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.
Back in my favorite year in film, 1995, David Fincher brought us a terribly disturbing and gripping crime film in Seven that changed the genre dramatically, and set Fincher forth on a very successful, high profile directorial career. His previous film was Alien 3, and that was plagued with production difficulties and creative clashes. It was not a success, but Seven showed what an unencumbered David Fincher was capable of. Supported by a powerful cast and a brilliant screenplay, this didn’t just spark his career, it ignited it.
Lieutenant Detective William Somerset (Morgan Freeman) is a seasoned investigator who is on his final days before retirement. Detective David Mills (Brad Pitt) is a young, impulsive cop looking to make a difference, and maybe even a name for himself, here on the grimy, ugly side of this nameless city. They are put together on a series of murders that Somerset soon determines is the work of a serial killer who justifies his crimes as absolution for the world’s ignorance of the Seven Deadly Sins. Each crime is more ghastly than the last as this sociopath “John Doe” uses them as a garish method of preaching. While Mills is quickly convinced that this killer is a certified whack job, Somerset sees the calculating, educated rationale behind these crimes. Both men slowly descend into this frightening and disturbing world that culminates in an unforgettable climax that tests the resolve of both men.
While there had been serial killer films before this, Seven really applied an original concept and environment to the subgenre. Having the killer, John Doe, be motivated by the seven deadly sins opened up the film to social commentary, and that is handled exceptionally well. Somerset is someone who you would like to know what kind of person he was before he was damaged by the apathy and amorality of the world. He’s someone that appears to have once strongly believed in certain admirable principals, but has since lost his zeal for them. He’s perhaps looked far too deep for too long into the grimy darkness of humanity, and Mills is someone who, likely, hasn’t looked deep enough. He judges everything on surface appearances, and doesn’t entertain the possibilities of a deeper psychological analysis of their adversary. Somerset slowly tries to educate Mills to be a more insightful and knowledgeable investigator, and while it brings them more into alignment with one another, it can’t wholly change who Mills is at his core. The scenes of both Detectives discussing philosophies on Doe’s motives and how they reflect upon society are amazingly well written and perfectly acted by Freeman and Pitt.
With the film never stating what city this takes place in, it creates an enveloping environment in which one can never get quite comfortable, and you’re not supposed to. The world of Seven is dangerous, seedy, disturbing, and filthy. This feels like a city where decency of any kind is in the extreme minority. The production design creates a world that is probably even more weathered than Somerset is. There is deep texture put into every aspect of every setting to give it a worn down history. There’s nothing new and shiny here. It’s all old and deteriorated by time. The grime seeps through in every frame of film, and the color timing adds to that further with a slightly de-saturated quality. The near constant rain just adds to the miserable conditions that these characters have trudge through every day. It was an excellent choice to have the entire climax take place outside of the bleak urban environment and put it into a sun-baked desolate open field. The visuals in that sequence depict a dead landscape.
The cinematography of Darius Khondji enhances the production design further with a modern noir quality to it. This is much different than a Michael Mann type of neo noir where things are glossy and colorful, but still offering a depth of darkness. This is a style of noir that emphasizes the dreadful and macabre aspects of this world. It’s meant to show off a gritty, unsettling realism that will horrify. Khondji composes shots with a lot of dramatic weight, and makes use of dolly tracks very well in specific moments. I love the tracking shot after the duel interrogation scene after the “lust” killing. It’s just Somerset and Mills sitting in separate interrogation rooms quiet and still. They are taking a long moment to recover from everything they’ve just witnessed and experienced. The shot smoothly tracks from the one-way window of Somerset’s room to Mills’ room. It’s a quiet downbeat moment for both the characters and the audience to soak it all in. The main action sequence of the Detectives chasing after John Doe is exceptionally well shot maintaining a solid sense of geography with each character, and letting each shot count as the sequence moves from one location to another. The scene constantly evolves adding in new obstacles and dangers along the way. Every aspect of its execution is excellent. Overall, the cinematography of Seven is superb and masterful. It is definitely a result of a cohesive artistic vision.
Rob Bottin was a special make-up effects master starting with his amazing achievements in John Carpenter’s The Thing in 1982. In Seven, his signature grotesque and stunningly detailed work is highly evident. He knows how to bring out the garish realistic horror in his creations. It fits Fincher’s visual style dead-on presenting the smallest details with great clarity to make you believe that everything your seeing is frighteningly real. Bottin worked with great filmmakers like Joe Danté and Paul Verhoeven before joining with Fincher, and I could praise Bottin’s body of work to endless extent. It has always had a particularly off-beat and strange approach which reflects Bottin’s personality very well. While Seven went grossly under-appreciated at the Academy Awards with only a well deserved nomination for Best Editing, Rob Bottin won a Saturn Award for his work here, and it was also very well deserved.
It is a very taut and suspenseful story that Andrew Kevin Walker wrote and Fincher executed. No time is really wasted getting our characters into the plot. We learn about them along the way through the investigation instead of introducing them in a standard first act structure of seeing them go through their daily lives before something adverse occurs. How they each approach the case tells us all we need to know about Mills and Somerset, as I stated earlier. The case and plot unfold with a strong sense of mystery and intrigue as both Detectives uncover the chilling theme behind these murders. Each homicide becomes increasingly more graphic and horrific, thus, heightening the twisted psychological state of the killer. Meanwhile, there is Somerset getting to know David and his wife Tracy, portrayed by Gwyneth Paltrow, who tries to adjust to their new home, which she is not very fond of. She confides in her husband’s new partner after getting to know his sensible and compassionate manner. These scenes and character beats are nicely interwoven to continue developing these characters and their relationships. This maintains an audience’s invested interest in how they deal with everything that’s going on, and the repercussions of what they encounter.
The film presents a definitely interesting psychological state of its killer. How he gets into police custody is quite unexpected, and sets up a very compelling final act where John Doe is in control. He might be in handcuffs, but he’s the one leading the Detectives towards a chilling conclusion. A friend of mine believes that Brad Pitt over acts drastically in this climax. I’ve never had a problem with it. In that moment, David Mills is severely torn in an agonizing emotional state where he wants to lash out, but repeatedly tries to restrain the urge. He’s already established as an impulsive and brash person, and attempting to not lash out in anger would be extremely difficult for a man like David Mills to do. He’s fighting raw, instinctual emotion, and that would likely result in the reaction Pitt presents here.
Brad Pitt’s performance all around is rich with depth and emotion. Mills is a guy who cares about what he does, and wants to make a difference. He could easily become an ignorant jerk of a character with his brash attitude and closed mindedness, but Pitt gives him enough heart and humanity to make him likeable. He takes the hard headedness, the intensity, the loving husband, the optimistic outlook on humanity, and the naivety and mixes them into a cohesive whole. As do all the characters in this film, David Mills has his complexities, and Pitt makes it all work and make sense. Pitt also visually inhabits the role well giving Mills a dirtier, more gritty look than Pitt had ever adopted before, and truly makes the character seamless with the world he inhabits.
The synergy between Brad Pitt and Morgan Freeman is solid. They counterbalance one another beautifully with their characters existing with polar opposite mentalities. They hardly ever agree on anything, but are both motivated to see this investigation through to the end. When they occasionally do get on the same page, it’s a great spark that quickly motivates the story forward.
Freeman, as always, is exceptional. He embodies the dour philosophical mindset of William Somerset wholly. Again, he’s a man worn out from the moral decay of society, and only reluctantly gets pulled towards this case. At first, he wants to avoid it, but Somerset’s intuitive and educated mind drives him towards it. Freeman greatly captures that reluctant attraction, and conveys the character’s psychological investigative approach with a great deal of skill and weight. Somerset is very meticulous, never jumping to conclusions, and Freeman has the right seasoned quality and grasp on tone to sell those qualities well. So much of the film’s tone is sold through him. Prior to the appearance of John Doe, all of the religious ideology and deconstruction of motive is carried by Morgan Freeman, and I don’t think anyone else could’ve done it as well as he did. While the screenplay explains it all very well, if handed over to the wrong actor, it might not sell remotely as well or as coherently. Again, it’s all in the tone, which is pitch perfect through Morgan Freeman’s deeply talented abilities.
In the same year that Kevin Spacey gave us his exceptional performance in The Usual Suspects, he also gave us this fascinating surprise performance as John Doe. It’s a greatly subdued and conservative piece of work that makes Doe so much more unsettling. Throughout his screentime, there’s that knowledge that Doe is not done, yet. There is something more chilling and frightening still to come, and Spacey’s performance is very foreboding in the most subtle way possible. He’s in control, and he is reveling in the impending completion of his masterpiece. It’s all amazingly compelling. Spacey won an Academy Award for his turn as Verbal Kint in The Usual Suspects, and this role is equally deserving of that accolade.
The supporting cast is very solid. R. Lee Ermy is the tough Police Captain, but never falls into that Full Metal Jacket stereotype people like to shoehorn him into. While he doesn’t have a great amount of screentime, his character is given enough character beats to make him feel fleshed out and genuine. Gwyneth Paltrow is perfectly cast as Mills’ wife Tracy. She’s a very compassionate and loving woman who is not pleased with their current situation moving into the city, but has no desire to cause David any stress or turbulence by voicing her worries. She is an exceptionally decent young woman that definitely is out of place in this decaying urban setting, and Paltrow plays these emotional beats with depth and heart. Everyone else filling out the cast holds their own strongly, and help to create a very full and dimensional world for this film.
Lastly, Howard Shore composed a strong score by bringing weight to the grim, horrifying atmosphere. It truly emphasizes the drama, urgency, and intensity of the film. It’s not a score that jumps out at you, and nor should it be. It maintains and enhances dramatic tone throughout. Shore has proven to be a widely diverse film composer, and he is able to complement David Fincher’s darker cinematic style so very well here.
Andrew Kevin Walker put together a deeply impressive and stunning screenplay here, and Fincher was the absolute perfect choice to realize it. Much of what I write in these reviews is more than just saying if the film is good or bad. In a case such as this, it’s about spotlighting the brilliant achievements in filmmaking, and analyzing what made it such an instant, powerful classic. Seven is a landmark film for the genre, and especially for New Line Cinema. It was really their first A-list type of film attracting high profile movie stars like Brad Pitt, Morgan Freeman, and Kevin Spacey, and securing an amazing director with incredible vision in David Fincher. It’s entirely shot as a major studio film, and strongly moved New Line Cinema into contention as a serious, big budget studio. Only six years later would they release The Lord of the Rings trilogy to massive commercial and critical success. This was a pivotal film for both the studio and David Fincher. It is an all around shocking and amazing piece of work that delivers an intelligent story with thematic and dimensional elements along with startling images of graphic horror.
I truly like and enjoy the original Warlock from director Steve Miner. While the low budget restricted its overall production quality, the good script and high caliber acting talents of Julian Sands and Richard E. Grant really made it something worthwhile. It’s one of those films which showed a lot of potential, and that with a larger budget and stronger production values, it really could’ve been amazing. The rights for the film eventually ended up at Trimark Pictures which came to specialize in some decent genre and B-movie successes, mostly direct-to-video releases, but were ultimately absorbed by Artisan Entertainment and subsequently Lionsgate Films. With the rights to the first film, Trimark decided to make a sequel with those better production values. Warlock: The Armageddon brings the Warlock back from oblivion, but this sequel would’ve been better off staying in oblivion. The golden-maned Julian Sands portrays the Warlock far more devilishly in this one with a darker charm, but has no worthy or even respectable adversary this time around. Sands essentially carries the entire movie, and any scene without him is rather uninteresting. His charisma and charm on screen is so electric that you simply crave more of it when he leaves the screen. The plot doesn’t offer anything all that engaging or particularly special.
The Warlock is brought back to recover a collection of gems that, together, can destroy all of creation (yes, again) by bringing his father, Satan, into our world. Meanwhile, in some rural town two teenagers are chosen by some most unimpressive Druids to be trained and fight the Warlock. Chris Young and Paula Marshall, respectively, portray these two youths, Kenny and Samantha, who aren’t too fond of their parents having to kill them first before being imbued with these new special powers. As the Warlock dispatches of several non-formidable obstacles to obtain these gems, these two teenagers in love try to come to grips with what they have been tasked with, and fear for the evil that is coming for them.
I can’t wrap my head around how we go from the amazing character of Redferne, portrayed by the exceptional Richard E. Grant, to a couple of teenagers who frankly care more about what they’re gonna do on Saturday night than being the saviors of all creation. These two amateurs are expected to go up against the unholy spawn of Satan and prevail? I can only suspend my disbelief so much before a premise becomes laughable. Truly, I was more involved in the Warlock and his quest to destroy humanity than caring about this rural pair of teens in love being forced into a situation they want nothing to do with. There is hardly anything endearing or engaging about their half of the movie. Honestly, I wanted this film to have nothing to do with them. It’s rather sad when you come to actually wanting the villain to destroy all of existence. At least we would have been spared more sequels. Of course, Sands was not brought back for Warlock III: The End of Innocence, which was a non-sequel casting Bruce Payne in the title role.
This sequel is much gorier than the original, but the story and characters are far weaker. It’s not a question of bad acting, it’s a question of a bad script. Whereas the original film was written by the exceptionally talented David Twohy, the screenwriters of this sequel, Kevin Rock & Sam Bernard, have nothing of special note in either of their filmographies, and nothing at all written since the late 1990s. Director Anthony Hickox had just finished Hellraiser III: Hell on Earth, and I feel this film is worse than that uneven sequel. Hickox directed some decent horror films like Waxwork & Waxwork II, but after Warlock: The Armageddon, he never directed, wrote, acted in, or produced another recognizable film. At best, he’s proven to be a B-grade director not capable of producing anything without a hefty helping of cheese and over the top sensibilities. Ultimately, looking over the credits of this film, the only notable talent involved is Julian Sands. From the screenwriters to the director of photography to the music composer, there’s nobody of note here. Charles Hallahan (The Thing) and Zach Galligan (Gremlins, Waxwork) do have roles here, but they’re essentially nothing more than inconsequential supporting roles.
On a technical level, the movie is well made with competent cinematography giving everything a fine polish and sheen. It looks a little more cinematic than the first movie, but it certainly has its limitations. Some sets are clearly more restrictive in size and style than what their real world counterparts would be such as the fashion show venue. Also, one action scene takes place in a small American southwest town which looks like the back lot for some low budget western, aside from the parking meters. The Warlock literally has a showdown with a couple of guys with shotguns dressed in bad western attire. It’s another unsatisfying thing attributed to both the screenplay and the low budget. They can’t afford to place the climax of the film in an interesting setting, so, it all happens in a forest-like environment where there are no production values to show off. While earlier sequences were mainly on sets that did the best with the budget they had, the climax just makes it look cheaper with uninventive ideas of setting or action. Of course, Anthony Hickox had the climax of Hellraiser III take place on the late night streets of Los Angeles, and showed a lot of explosions and action, but it ultimately amounted to pointless drivel that dumbed down that franchise to an achingly low level, despite the production values. I can’t say that more money would’ve fixed the creative or artistic problems with the film. It was a rather bland story to begin with, and the climax gets to the point where I’d rather prefer seeing the Warlock triumph.
I can say that the visual and makeup effects are entirely superior to the previous film, and that’s bizarre since this film’s budget was $4 million less than the first film. Perhaps, it’s simply a benefit of the evolution of digital effects replacing optical composites in the four year gap between films that gives this sequel a higher quality in that area. The powers of the Warlock are exponentially more extensive and destructive here than in the first movie, but it doesn’t matter much when the story loses the heart and the charm that the first had with Redferne. You can read my earlier review of that film for a more in-depth insight into what really gave Steve Miner’s film so much promise.
Again, Warlock: The Armageddon is really cheesy and pathetically weak in nearly every facet with Sands being the only exception. This sequel is okay if you want to see more of Julian Sands’ purely evil, sadistic, and wonderfully devilish performance, but that is all that is worth seeing in this film. The original Warlock wasn’t any major blockbuster success, and so, Trimark probably didn’t feel as if all that much effort needed to be put forth for a sequel. Again, Trimark was never known for very high quality films, but there are a few that I still heavily enjoy. However, this is not one of them. If the first movie was filmed as well as this one, and had this much gore – it would’ve kicked some real ass. Unfortunately, what really is the most important aspect with both is good story and character. This film lacks both whereas the original Warlock really had it in good amounts. It was well written with some character depth and a consistently enjoyable premise. This sequel was dumb on arrival with only Julian Sands bringing anything truly entertaining to the project. See it if you want, but you’re not missing much otherwise. At best, it’s cheesy early 90s horror schlock. I would better recommend watching the original Warlock, or if you really want some bad ass demonic vanquishing, try Constantine. This was a franchise that hardly ever got going anywhere, and with this sequel, it’s easy to see why it was not a success.