Dr. Roger Girard is a rich scientist conducting experiments on head transplantation. His caretaker has a son, Danny, who, although fully grown, has the mind of child. One day an escaped ...
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Anthology movie by, and starring, Michael Jackson in his prime, combining a number of music videos from his bestselling "Bad" album with a fantasy tale of Michael's confrontation with a ruthless drug dealer known as Mr. Big.
A former Priest named Dr. Lawrence harbors a dark and horrible secret in his attic. The locked room serves as a prison cell for his crazed, cannibalistic adult son, who acquired his savage ... See full summary »
Dr. Roger Girard is a rich scientist conducting experiments on head transplantation. His caretaker has a son, Danny, who, although fully grown, has the mind of child. One day an escaped psycho-killer invades Girard's home, killing Danny's father before being gunned down himself. With the maniac dying and Danny deeply unsettled by his father's death, Dr. Girard decides to take the final step and transplant the killer's head onto Danny's body. Of course, things go horribly wrong and the two-headed creature escapes to terrorize the countryside.Written by
Jeremy Lunt <firstname.lastname@example.org>
The movie Cass dives through at the beginning of the film was obviously covered in plastic. See more »
[as the 2 headed monster wakes up]
Whatta you know. He can talk.
Who are you?
I'm your brother.
I don't have a, a brother.
You do now. I don't like it any better. But until we can do something about it, I'm running this monster, understand?
Uh, my neck hurts.
My neck hurts, stupid. Don't you see what these maniacs had done to us?
Stop jerking around. You and I are now one, dummy. Let's stand up. I'll show you.
[as the monster gets up and starts walking for the first time]
Aaaagh! I ...
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The "Midnight Movies" DVD from MGM has violence restored that was cut for its original "GP" rating. Most notably the death of the retarded man's father with a shot of his bloody head from the garden rake and the murder of the biker has additional hits and shots of biker's face being bloody from the chain beating by the creature. See more »
There's no doubting this is a very bad film by anyone's standards, but it isn't without some entertainment value. Bruce Dern – clearly on his uppers back in '71 – takes on the mad scientist role with such laid-back indifference to the part that his performance alone is worth the cost of the rental or purchase or ninety minutes of your life. Never will you see an actor so clearly embarrassed by the rubbish he has somehow found himself saddled with or trying so hard to appear invisible. Dern speaks each of his lines with a kind of preternatural calmness that leaves you wondering whether some underhand producer hasn't drugged him so that he believes he's floating through a dream. His character is assisted by Max (Berry Kroeger) who, quite frankly, is the creepiest thing in the film – like a strange uncle whose lap your mum warns you not to sit on when you're a kid
The plot follows the typical monster-movie template. Once again our monster is stitched together from people's body parts in a fortress-like laboratory to which access is denied to the good doctor's long-suffering wife (Pat Priest). But, unlike Frankenstein, this is no meditation on the dangers of man playing God, rather than a frank attempt to titillate undemanding teens. Of course, wifey can't resist having a peek in the lab and before you can say 'don't open the door!' she's opened the door and – well, I'm sure you can get the rest.
The poor simpleton who has a maniacal killer's head grafted onto his neck (don't you hate it when that happens?) is something of a giant, and he's filmed from a low angle so that no money has to be spent on special effects. I'm sure Messrs Bloom and Cole must have been pretty close friends by the end of the shoot. Of course the killer quickly becomes the dominant partner and forces his neck-mate to embark on a killing spree. He lumbers around the countryside, chancing upon necking teenagers and wasted bikers who, for some reason, find it impossible to outrun him and, cackling wildly, summarily dispatches them for no apparent reason other than he's completely bonkers.
The single moment of any worth in the film is the point at which director Anthony Lanza cuts away from the murder of the female biker, just as those brainless cackles are beginning to rise. It's a moment of restraint totally at odds with the rest of the movie.
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