3.4/10
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Demon Cop (1990)

| Crime, Horror
A former probationary officer who is a patient at a mental asylum escapes and prowls the city, looking for victims whose blood may cure the blood disease he has that has turned him into a werewolf-type monster.

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Cast

Credited cast:
Rocco Karega ...
Edward Thurman
Theresa Fenneaux ...
Maria Beniley
...
Ike Logan
Tony Zotta ...
Brian Spence
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Kelly Adams
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Paul Rawson ...
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A former probationary officer who is a patient at a mental asylum escapes and prowls the city, looking for victims whose blood may cure the blood disease he has that has turned him into a werewolf-type monster.

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Not even good for a few laughs.
6 April 2011 | by (Hampshire, England) – See all my reviews

There are many films out there that stink to high heaven but which still manage to redeem themselves somewhat by providing unintentional giggles along the way; Demon Cop, however, is such an amateurish mass of excrement that it is not even good for a few laughs.

A jumbled mess of terribly written, badly acted, crudely lit, poorly framed scenes, seemingly edited together completely at random, this rancid garbage from the multi-talentless Rocco Karega (failed actor turned failed writer and failed director) must surely qualify as one of the worst movies in the history of horror.

The film opens at the Ravenwood Asylum for the Criminally Insane, where we are greeted with a cheery 'Hello' by Cameron 'Will Act For Food' Mitchell, who informs us that he is not a patient at the institution, but the doctor. The doc then proceeds to ramble inanely for a couple of minutes about the 'files of the damned' and Edgar Allen Poe, making us wonder if he might be a patient after all, before recounting the details of one particular case, that of a poor soul infected by a 500 year old demon that can be transmitted through blood...

What follows is some of the most incoherent trash ever committed to film, featuring a monster with gag-shop plastic teeth and scary hands made from rubber gloves, 'actors' who frequently fluff their lines (but who soldier on regardless hoping that no-one has noticed), baffling shots that linger interminably on eyes, feet or the backs of heads, while the characters spout lengthy chunks of meaningless dialogue, and some of the most unconvincing reaction shots you are ever likely to see.

By the time Cameron Mitchell reappears at the end to wrap things up (and presumably to collect his payment—after all, a man's got to eat!), there's a good chance that you'll either be sound asleep or checking into the nearest asylum yourself.


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