SWEET SIXTEEN (1983)

(Director: Dmitri Sotirakis, billed as Jim Sotos. Screenwriter: Erwin Goldman.)

Review

In a small Texas town, the recently arrived fifteen-year-old Melissa Morgan (Aleisa Shirley, her cinematic debut) is flirty, lonely, and lusted after by many of her male peers and a few of the older men. This isn’t much of a problem until that the last guy she went out with (Johnny Franklin) is found stabbed to death the next morning. The most likely suspect is a local Native American bad ass, Jason Longshadow (Don Shanks, HALLOWEEN 5: THE REVENGE OF MICHAEL MYERS, 1989), who’d almost gotten into a bar fight with aggressively racist Johnny, his older brother Billy, and one of Johnny’s friends the same night Johnny was murdered.

Easy-going Sheriff Dan Burke (Bo Hopkins, FROM DUSK TILL DAWN 2: TEXAS BLOOD MONEY, 1999) begins investigating the crime even as the violent Billy Franklin, riling up local ire, looks for Jason Longshadow. More murders happen, all of them centered around Melissa, culminating in a bloody, deadly showdown that’ll likely be talked about in that town for decades.

More a well-written drama with an almost Seventies feel than a slasher film, SWEET is a solid, if sometimes oddball work. Slash-and-stab scenes occasionally punctuate the steady-build drama, with full-frontal female nudity (Aleisha Shirley), mostly solid acting, effective foreshadowing, a shoehorned and character-unlikely shock ending, and scenes that recall better movies (FRIDAY THE 13^th, 1980, and HALLOWEEN, 1978, e.g., the shot where Tommy Doyle, holding a pumpkin and being bullied, is watched by Michael Myers). And if you’re a fan of cheesy Eighties ballads, Joel Wertman and Mark Wertman’s “Melissa’s Theme” (which plays during certain Melissa-focused shots. . . foreshadowing?) might be your briefly heard favorite new tune.

 

Other actors (beside Bo Hopkins and Don Shanks) who stand out:

Dana Kimmell (FRIDAY THE 13^th PART 3, 1982) as Marci Burke, Sheriff Dan Burke’s murder mystery-reading teenage daughter;

Steve Antin (THE LAST AMERICAN VIRGIN, 1982) as Hank Burke, Sheriff Dan Burke’s teenage son;

Patrick Macnee (THE HOWLING, 1981) as Dr. John Morgan, Melissa’s protective, archeologist father;

Susan Strasberg (BLOODY BIRTHDAY, 1981) as Joanne Morgan (née Platt), Melissa’s protective mother;

Don Stroud (THE AMITYVILLE HORROR, 1979) as Billy Franklin;

Logan Clark (NIGHT OF THE COBRA WOMAN, 1972) as Jimmy;

and

Michael Pataki (GRADUATION DAY, 1981) as George Martin, a shady politician.

You might enjoy SWEET if you’re looking for a solid (sort of) murder mystery with occasional, slasherific kill scenes. Anyone wanting an edgy thriller should seek something else.

 

Deep(er) filmic dive

According to IMDb: Leslie Nielsen (PROM NIGHT, 1980) was originally set to play Dr. John Morgan, Melissa’s father, but bowed out because of scheduling conflicts.

QUEEN OF BLOOD (1966)

 

(a.k.a. PLANET OF BLOOD. Director/co-screenwriter: Curtis Harrington. Based on Mikhail Karykov and Otar Koberidze’s story/film MECHTE NAVSTRECHU.)

 

Review

1990. Ambassadors of a mysterious alien race, enroute to Earth to establish relations with humans, crash-land on Mars. On Earth, the International Institute of Space Technology, created to “explore” Mars and Venus, sends a rescue mission for the aliens, with whom communications are hazy at best (along with their general appearance).

The crew of the Oceano are on their way to Mars when multiple complications occur, starting with a sunburst, which damages the Oceano’s system. Upon reaching Mars, the crew members find a lone survivor (a green-skinned, exotic-looking, and mute Alien Queen (her character end-credited as “?”, played by Florence Marly, DOCTOR DEATH: SEEKER OF SOULS, 1973). Several men, especially Paul Grant (Dennis Hopper, TEXAS CHAINSAW MASSACRE PART 2, 1986), are dreamily, romantically drawn to her. After she drains one of her admirers of blood (offscreen), killing him, the remaining crew members decide to restrain, not kill her, because she’s a scientific specimen. . . an obviously bad decision, an opinion voiced by alarmed crew member Allan Brenner (John Saxon, TENEBRAE, 1982), who wants to destroy her.

QUEEN, with a fun, familiar twist or two, is a fast- and tightly paced (for its time) low budget movie, with an all-around solid cast and crew. Its look is sumptuous in an often color-drenched B-movie way (opening with John Cline’s exotic, science fiction-monstrous “title” paintings and stock spooky-theremin music by Ronald Stein, billed as Leonard Moran—Moran’s credits include SPIDER BABY, OR THE MADDEST STORY EVER TOLD, 1967). QUEEN’s look is further augmented (and made more atmospheric) by impressive special effects lifted from bigger budgeted and uncredited Russian films, BATTLE BEYOND THE SUN, 1959, and MECHTE NAVSTRECHU, 1963), fitting because QUEEN is a remake of MECHTE, English translation DREAM TOGETHER. (MECHTE was also titled DREAM COME TRUE in some countries.)

 

QUEEN’s other notable players and behind-the-scenes crew include:

Basil Rathbone (SON OF FRANKENSTEIN, 1939) as Dr. Farraday, head of the International Institute of Space Technology;

Judi Meredith (THE NIGHT WALKER, 1964) as Laura James, scientist and Allan Brenner’s romantic interest;

Don Eitner (KRONOS, 1957) as Tony Barrata, one of the crew members;

Forrest J. Ackerman (THE HOWLING, 1981, and RETURN OF THE LIVING DEAD II, 1988) as Dr. Farraday’s assistant (“minus his trademark glasses”, according to IMDb’s QUEEN OF BLOOD “Trivia” page). Ackeman, then-editor of Famous Monsters of Filmland magazine, holds something in the movie’s last shot;

Virgil Frye (GARDEN OF THE DEAD, 1972) as “Control Panel” (Frye’s first feature);

Gary Crutcher (GIANT FROM THE UNKNOWN, 1958) as an uncredited spaceship crew member;

Leon Smith (VOYAGE TO THE PREHISTORIC PLANET, 1965, also co-directed by Curtis Harrington) was VOYAGE and QUEEN’s set designer, then billed as "set decorator".

and

Vilis Lapenieks (VOYAGE TO THE PREHISTORIC PLANET, 1965) was VOYAGE and QUEEN’s cinematographer.

QUEEN might be worth your time if you appreciate its above-noted qualities, particularly if you’re a fan of MARS ATTACKS! (1996; director: Tim Burton) and ALIEN (1979; director: Ridley Scott), the latter of which shares a similar, if darker, more primal, and feminist storyline.

 

Deep(er) filmic dive

According to IMDb: though Ronald Stein’s spooky theremin music sounds like it’s mixed with Louis Barron and Bebe Barron’s FORBIDDEN PLANET (1956) “tonalities” it’s not.

Florence Marly reprised her role of “?” (her character’s end-credit in QUEEN) in a six-minute, 16mm sequel, SPACE BOY (1973). In SPACE BOY, her character is named Velarna, and Marly is billed as Florence Marly von Wurmbrand.

QUEEN’s running time is an hour and eighteen minutes, a good choice if you’re looking for a shorter movie to watch.

SUBSPECIES (1991)

 

(Director: Ted Nicolaou. Screenwriters: Jackson Barr and David Pabian, based on Charles Band’s idea.)

 

Review

In fictional Prejnar, Romania, Radu Vladislas, monstrous offspring of a twisted sorceress and a briefly ensorcelled King Vladislas, returns home and kills his elderly father for the Bloodstone, a mystical gem that contains the blood of saints—a powerful, addictive elixir.

Radu’s vampiric half-brother (Stefan, played by Michael Watson), arrives and finds his father dead. He, good, kind, and half-human, seeks to avenge his father’s death, and poses as a college student studying local “nocturnal creatures”.

Stefan is not the only new arrival in Prejnar. Three medieval-history-studying college students—Romanian native Mara (Irina Movila), free-spirited Lillian, and bookish and especially resourceful Michelle—show up and stay at a local fort near Castle Vladislas, where Radu lurks.  

When Lillian takes to her bed with “anemia” after secretly being visited by Radu, the blood-fueled sibling conflict between sensitive Stefan and his ruthless, more virile brother (as well as his devilish, pint-sized minions) ratchets into full-blown war, with all around them—including local groundskeeper Karl (Ivan J. Rado, PUPPET MASTER II, 1990)—caught up in their designs.

SUBSPECIES has an authentic Romanian feel, strong writing (a lot of its dialogue comprised of interesting Romanian bloodsucker mythology and real-life history), tight editing (credit Bert Glatstein and William Young), and great cinematography (Vlad Paunescu, whose work adds to the realistic feel of SUBSPECIES) and striking, spooky scenes. The rest of the behind-the-scenes crew nailed it as well. When combined with the strong acting of its cast, particularly Anders Hove’s shadowy, hiss-whispery Radu, all of this makes SUBSPECIES a fun, well-made take on bloodsucker tropes, one worth checking out. 

SUBSPECIES‘s other noteworthy actors include:

Angus Scrimm (PHANTASM, 1979) as the visibly ailing, spirited King Vladislas;

Michelle McBride (THE MASK OF RED DEATH, 1989) as just-do-it Lillian;

Laura Mae Tate (DEAD SPACE, 1991) as the studious Michelle, whose mutual attraction to Stefan might save them.

Followed by four sequels and a spin-off movie, its first sequel BLOODSTONE: SUBSPECIES II (1993).

 

Deep(er) filmic dive

SUBSPECIES is the first American movie to be shot in post-Communist Bucharest, Romania (called Prejnar in the film).

According to IMDb’s Trivia page, Radu’s character was inspired by Radu the Handsome, real-life sibling of Vlad the Impaler.

In Justin Beahm’s article “From TerrorVision to Subspecies: Ted Nicolaou Interviewed (Part One)” (Scream magazine, issue 56, September/October 2019), Nicolaou said that Michael Watson (who played Stefan Vladislas) recommended his GENERAL HOSPITAL co-star Anders Hove to play Radu, and Full Moon head/producer Charles Dance almost immediately cast Hove after meeting him.

Nicolaou also mentioned how Laura Tate (SUBSPECIES’s Michelle) “left the shoot two weeks” before it was completed, after she slept-walked into Nicolaou’s hotel room where she woke and freaked out. Tate’s remaining scenes were shot with a double.

Also noted in Beahm’s article: Nicolaou was a boom operator/sound guy on Tobe Hooper’s THE TEXAS CHAIN SAW MASSACRE (1974). Nicolaou owned the van that Sally and her friends traveled in.