In 1980, writer / director James Glickenhaus brought us a gritty exploitation vigilante film known as The Exterminator. I have some mixed statements to make about this film. It has some great elements, but also some qualities that felt less than great. A bad film it is not, but it has a few lackluster areas where some more refined filmmaking techniques would have sold me stronger on it.
Vietnam vet John Eastland (Ginty) launches a bloody vendetta against the New York underworld when his best friend Michael Jefferson (Steve James) is brutally beaten and paralyzed by a vicious street gang. Eastland becomes a vigilante hero to the public, but to police The Exterminator is a psychopath capable of dangerously undermining an entire government administration.
What’s of the most special note here is that Robert Ginty is a surprisingly solid fit for this role. He looks like an average guy, clean cut, regular slender build. He doesn’t look like the muscle bound bad ass the poster infers the Exterminator to be. If made in the latter half of this decade with studio backing, you would’ve seen a Stallone or Schwarzenegger type actor mandated by a studio. Ginty is unassuming, but delivers on the grim mentalities of the role. He has his moments of compassion, showing that humanity is his motivating factor, but when he shifts into that vigilante mode, he’s a merciless, graphically violent force to contend with. Overall, Ginty does a very, very good job in this role. His performance compelled my interest in the movie.
The action and vigilante violence sequences are all excellently executed. This is the film’s energy and weight. Whenever Eastland goes out into that night to exact his own brand of justice on the criminal element, the film becomes alive and riveting. These are expertly done sequences portraying the violence in a very gritty, realistic fashion, and having the visceral reaction desired. The violence he inflicts includes a lot of bullets, burning a guy alive, and dropping someone into a meat grinder. It’s all done in a very cold, decisive fashion. Eastland is calculating and intelligent. He’s not being controlled by passions. He remains focused and level headed all the way through the film, and it creates a solid, intimidating screen presence that I really liked. This is clearly an exploitation film showcasing the violence in unrelenting fashion, but with enough restraint to not try to shock you at every turn. You get enough to sell the violence and gruesome victimization at hand, but it never drowns you in graphic visuals. When I talk about gory horror films, I say it takes no skill to splatter gore all over the camera lens, but to know how to use the violence effectively against the audience does show skill.
The rest of the cast is okay, but with no standouts. Christopher George is quite good as Detective James Dalton, and especially early on he seemed like a perfect fit for a tough cop. His performance never goes down in quality, but the character is softened through the Dr. Megan Stewart romantic storyline to where he loses some weight and edge that was demonstrated from the outset. He handles all the aspects of the role well, but he never really jumped out and gripped my attention. I was more intrigued by Ginty’s screentime, frankly.
In the least, everyone in the film feels authentic to the time of that late 70’s New York grit. There are the seedy, sleazy characters that are entirely credible, and are presented quite matter-of-factly. Their sadistic, salacious acts are unsettling to a viewer, but it’s presented as being an honest look into the darker side of this urban criminal underworld. This is reality in this era, and this film is not going to make any apologies for it. This is the despicable activity going on in the shadows of this city, and Eastland is not going to allow it to continue. I really like that idea, but I do think the film could have done a stronger job building up the character and his emotional motivations.
The Exterminator does feel very indicative of the time it was made. Beyond just the violent, dark, cynical film that the late 1970’s would produce, the style of filmmaking is not uncommon for something of this ilk. I would hold Walter Hill’s The Warriors to be the finest example of a 1970’s style hard edged, urban action movie. The Exterminator is a much more methodically paced film, and tries to focus on mood more than a fast-paced intensity. Still, there are aspects of pacing, structure, and atmosphere that I feel could’ve been improved to enhance that intention. These are relatively minor things, but elements that make a marked difference.
For instance, the film feels like it cuts out a huge chunk of character building scenes early on. Scenes of emotional motivation and a build up of dramatic momentum between where Jefferson gets attacked by the gang and Eastland goes after those responsible. There’s not even a scene of Eastland reacting to the news of Jefferson’s paralyzing attack. The attacks happens, and the next scene has him telling the news to someone else. Then, he’s interrogating a street thug with a flame thrower. Then, he exacts his revenge. The character building scenes do occur after this, but they would have added more weight and dramatic drive to the film if they instead bridged the gap between the attack itself and Eastland becoming the Exterminator. Those sorts of scenes would help delve more into John Eastland, and more sharply focus the narrative on him. Up to this point, Jefferson seems like the protagonist of the film because he’s the one saving Eastland from danger and we see him with his family. Little time is spent with Eastland to know much about who he is. It’s a matter of dramatic structure, and while all the elements are there in the 104 minute director’s cut runtime, I don’t think they were arranged in the most effective way.
Something else that I thought was not done consistently well were scene transitions. This is not wide spread, but there are a few instances where Glickenhaus just didn’t film any sort of artistic or dramatic segue from one scene to another. So, instead, it just fades out from one random shot and fades into another. This creates a bit of a disjointed flow in the narrative, and also, robs us of certain impactful moments. Certain scenes could’ve ended half a minute earlier on a stronger note than allowing them to linger on monotonous activities. Some scenes just don’t end with enough dramatic punctuation for the intent of the scene to resonate into the next. For instance, Eastland kidnaps an Italian mobster, goes to his house to steal money, and gets mauled by the attack dog. The scene ends with the attack dog, and leaves the issue of stealing the money unresolved. Not every plot element really connects or is followed through on. Even the romantic subplot between Detective Dalton and Dr. Stewart seems like a diversion from the vigilante plot, and honestly, has little to do with anything else in the story except to allow Dalton and Eastland to cross paths in the hospital. It’s a nicely done subplot, but it just didn’t do anything for me. Even Dalton’s own hunt for the Exterminator is not exactly dogged. He’s enthusiastic about the investigation, but it never feels like an urgent manhunt or a personal determination on his part. I would’ve preferred spending more time delving into Eastland, and creating more of an overall storyline for him besides just killing criminals at random.
The film is generally competently shot. The cinematography is nothing to get excited about, but it’s also nothing to speak negatively on. Although, the scene where Eastland interrogates the street thug with the flame thrower has horribly inconsistent lighting. As the scene cuts from one angle to the next, the light source flips around 180 degrees. First, it’s behind Eastland, then it’s behind the thug, then it goes back behind Eastland. It was horribly distracting and blatantly obvious to me. It’s just a bad piece of work, in only one scene, from whoever shot and lit this scene. The rest of the film has no such problems.
However, on the editing front, I think the movie could have benefitted from some tightening up. It unnecessarily takes its sweet time in too many instances where some smart editing and the right shots could’ve given the pacing and rhythm much more punch. There’s extraneous footage all over this movie. One great example is that there’s a scene where Eastland is drilling holes into bullets and filling them with mercury, then sealing them back up again. I’m sure someone with firearms knowledge understands the idea behind this, but it is never given context or explanation to the audience what the purpose of that methodical scene was. Doing some quick research, apparently, filling a bullet with just regular mercury, in actuality, would soften the lead of the bullet to the point where it would likely fly apart when fired. In movie myth, it creates a grenade-like exploding bullet, but in truth, that is only potentially possible if using mercury fulminate. This is strongly NOT recommended as you would probably die or be horribly maimed attempting to fire such a bullet. Regardless, this idea felt like extraneous content that was part of a scene that ran on longer than it needed to. Basically, it’s an arming up scene for Eastland that goes on for five solid minutes with the mercury bullet segment taking up three of those minutes. If you’re not going to explain its supposed importance, or show us what doing that to the bullet is meant to accomplish, don’t bother wasting the audience’s time with it.
My biggest point of contention with this film is its ending. The climax itself is quite good. There’s a nice amount of suspense and tension as Dalton traverses through this docked ship at night searching for Eastland. There’s some good action beats and explosive moments at the end. It’s very well plotted. The problem is, the film has no resolution to its plot, its characters, or anything else. It sacrifices anything like that to appease some extremely unnecessary political subplot where some political figures think the Exterminator is some kind of plot by their enemies to ruin their re-election campaigns. None of which is true, and the film could’ve existed entirely without that subplot. It’s not too far off from my reaction to 2006’s Miami Vice. There’s action and some nice dramatic beats in the final few minutes, but ultimately, it leaves me empty and wondering what the point of the movie was.
Ultimately, I feel The Exterminator had the good building blocks for a solid vigilante exploitation film, but it didn’t have the tight cohesion or driving narrative to really feel like it had all its stuff together. Robert Ginty is really good in this, and makes this unexpected turn as a cold, calculating vigilante who still has his humanity intact. He’s a good man that wants to take out the trash in this city, and has the training and means to do so. The main problem here is that this film doesn’t have a narrative direction. In most revenge films, the protagonist spends the majority of the movie tracking down and killing off those that have incited his needed for vengeance. Instead, we have this self-proclaimed Exterminator dealing with that right away, and spending the rest of the movie mostly just exacting justice for others without a story of his own to follow. Thus, it’s not surprising the ending has no resolution because there’s very little plot to resolve. This is one of those films where I say, if you like what you read here, go ahead and give it a chance. I don’t say avoid it, but I don’t feel it’s worth going out of your way to see it. The film is available in a remastered director’s cut DVD / Blu-Ray combo pack release, if you’re interested.
For whatever reason, I just felt the need to review something of a different style, a different whatever from everything I’ve been doing lately. I’ve come to find that what I most enjoy spotlighting here are films that are hidden gems. Stuff that’s not too widely known, but is of a certain admirable quality. I really like allowing others to discover movies through my reviews, and that’s not going to happen reviewing Star Wars or Terminator movies. Showcasing something that also inspires me as a filmmaker on a more personal level is the other thing I gravitated towards with this review. I’ve previously reviewed the film Paranoia from internet comedic personality and independent filmmaker Brad Jones. Midnight Heat is a 2007 feature length effort from him that was made with a lower grade production value, but for me, the quality of the writing, most of the acting, and the direction really shines through the very rough digital video camcorder, micro-budget quality of the movie. This is the type of movie that really inspires me and drives me to be a creative and ambitious filmmaker. Seeing someone else achieve this with even less resources than I have today is further inspiration, but let’s breakdown the plot of this sleazy 1980’s exploitation film homage first.
Midnight Heat is a story of cops, hookers, killers, and pimps; all centered around one sleazy night in the late 1980’s. A cocaine addicted homicide detective (Jake Norvell) is brought out of suspension in order to trail local prostitute Donna Diggs (Bianca Queen) who may become the next victim of The Scalper (Nick Foster), a serial killer who preys on the city’s hookers. Meanwhile, her mentally unstable pimp Martin (Brad Jones) attempts to get out of the business while finding it harder to protect his girls from both the killer and from an abusive rival pimp (Buford Stowers).
I will make one preface about the technical quality of Midnight Heat and the relative standards of quality I judge this by. I’ve both been an independent filmmaker for several years, and have watched these types of movies since the late 90’s. In this realm, you make the best story you can make with the equipment and resources you have at your disposal. Not every independent filmmaker has the cash to buy boom mics, pro lighting gear, or a high quality camcorder. If all you have is a Digital Hi8 camcorder and a solid screenplay, you go for it. It may indeed be difficult for some to acclimate themselves into the experience, but if you can get beyond the digital grain from the low lighting and less than perfect audio, there is a very entertaining and well written sleazy crime thriller waiting for you. The film is only available, completely free, through Brad Jones’ website. So, all it costs you is time to give it a chance.
This film is Brad’s tribute to 1980s sleaze flicks like Vice Squad, Savage Streets, and The Exterminator while taking strong vibes from Miami Vice. This really translates from both the story being soaked in the nighttime world of sex, drugs, and murder, and the choice of soundtrack. The reason the movie is only available for online viewing is because it features tons of unlicensed 1980s pop songs. I greatly used these sorts of songs as temp music for my feature film The Fixer, and I wish I could commercially release it with those tracks because they perfectly capture the vibe I was going for. Brad Jones was just interested in putting the film out there without a mind towards commercial release. With it being specifically set in 1987, I couldn’t imagine Midnight Heat working without these era-specific tracks. Songs from Glenn Frey, Phil Collins, The Cars, Scandal, Loverboy, Kim Carnes, Animotion, and many more pulsate throughout this movie. They are the entire score, and it instills the film with energy and a very familiar emotional feeling for me. At times, it would be preferable if the songs were lower in the mix so they don’t compete too strongly against the dialogue, but the music never drowns it out. Brad Jones did the best he could with the actual production sound, as is stated in his intro video to the movie on his website. Still, if there’s one thing that could’ve been improved, it is just the mixing of music and sound effects around the dialogue. Often gunshots and other dramatic sound effects don’t have the sonic impact they should have, but I am able to forgive and move beyond that to understand the intentions on display. If this was a multi-million dollar budgeted film with professional sound engineers, you could rightfully attack that with great zeal, but not in this case, not at all.
While most of the cast are not professional actors, we are treated to some very strong and substantive performances. Jake Norvell’s Detective Rick Wilson is the perfect sleazy 1980s corrupt cop. A cocaine snorting, prostitute indulging, foul mouthed burn out that is distrusted by the police department, and is stuck with an assignment no one else cares about. Norvell appropriately portrays him in an over the top fashion in a performance that really dominates a lot of the movie. This is a character of ego and abrasiveness, but also has that tinge of emotional value. Norvell intensely portrays the erratic, substance abusing behavior of Wilson making him an unpredictable wild card. This repeatedly complicates matters with Donna, but there’s always that sordid emotional connection between them that really pulls them together. Norvell’s performance grows and solidifies in the third act, and becomes damn near powerhouse in a very fun, indulgent way. He’s really feeling the energy of this character throughout, but it is punched up in that last twenty-five minutes.
Bianca Queen is quite good as the female lead. She brings a lot toughness and grit to Donna, but is not at all afraid to delve into the required sleaze of the role. She holds her ground very solidly opposite Norvell, and the relationship they strike is combative, yet complicated. She wonderfully conveys the sordid, argumentative history between Donna and Rick without ever backing down. She also slinks very enthusiastically into the sexy, seductive aspects of the character. Ultimately, by the end, we see even more depth from Queen that makes her standout beautifully next to her male co-stars of Jones and Norvell.
Obviously, I am a major fan of Brad Jones’ work, and for very good reason. The man is exceptionally talented as both a writer and actor. In the role of Martin, he is channeling something complex and intriguing. He’s this pimp that tries to run a good operation, but just wants to find a clean way out of this life. Yet, this is the night that everything is deconstructing around him. The stress pulls at him too agonizingly, and he can’t help but crack over and over again. Jones portrays this character with a strong wealth of sympathy that transcends all the irredeemable violence Martin inflicts, but also brings plenty of weight in a role that gradually slips into being an antagonistic force. The trippy dream sequence Martin has really pushes the idea of the fracturing psyche even further. Jones is entirely convincing as an intimidating presence, but that complex nature regularly comes back into play where Martin is not just on a violent rampage. He can be a relatable character when baring his soul, but Jones’ performance is never too far removed from that psychologically messed up behavior. By the end, both sides of the character mesh together greatly with some smartly written dialogue and ideas. Overall, Jones’ performance is a major highlight of the movie.
Buford Stowers is a great heavy as the ruthless pimp Phil. He carries himself with a weighty presence and a good measure of sleaze-laden charisma. Every scene he has is punctuated with an aggressive authority. Stowers throws his all into the role, but keeps it grounded and intimidating. He feels like a serious threat that no one would risk crossing. Stowers and Jones have excellent chemistry as rival pimps, and have some solid scenes together.
The remainder of the cast has some good performances including Kim West as Nikki, Phil’s premiere working girl. Sarah Lewis always impresses me in Jones’ films with her best performance coming as the lead in The Hooker With A Heart of Gold. Here, she has only a few scenes as Donna’s friend Mindy, but it is very well acted on all levels. Alex Shyrock is very good as Detective Mike Nero who is a cop who doesn’t seem like he gives much of a damn anymore, and doesn’t enjoy having to screw around with Wilson throughout the night. Shyrock has that right stressed out, frayed quality showing that Nero is sick and tired of this Scalper case, and just wants it done with however possible.
The most substantive scene is when Martin and Rick cross paths and have a lengthy conversation together. Both men lay out their troubles, how they got to where they are now, and talking frankly about what has damaged them. Jones and Norvell put in excellent performances here. The two are great, close friends in real life, and that chemistry shows through. It’s a fairly brief pair of scenes between them, but it is a solid turning point that motivates the characters into the third act.. Their confrontation at the film’s end is equally as good.
Handheld camera work is the standard here, as is Jones’ style. He has said that he relies on this so much due to the fact of having only the built-in microphone on his camcorder to record audio. So, he regularly needs to have the camera close-in on the actors to get consistent audio. Still, while the framing can regularly be a little too tight when trying to pan between two actors, and the handheld being a little rough, there are many scenes with quite good camera angles and editing. For the most part, the flow of the movie is very good with only a few rough transitions here and there. I can entirely see that if Jones had the right equipment and the ability to refine his technical quality, this would be a greatly polished movie on all levels.
I really like movies with intercutting stories. They inherently create an energy that propels the narrative forward with great rhythm. Midnight Heat regularly cuts between Martin’s descent into self-destruction and Rick and Donna’s turbulent night together. Both stories parallel one another until they eventually intersect and collide. This structure works beautifully, and maintains a streamlined flow throughout. Jones writes very vibrant and interesting characters with some excellent dialogue. Midnight Heat is an exploitation film through and through, but the quality of the writing is comparable to that of a Michael Mann film like Thief or Collateral. Characters are dimensional and feel quite real and textured. This is the real strength of the movie, and it is what immensely impresses me about it. As I said, beyond the rough, low grade technical qualities there is a wealth of talent on display fueled by Jones’ amazingly written script. There is substance in this story. It never falls back on letting the sleaze weigh down the film for a fun, cheap thrill. Jones absolutely was putting his best dramatic effort forward, and it shows through. That’s what I think makes for a great independent filmmaker – to have the quality of your talent and vision shine through even the most rugged of technical shortcomings.
While I believe Brad has stated that directing isn’t his favorite part of the process, I do believe he put together a cohesive and well directed movie here. While everyone cast in the movie is part of his wide circle of friends, he is able to make the best use of them in key roles, and they gave him their best. The compressed time frame of the film also creates an energy and momentum not too unlike Michael Mann’s Collateral. Everything occurs over a single night, and that creates a compact, compounded intensity that builds as the film progresses. I used to have many extremely late nights out to where I didn’t know late night from early morning anymore, and Midnight Heat gradually captures that feeling in its third act. The film narrows out its cast of characters, and focuses in on its leads of Rick, Donna, and Martin enhancing the sense of isolation and loneliness of those hours of the night. The climax is not action based, but character based. It brings everything to a head in a very solid and satisfying way.
I strongly believe Midnight Heat to be one of Brad Jones’ best films. The writing is excellent and the full cast really puts their all into it. I love the neo noir style of it all taking place at night. It soaks you deep into this grimy, dark world, and that’s just perfectly my style. There’s very little action in the movie as it is built and driven by its characters, which are excellently developed and realized. At nearly an hour and forty minutes, I think this is a well put together independent film that was made with a lot of passion and enthusiasm. At the time he posted this on his website in July of 2011, Brad stated this to be his favorite film out of all the ones he had made up to that point. Knowing him as well as I do through his website, this really is where his love of film is the strongest, and I’m intrigued to know that a sequel is planned, likely for this year. It was a combination of seeing this movie and Brad’s v-log movie review of Drive that got me to see that brilliant movie which is now one of my favorites of all time. Coincidentally, the opening credits to Drive are nearly identical to those of Midnight Heat, same font and all.
As I said, you can exclusively watch Midnight Heat on Brad’s website for free. Clearly, I give the movie a very strong recommendation for anyone that enjoys neo noir crime thrillers or the sleazier side of 1980s cinema. You can watch the rather low quality trailer here. Give it a few minutes of your time, and see if it appeals to your interests.
I’ve been looking for this movie on DVD in stores for months now. Today, I went out looking for one exploitation movie at the re-sale shop and came home with another. Savage Streets is a cult rape-revenge exploitation film from the late director of Friday The 13th, Part V: A New Beginning, Danny Steinmann. As previously documented, I have a low opinion of that sequel, but Savage Streets looked really good and promising via the trailer. I’ve heard some good things about it, and was very dogged about finding a copy of it. Sometimes, a good word of mouth is enough to convince you to take a impassionate chance on a movie. But now that I’ve seen it, does it live up to what I had hoped for it? Was it worth the months of anticipation and hunting I put into it? Well, let me impart a synopsis on you before answering that question.
Brenda (Linda Blair) is bad, bold and brash, but she absolutely dotes on her deaf-mute kid sister Heather (Linnea Quigley). After nearly being rundown by a gang known as the Scars, Brenda and her friends trash the car of their leader, Jake (Robert Dryer). Shockingly, he chooses to exact his revenge by getting his cohorts to gang-rape Heather. Caught up in her rivalry with the cheerleaders, Brenda is at first unaware of the Scar’s involvement, but is eventually shocked with the full truth. She then vows deadly vengeance in a skintight black suit as she searches out the gang members one by one.
Doing a blind buy of this movie was certainly taking a chance because I’ve had blind buys bite me in the ass before. However, that was not at all the case with Savage Streets. I did indeed greatly enjoy what I saw here. It is quite a low budget picture with only $1.2 million to its credit, but this was definitely a time where most filmmakers knew how to make an effective movie within their limited means. They could create something genuinely entertaining and worthwhile without needing a major budget. While his Friday The 13th movie came off like a cheap direct-to-video outing, director Danny Steinmann pulled off a really solid genre movie here that I’m glad he had been commended on long before his 2012 passing.
The main thing that I was impressed by on this film was Linda Blair’s performance. She strikes that perfect balance of a tough, attitude rich, yet still vulnerable and compassionate young woman. You see her make those subtle shifts early on as she defends her sister from an ill joke, but then, lightens the mood a moment later with some well place charm. Brenda will not back down from a fight, and doesn’t take any crap from anybody. She stands up to everyone from bitchy classmate Cindy to the sleazy school principal to, of course, this malevolent gang. She’s genuinely tough with the courage and mouth to back it up. Yet, these tragedies that befall her sister and friends have deep, emotional impact upon her. She cries, mourns, and grieves in her own harsh way while never veering away from her determination to find those responsible. Brenda is someone who has a surplus of strength to pull her through this violent series of events, and Linda Blair puts her all into this performance to make Brenda that great heroine. She’s also quite sexy and beautiful in this film, and her hard edged attitude is very attractive and exciting. Blair packs a lot of charisma and passion into what she does here, and she really makes Savage Streets the excellent piece of work it is. There’s not enough I can say about what she does in this role.
In the role of Jake, Robert Dryer does an exceptional job. This is the dead-on perfect villain for this film as Jake has zero redeeming qualities about him, and is a full fledged sleazy, violent, womanizing, severely intimidating thug. Just the look of the character gives you a very edgy impression with his slick backed hair, leather jacket, intense physical presence, and especially that razor blade earring. Dryer has some dark charisma which amps up the character to the utmost vilified levels. He definitely looks like someone who could snap your neck right after stabbing and slashing you to bits. Just as much as Linda Blair invests you in the story, Dryer invests you in the need to see Brenda exact her revenge. After all you see Jake do, and without an ounce of regret or mercy, you crave that violent comeuppance, and that is so much earned from Dryer’s performance.
The rest of the cast is very good putting a lot of enthusiasm and dedication to their roles. You’ll certainly find some over-the-top dialogue and line deliveries, but it wouldn’t be an exploitation film without them. John Vernon is excellent with his deep, intimidating, dramatic voice as Principal Underwood. He has this underlying sleaze factor that surely hits with a peculiar impact, but it’s all great. Johnny Venocur does some good work as Vince, the one guy in the gang who has a semblance of a conscience. You can progressively see the humanity taking a hold of him, and it adds a nice dash of remorse into this story. Lisa Freeman brings her own strength and spirit to Francine which shows she’s no pushover either, but you also get the tender side of her bride-to-be aspects. Genre star Linnea Quigley makes Heather very wholesome and sweet without ever saying a word. Linda Blair plays very sweetly opposite her bringing out that touching sisterly warmth and heart. On the darker side, Quigley achieves the moments of silent terror with visceral intensity. The entire sexual assault scene is powerful and disturbing, as it should be. The film does not glorify it at all as it is depicted as a traumatic, frightening experience, which is commendable. This is the darkest point in the film, but we are thankfully treated to some very enjoyable, entertaining elements throughout the rest of the movie.
What makes Savage Streets distinctly 80s is the awesome pop soundtrack. There are no big names that stick out for me, but the songs generally hit that excellent 80s vibe with strong vocals, vibrant keyboards, and a driving intensity. It also kills me that this soundtrack is available only on the original vinyl or audio cassette releases, and are rare collectors’ items. The only CD release was done independently in a very limited capacity. So, if you want these songs, you’ll have to turn to YouTube. The one notable track is “Nothing’s Gonna Stand in Our Way,” which is performed here by John Farnham, would later be covered by Canadian band Kick Axe (aka Spectre General) for Transformers: The Movie in 1986. The soundtrack for this movie really enhances the vibe all around making it a very rockin’ experience, but the original score is also very effective especially during the film’s climax.
The cinematography of Stephen L. Posey is very good and solid. It’s nothing amazing, but what he does entirely suits the gritty nature of this movie. The editing is also very tight never allowing the film to lag anywhere at all. The pace is kept consistent throughout, and has plenty of well put together sequences. On a technical level, this is a well shot, well made movie that is competently executed by knowledgeable talents. Furthermore, director Danny Steinmann does all around impress me with what he did here. There are a few minor critiques still pending, but on the whole, Savage Streets is a well written, well directed film for this genre. Steinmann really brought out a lot of strength and vibrancy from his cast, and crafted together an effective revenge movie that has emotional weight to it. It’s surely not one dimensional in the least, and I commend Steinmann and his co-writer Norman Yonemoto for that.
Now, the one thing that threw me off about the movie is that the trailer would make you believe that Brenda would be hunting these guys down through most of the movie. Instead, her armed quest for revenge begins in the final third of this 93 minute movie. I do not state this as a criticism, just as an expectations adjustment. The first hour of the movie is consistently and solidly paced as the Scars repeatedly terrorize Brenda’s friends and other unfortunate individuals. The film takes the time to build these guys up as increasingly more sickening people, and that’s saying quite a lot since their first act against Heather would be more than enough already. Yet, it layers the crimes and tragedies upon Brenda and the audience. It develops her character and her friendships so that you understand the importance these people have on her life and the lives of others. It also uses this escalation of violence to further drive a wedge between Vince and the other gang members, which is a smart idea. Now, once Brenda moves into full-on revenge mode, decked out in a sleek back jumpsuit and crossbow, I absolutely loved it! A great little montage ensues with a solid rock track behind it, and we’re into a pretty damn good final act.
The only criticism I have towards that final act is that while we do get blood and gore, it is not all at the right moments. Some of the deaths don’t have the desired satisfying impact because we don’t witness them in graphic or explicit enough detail. However, we do see the bodies displayed with their bloody wounds minutes later, but it wasn’t quite enough. Considering how explicit the film had been already up to that point with violence, language, and nudity, I figured we would get some graphic gore where it counted the most. Thankfully, this is not so for all the kills in the climax. It’s about fifty/fifty, but I really wanted to see those despicable scum meet some gruesome ends. Watching Brenda squaring off against Jake was thick with tension and emotion as that rage and pain within her really penetrates in this sequence. She is being blatantly sadistic, and you are really reminded of why she wants him to suffer so badly through her dialogue. Ultimately, we get a very tight climax with some great moments of suspense and dramatic pay-off.
Savage Streets is damn good! It’s especially gritty with visceral violence and a strong core of emotion by way of some solid performances. Linda Blair definitely stands out as an excellent lead giving us both the heartfelt compassion to be sympathetic and relatable as well as the brash attitude and confidence to be a convincing action heroine. I love the dialogue she gets on both ends of the spectrum which really reinforce the strength of Brenda. My favorite is the “double jointed” quip near the climax, which is also Linda Blair’s favorite. It hits me as one of the best lines in an action film, ever. Overall, Blair is just bad ass and awesome through and through. She delivers on all demands of the role in a very satisfying and entertaining performance. There’s a lot to enjoy in the tight 93 minute run time, and I really have to hand it to Danny Steinmann for the work he did here. This is a kind of movie that just doesn’t get made anymore, and even if they are, I imagine they aren’t made as good as this. I can entirely see here what brought Steinmann to doing a Friday The 13th movie. It’s only too bad that film was not remotely as cool and good as Savage Streets. This certainly may not be a film for everyone. As I said, it is very explicit and casual with its profanity, female nudity, and violence, but if that fits your tastes, I highly and strongly recommend checking out Savage Streets. While it was tough finding it in a store, it is easily obtainable on Amazon.com in a 2012 digitally remastered special edition DVD set.
I will start this review out saying that I am a fan of Rob Zombie, the musician. I was interested in Rob Zombie as a filmmaker due to the immense controversy surrounding his first film House of 1000 Corpses, but once I got to see it, theatrically, I found it to be a rather unexciting, very unoriginal, and highly derivative movie. It just seemed like one ninety minute long Rob Zombie music video. The only thing that made me see it a second time was Sid Haig’s incredible charisma and dark, dark humor as Captain Spaulding. It cracked me up like few things do, but other than that, the film held little interest for me. Others felt differently, but I will get more into such things as I have many of the same gripes here as I did with Zombie’s first film.
Picking up six months after the events of House of 1000 Corpses, The Ruggsville County Sheriff’s Department, headed by John Quincy Wydell (William Forsythe), is storming the Firefly household, and some do not survive. Mother Firefly is captured, but Otis & Baby escape to meet up with the foul-mouthed mad clown Captain Spaulding (who is also Baby’s father). Along their twisted road trip, they encounter some strange folk, and leave them worse off than they found them….much, much worse. Sheriff Wydell, in the meantime, is deadset on bringing the entire clan down because they killed his brother George (as seen in House of 1000 Corpses). Sheriff John Wydell has nothing but vengeance on his mind, but in time, that will drive him to become exactly what he’s hunting. The trio’s road trip takes many bizarre twists and turns, leaving unresolved plot points along the way, and ultimately leads the film to a strange and unsatisfying ending.
First and foremost, this is one grizzly, brutal, and unrestrained movie. I rented the unrated director’s cut, and so, everything that was meant to be seen, was seen. And while all the gory effects are excellent, and the performances are amazing, this film just doesn’t deliver anything more. The story is far too simple to justify all the over bloated crap that flows through it, and the resolution is horrendously weak. It feels like the work of an untalented novice filmmaker who just does things because he thinks they are cool instead of crafting a tight, coherent, and straight forward feature. Possibly the film’s strongest, more poignant character is dispatched like a worthless camper in a Friday The 13th movie. The death has no meaning, no importance when this character probably should not have died at all. It simply goes to show that despite Rob Zombie’s ability to make an intense and disturbing film, he really has a long way to go in crafting solid storytelling skills. He tries, but he fails for two films in a row.
I think it’s even worse in this one because some characters and plot points simply drop off the map with no reason, no explanation. Plot points about the Groucho Marx’ aliases is dropped after two scenes, and was apparently only created for a weak comedic bit. As for vanishing characters, Zombie apparently decides that once they’ve served their purpose, they should vanish entirely with no reason or resolution. It is a shame because there is such a great cast to work with such as Michael Berryman, Danny Trejo, Ken Foree, and the absolutely awesome William Forsythe. I was also rocked to see former WCW & WWE superstar “Diamond” Dallas Page featured as black-haired bounty hunter teamed with Trejo. Page does a fine job too, and having cameos from The Warrior‘s Deborah Van Valkenburg and Halloween‘s P.J. Soles was a unique touch. However, despite having such a rich cast, the story just does not offer up anything substantive for them to do anything with. There’s no ambition to do anything original with this concept which has been well treaded over the decades. We’ve seen movies with murder sprees before, and despite the extreme distance this one takes the violence and mayhem, such thrills are only momentary. Once the mayhem and gore is off screen, there’s not much to excite an audience or the film. The story is just three sick and twisted people on a killing spree running from the law and a vengeful lawman, period. Most films of this sort have some social commentary to offer amongst its grisly brutality. However, Zombie tries to throw all this frivolous, extraneous junk into it for his own amusement instead.
I can respect Rob Zombie for wanting to revitalize a forgotten genre of film, but by this time, it had already gotten back on its feet with numerous hardcore, edge-of-your-seat horror films that pushed the limits of disturbing imagery. Zombie churning out all these homage’s to 1970s exploitation films forces his films to be unoriginal and thin on story. It’s cool to give nods to your favorite films in your own feature, but only when done with the right skill and intellect. Otherwise, your film becomes blatantly derivative, watering it down to very weak levels. In fact, the entire premise is lifted directly from Texas Chainsaw Massacre 2, but Zombie doesn’t do enough to make The Devil’s Rejects seem original to even the smallest degree. Plus, the main characters that carryover from House of 1000 Corpses only make themselves even more detestable and inhuman. It’s obvious that Zombie is trying to make them into some twisted band of anti-heroes, but frankly, these characters are not relatable, let alone sympathetic creatures – they’re sick, twisted, homicidal psychopaths. Why anyone would root for these demented maniacs is beyond me, let alone why Zombie believes anyone would want to. They have zero endearing qualities.
Now, the style of this film isn’t as oversaturated or surreal as House of 1000 Corpses, but Rob Zombie clearly needed more competent help in the editing department. The pacing and editing of certain sequences is all out of whack, and very inconsistent. The final scene of the film drags on and on and on and on to the point where it loses all impact. The use of Lynyrd Skynyrd’s “Freebird” makes it quite the quirky and over-the-top sequence, but ultimately, this is a flat end to a film that seemed to have potential from time-to-time. Zombie’s attempt to make the murderous threesome go out in an amazing blaze of glory works against the entire film as these three deserve the harshest death possible for the horrific crimes they’ve committed. Instead, Zombie seems to want us to feel sorry that they’ve met their collective ends. The actual hero of the film gets a piss poor demise while the despicable villains get a grand, epic swan song. That’s a perfect example of what’s wrong with this movie.
The moral compass of the film’s perspective is entirely flipped. Otis, Spaulding, & Baby are given the breadth of screentime so that their characters can be developed in depth. The hero in William Forsythe’s Sheriff John Quincey Wydell is a strong character that could carry the film entirely, but he’s not the one the movie wants us to be invested in. By the fact of how the film treats their final moments, it is clear that the Firefly gang are meant to be the central focus of the entire story, and are the ones you should be emotionally connected with. While audiences have been able to be entertained and intrigued by vile characters before like Hannibal Lecter, Khan Noonien Singh, and Freddy Krueger, you never want to see them ultimately defeat their adversaries, the heroes of the story. They should get what’s coming to them for the violence they have wrought upon the innocent. This film doesn’t share that moral viewpoint, and decides to side with the detestable, sadistic murderers. That doesn’t roll for me. If the film had some thematic element about society’s corrupted morality fueling the characters’ demented psychology, it would be justifiable, but as it is, it’s completely ass-backwards.
On a highly positive note, the make-up effects of The Devil’s Rejects give the film its grisly texture, and for some, might make it a difficult watch. Zombie made a specific point to not make this film pretty – it is definitely grounded in that 70s ugliness. Even the nudity is dirty and trashy. Some CGI work is here, but only for certain gunshots and other minor details. Nothing here looks fake, it all has a dense, gritty realism to it, and that is a refreshing plus.
Unfortunately, whatever score there is happens to be practically unnoticeable. Zombie packs this film with classic rock songs from the Allman Brothers, Lynyrd Skynyrd, Joe Walsh, and so forth. It’s a much more era-appropriate soundtrack than the modern day heaviness of the previous film. The Devil’s Rejects soundtrack is probably quite a cool listen. Still, I would’ve preferred a stronger score to intensify the film further than using songs to remind people of the time period or using them to create quirky moments. I understand Rob Zombie comes from a music video world where he uses music to tell a story, but in the medium of feature films, music is used to enhance the story. It’s just one element of the overall structure of a movie. It punctuates particular moments in the story instead of bludgeoning you with an oversaturated soundtrack. Zombie really needs to adapt to the demands and standards of films instead of treating everything like a music video. House of 1000 Corpses was more guilty of that mentality with how everything was shot, lit, paced, and presented, but even though everything is more stripped down here, that mentality is still apparent.
When taking this film in as a whole, it’s really not much better than Rob Zombie’s feature film directorial debut, House of 1000 Corpses. While that film was more a true horror film in the sense that it was meant to scare and horrify you, this film just tries to freak you out through disturbing violence and sickening moments. It maybe darker and sicker, but it’s not really all that much better. I would’ve expected more of an improvement from Zombie, but I suppose a great deal more time would be needed for him to evolve as a filmmaker. However, for me, two strikes against him was enough for my interest to fully evaporate. Once I heard he was remaking Halloween, a great film from one of my favorite filmmakers as well as the review of mine that motivated me to create Forever Cinematic, I just couldn’t care anymore. Rob Zombie had great resources to work with in every aspect of filmmaking, but he couldn’t utilize it all to its highest potential. Frankly, I don’t recommend seeing or not seeing The Devil’s Rejects, I’m just rather indifferent. Just don’t expect anything all that original if you do plan to see it. If you liked House of 1000 Corpses, you’ll probably enjoy this film. If you hated House of 1000 Corpses, you probably won’t like this film either.