A cop chases two hippies suspected of a series of Manson family-like murders; unbeknownst to him, the real culprits are the living dead, brought to life with a thirst for human flesh by chemical pesticides being used by area farmers.
A man tries to uncover an unconventional psychologist's therapy techniques on his institutionalized wife, while a series of brutal attacks committed by a brood of mutant children coincides with the husband's investigation.
A former astronaut helps a government agent and a police detective track the source of mysterious alien pod spores, filled with lethal flesh-dissolving acid, to a South American coffee plantation controlled by alien pod clones.
Tony's father Sam, abducted by aliens three years earlier, returns to earth and seeks out his wife and son, but Rachel has since been living with Joe and the reunion is awkward. Joe doesn't... See full summary »
Harry Bromley Davenport
Two campers in the New Jersey woods have their outdoor fun interrupted by the arrival of a meteorite crashing nearby. They go to investigate the crater, but are suddenly attacked and devoured by alien parasites who have hitched a ride to Earth. After finishing off the campers, the hungry space monsters head for a nearby town, where they make their domain in the basement of an old house soon begin polishing off one hapless inhabitant after another. Four young teenagers, plus one pre-teen boy, try to find a way to stop the angry space monsters before they reproduce and literally eat humanity. Written by
Jean-Marc Rocher <firstname.lastname@example.org>
The mother spawn was constructed in the basement of effects artist John Dods. However, no one took the creature's size into consideration, so when they had to have it on set, they had to cut off one of the creature's heads to get it through a doorway, and reassemble it on set. See more »
After the camper who went back for the camera is attacked in the tent, his bloody arm comes through the flaps and his hand grabs a sapling. Right after the hand closes, the shirt changes from light faded denim to a very dark color, and the hand appears to be somewhat larger. See more »
[Pete picks up a ringing phone]
Hello? Oh, hi Frankie. Oh yeah... I woke up because the phone was so loud. Oh, that was my aunt. Yeah, my aunt and uncle are visiting. What?
What are you getting so worried about? Look, look... biology isn't exactly my strongest point either.
What about tonight? We can still go. No, I told you... I said my folks have the car today. Not tonight. What about your car?
Oh? Look, if you want to get here by six... six-thirty p.m. as soon as my folks...
[...] See more »
As soon as the end credits finish, the words "Don't try it, Gary" appear. See more »
I guess I expected too much from this low-rent independent cult Sci-Fi horror favourite, as it delivered on the cheesy gore and monster effects (an infestation of outer-space slug parasites with imposing pearly whites) that was like something of a old-school 1950s monster throwback, but when that wasn't the case the characters that the story concentrated on were awkwardly dull (outside the young lad) and the dialogues just as mundane. Sometimes you can look over that fact, but the main problem lied in some slow stretches with nothing but trivial exchanges which added nothing new than to prolong the outrageously tacky, but icky action with annoying stoppages. In that aspect the film didn't outstay its welcome at only 80 mins long. Some inventive flourishes (dramatic camera angles springing up) and nasty shocks (a surprise or two in the carnage filled deaths), in somewhat a familiar plot structure. Kids trapped inside their home with hideous, unfriendly monsters. The material kind of finds inside in both camps; serious but not without a touch of humour. Leading the way is a resourceful young boy (a fan of horror films) with a wild imagination, but who might just be the only one who can rid earth of this threat. His first encounter in the dank, darkly lit basement is a surreal treat. The creature effects start off nothing more than POV shots, shadows and silhouettes but that's not for too long. They are impressively effective and also goes for it boldly inspired closing shot. Director Douglas McKeown's mechanical handling shows up some patchy traits but for its low-scale production, he creates some crafty atmospheric stages and the accompanying music score packs an eerily spacey touch. Trashy, but mildly fun.
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