Cast overview, first billed only: | |||
Edwin Neal | ... | Splatter | |
Marilyn Burns | ... | Dorothy Grim | |
Gabriel Folse | ... | Paul | |
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Wade Reese | ... | Steve |
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Barton Faulks | ... | Tom |
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Rob Rowley | ... | Jay |
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Craig Kanne | ... | Clint |
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Jeffrey Scott | ... | George (as Jeffry Scott) |
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Alice Villarreal | ... | Julie |
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Doug Davis | ... | Eddie Pain |
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Karin Kay | ... | Curious Bad Girl |
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Elizabeth Henshaw | ... | Uncurious Bad Girl |
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Cathy Durkin | ... | Julie's Friend |
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Kate Cadenhead | ... | Helpful Mutant |
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Joe Abner | ... | Fire Breather |
A group of protesters who call themselves "mutants" have taken over the inner city streets of a large city. They dress weird to try and show the effects of toxic poisoning. One of the mutants, Splatter, has really been affected. A group of fraternity boys decide to go into the mutant territory and kidnap one of the mutants as a prank. They inadvertently get framed for the murder of the mutant leader and are hunted through the abandoned buildings and dark streets by a crazed Splatter and his gang. Written by Josh Pasnak <chainsaw@intouch.bc.ca>
The idea for this film must have looked good on paper. No wait. On second thought, there's no way it could have. Let's see what we have here: In an unspecified future, after some sort of non-descript social collapse has left the inner cities inhabited only by freaks, a group of frat boy jerks decides to play a hazing prank that involves them driving into the heart of the city where they are stranded and under attack by post-nuclear punks. Can they make it back to the suburbs? Who cares?
An intriguing, although unsuccessful, meshing of different ideas, "Future-Kill"'s biggest problem is that its various concepts don't gel. In fact the Troma-esque frat-boy comedy at the very beginning of the movie is so jarring (and gross) that it almost seems like part of a different film altogether. The rest of the flick follows suit.
Only high points: Seeing how many times you can spot the microphone boom in the camera shot, And the cool H.R. Giger cover art on the box, which incidently gives the illusion that this film has some class. It doesn't.