'Hell' is the name of the hero of the story. He's a prisoner of the women who now run the USA after a nuclear/biological war. Results of the war are that mutants have evolved, and the human... See full summary »
An intergalactic babe borrows her dad's T-bird ship to do a little planet-hopping with her two friends, but they run out of fuel unexpectedly, and must land on Earth. They land on the ... See full summary »
Detective Jake Blade and his partner Bonzarelli are Rock n' Roll Cops (from the Boogie Woogie Division) who beat up and sexually harass everyone they encounter while chasing down Mr. Big and scoring drugs for their police commissioner.
In the sequel to Hell Comes to Frogtown, the Mutant-Frog leader of Frogtown kidnaps a professor and forces him to make a serum that will turn everyone into Frogs, they also kidnap some ... See full summary »
During the 1991 creation of The Roller Blade Seven and its sequel, Return of the Roller Blade Seven, the filmmakers: Donald G. Jackson and Scott Shaw shot over twenty-four hours of 16mm ... See full summary »
I am always amused when anonymous reviewers attempt to criticizes actors and filmmakers here at IMDb.com. Most of the time I simply read the reviews and chuckle. But, in regard to this film, I feel like I really need to put in my two cents, because it seems that most of the reviewers are either missing the point of this film or simply want to attack the filmmakers, (for whatever reason).
First of all, I am grad film student at U.S.C. In one of my classes we went through the three films associated with the project, THE ROLLER BLADE SEVEN, RETURN OF THE ROLLER BLADE SEVEN, and LEGEND OF THE ROLLER BLADE SEVEN, frame by frame. So, I believe I know these films as well as anyone, expect maybe the filmmaker. And, 'Yes,' I have gone to both Scott Shaw's and Donald G. Jackson's websites and have read what they have had to say about these films. What I have to say is that they accomplished exactly what they set out to do; to make a completely nontraditional, art based, film.
Now, I am not saying this is the greatest film every. What I am saying, however, is that the filmmakers used every element at their disposable to, as they put it, 'Push the envelope,' of film-making.
If you look at what Donald G. Jackson and Scott Shaw accomplished in this film, with out any of the computer technology which became available after this film was made, they did one hell of a great job. The camera work is great, the editing is great, the story line, (or lack of one), is also great. What I think they really accomplished is to be the first to bring an MTV style of edit to a full length feature film. Or, three in this case.
Not only are these films visually inspirational, but they brought together a great cast. I mean look at the acting careers of Karen Black, Don Stroud, and William Smith. If actors of that caliber embraced this film, how is a person who has no background in either acting or film-making qualified to criticize it. I mean you may not like Indy Art Films, but a Scott Shaw says on his website, 'You may not like the art of Picasso but you can not say it is not art!'
There are a lot of reviewers who claim they could make a better film. As I always say to people who make this claim, 'Let's see it.'
I briefly met both Scott Shaw and Donald G. Jackson when they gave a lecture at the DGA, Director's Guild of America, a couple of years ago. They were both very nice men and have held true to their ideal of pushing the boundaries of traditional film-making. I believe they are both an inspiration and the nonsensical criticism of this film should cease. People should open their eyes and see this movie for what it is, an inspiration to Indy Filmmaker that you can make a nontraditional film and push the boundaries of the accepted and the expected.
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