paved the way for such other genre delights as Ichii the Killer and 13 Assassins.

When recent widower Shigeharu Aoyama (Ryo Ishibashi, American Yakuza) is advised by his son to find a new wife, he seeks the advice of a colleague having been out of the dating scene for many years. The two men decide to take advantage of their position working at a film company to stage an audition to find the perfect partner. Interviewing a series of women, Shigeharu soon becomes enchanted by Asami (Eihi Shiina), a quiet, 24-year-old woman, who is immediately responsive to his charms. However, events quickly take a very dark and twisted turn as we find that Asami isn't what she seems to be...
​
Pulling the audience into a story that will lead to one of the most harrowing climaxes in cinema history, Miike twists and turns us through delirious editing and shocking visuals for one of the most depraved nightmares of all time, now presented in stunning 4K UHD
​
​Bonus Materials:
​

• 4K ULTRA HD LIMITED EDITION CONTENTS
• Brand new 4K restoration from the original Super 16mm camera negative by Arrow Films approved by director of photography Hideo Yamamoto
• 4K (2160p) UHD Blu-ray™ presentation in Dolby Vision (HDR10 compatible)
• Newly restored original lossless stereo and 4.0 audio, plus optional DTS-HD MA 5.1 surround audio
• Optional English subtitles
• Introduction by director Takashi Miike
• Audio commentary by director Takashi Miike and screenwriter Daisuke Tengan
• Audio commentary by Miike biographer Tom Mes
• Callback, a brand new interview with actor Ryo Ishibashi
• Ties that Bind, an interview with director Takashi Miike
• Damaged Romance, an appreciation by Japanese cinema historian Tony Rayns
• Archive interviews with stars Ryo Ishibashi, Eihi Shiina, Renji Ishibashi and Ren Osugi
• Deeper Deeper Into Audition, an audio essay by author and critic Alexandra Heller-Nicholas
• Trailers
• Image gallery
• Collectors’ booklet featuring new writing on the film by Anton Bitel, Jennie Kermode and Jamie Graham
• Reversible sleeve featuring newly commissioned artwork by Dark Inker - Sampson and original UK artwork by Graham Humphreys

​