Drama students decide to pay tribute to their favorite horror star by stealing his body from his crypt for a farewell party. They fail to realize their violation of the tomb has triggered ... See full summary »
Watty has made a living out of robbing convenience stores, but after one of these jobs turned into murder by his partner, the psychopath Billy Mack, he is on the run with his fiancé ... See full summary »
After Leila, his boss's daughter, is kidnapped by psychopathic plague victim Decker, chauffeur Chazz teams up with plague-infected mercenary Luger to penetrate the toxic & off-limits Plague Zone and bring her back alive.
The town of Leffert's Corners has been plagued by unearthly beings for decades, and now there is only a few people left, including the local priest and a woman traumatised by the death of ... See full summary »
One day, a pair of criminals decide to infect U.S. president with an incurable virus. His only hope is to give in to their demands, but he refuses to cooperate with terrorists. Now it is up to Dr. Diane Landis to save his life.
A man sells his soul to the devil in order to gain superpowers and avenge the brutal death of his girlfriend. When he realizes that the price is the soul of his new love interest, he turns on the devil.
Ill-considered plotting, as is the case here, is de rigueur for any film released beneath the banner of Troma Entertainment, the catalog of which for its greatest part consists of movies displaying various forms of excess, designed for the acceptance of a manifest audience of half-wits. Among Troma's less atrocious products is this affair, shot in Dallas, that concerns a serial killer, referred to as a "Cyberstalker" (the film's title for its original release, renamed THE DIGITAL PROPHET for video distribution), who fails to leave clues or a crime pattern other than that of crossing the arms of victims atop their chests, until eventually a team of police detectives determines, much later than most viewers will expect, that each of the slain regularly accessed an internet web site that has caught the fancy of a large number of cultish devotees. This site, Cyecom, specializes in outrageous fantasy and is linked with a fetishistic underground graphic comic book, "Cyberthoughts", brainchild of Andy Coberman (Jeffrey Combs) who, in spite of being a heroin addict, apparently manages to minimize the effects of the baleful narcotic enough to own and operate a retail comic book shop, while also writing the periodical Cyberthoughts that the detectives determine may somehow be connective with the exasperating frequency of the homicides. Into the picture appears "Newman" (Annie Biggs as Annie Haslett), a waifish acolyte of Cyecom and reader of Cyberthoughts who contacts Detective Meg Jordan (Schnele Wilson) and expresses dread of the unknown killer whose vicious acts have been given front page newspaper exposure. Newman reveals to the investigator that she had acquaintanceship with all of the victims by means of the Cyecom web site and, as a result, fears for her safety. The killer's prey were dispatched by gun, knife, strangulation, and electrocution, an olio of methods not discussed by the detectives, although viewers are treated to a surfeit of red herrings that are essentially irritants to those who will clearly see that not all of the murdered are actually related in any way with Cyecom and will begin to wonder if any specific purpose to all of this may be in the offing as the film plods along. Computer graphics become more striking as the scenario advances, and their use enhances the narrative more than does a weak screenplay hampered by the mentioned strained application of false leads that, in conjunction with capricious pacing, inhibits needed problem development that properly should be focused upon a possible rationale for the killings rather than technologic devices. Members of the cast, along with the director, are also producers here, and although there is little merit for a viewer to extract from their efforts in this film, they are hopefully free from the questionable value of association with Thoma, and their subsequent work should be considered, as it is ever a pleasure to follow progress, in a daunting business, of independent filmmakers who demonstrate a sincerely creative bent. By overlooking the embarrassingly poor playing of Combs, one finds worthy performances in this item, with Biggs/Haslett earning acting honours for her crafted turn, despite substandard dialogue.
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