Sardu, master of the Theatre of the Macabre, and his assistant Ralphus run a show in which, under the guise of 'magic', they torture and murder people in front of their audience. But what the spectators see as a trick is actually real.
A group of assorted Americans survive a plane crash in a Caribbean island, and discover it is infested with crawling snakes and other venomous beasts. Even worse, terrorists are preparing a full out war on America with a biological weapon.
When his wife and son are brutalized by thugs and a corrupt criminal justice system puts the perpetrators back on the street, a New York City factory worker turns vigilante to find some measure of bloody justice.
A man's best friend is killed on the streets of New York City. The man (Robert Ginty) then transforms into a violent killer, turning New York City into a great war zone, and Christopher George is the only one to stop him.
Nobody Goes Home
Written, Performed and Produced by Andrew Spindler
Copyright 1986 Andrew Spindler See more »
Not enough gratuitous content.
A great title leads you to great expectations. "Surf Nazis Must Die" is a title that DEMANDS a movie overflowing with needless sex and unnecessary violence. Characters should be killing and dying and stripping and screwing ceaselessly and pointlessly from beginning to end. It should be filled with bizarreness, crammed with oddities that were included not because they make sense, but because somebody in the cast or crew thought it was a good idea at the time. "Surf Nazis Must Die" should have been the cinematic equivalent of 'found art.' Alas, it isn't. Rather the filmmakers told a largely conventional story of revenge in a largely conventional manner. And when there wasn't enough content to fill out the movie, instead of throwing in some irrelevant bits of sex, violence or weirdness, they fluffed up the scenes carrying the main storyline, making them slow and dull, instead of quick and sharp. Even the sex and violence that IS in the movie is dull and forgettable. But this is common enough in the low budget world - and not a sin - where high quality is expected to be beyond the means and talent of the filmmakers. But they should remember that quantity is also a quality and that a pile of low-grade industrial diamonds can be worth more than a few gemstones.
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