Basket Case 3: The Progeny (1991) Review:

Frank Henenlotter's feature film debut in Basket Case (1982) is certainly what he's best known for. While it was by no means a good looking film, it served its purpose in creating an underground horror icon. As bad as the film was. When Basket Case 2 (1990) was created, not only did it have better production quality, but it also had a concept worth getting behind. Sadly, the sequel fell short of this leaving ideas half-baked that could've progressed the story much further than the original could have realized. And just like that entry, the second sequel very much follows the same footsteps. As a rushed sequel, Henenlotter wasn't even happy with it...but it still has some credit to its name. This final film though proves it just wasn't a really good franchise.

 Written and directed by Henenlotter for the third time, along with co-writing partner Robert Martin (Frankenhooker (1990)), this sequel picks up just like the last entry with recalling the events of Basket Case 2 (1990). After Duane Bradley (Kevin Van Hentenryck) kills Granny Ruth's (Annie Ross) daughter, Bradley has been in solitary confinement for several months. Only to be brought out to see that his brother Belial is going to be a father after mating with Eve (Denise Coop) the other lump of flesh living at Granny Ruth's. But in order to have a safe delivery, Granny Ruth wants everyone at Uncle Hal's (Dan Biggers) where he and Granny Ruth's son Little Hal (Jim O'Doherty) live. After Duane is freed from his cell, he escapes causing more damage.

 It's interesting because as this series has progressed, Henenlotter has exposed just how much of a screw up Duane really is. Belial is no golden boy either, but at least he tries to settle down and live a normal life. This just shows how much little development Duane really gets in this franchise. Duane is the one who escalates other character viewpoints on certain situations retracting their development as well. When Duane escapes, he comes across the local sheriff (Gil Roper) and his daughter Opal (Tina Louise Hilbert), who he only entangles them into his issues too. But even then, things get strange between Duane and Opal where it goes from Opal seeming sane enough, only to have strange sexual desires. What is going on?

 The more engaging characters viewers might want to see more of is Little Hal as he has the ability to make mechanical contraptions. Yet, he has very little screen time. Even Uncle Hal falls off the story not long after he's introduced. Much of the characters in general are just unlikable or are too strange to care for. Even Beverly Bonner returns (not as Casey from the last two films) as a cashier. The cast in general do their job, it's just the choices in direction of the story that don't really make sense. Visually, the film went all out on that. The gore may not be as abundant as the other two films, but when it's on screen it's still gruesome. This coincides with the practical effects used, which for 1991 looks good for its budget.

 Cinematography was competently handled too, this time by Robert Paone. Starting his career as a second camera assistant in Saturday Night Fever (1977), Paone keeps the camera steady for what is shown, as well as hiding various elements that get revealed later. The film score was composed once again by Joe Renzetti and sadly it still doesn't get featured as much as it should. The music certainly fits the tone, having ethereal and strange sounding tracks, but it doesn't have recognizable traits making it hard to recall on its own. There are hints of melodic themes, but Renzetti doesn't utilize it enough. Thankfully there is a score to hear in case it was difficult to make out in the film itself.

 As the final film in this franchise, Frank Henenlotter's trilogy about a deformed Siamese twin is average at best. The final entry is still better than the original, narrative wise, but not by a lot since much of script shoots itself in the foot before it even gets started. The visuals are fine and the actors do their okay, but there's still very little character development, they’re not likable and the music is sorely unhighlighted.

Points Earned --> 5:10

Runaway Train (1985) Review:

Railroads have been an important industry for quite a while. Ever since they were designed, they have helped mankind traverse the land with strength and speed unlike many had never seen before in the modern age. And while it has enamored people from all walks of life about the career paths of working on the railroad, it is very much a dangerous job. Probably one of the biggest fears for anyone in this profession is the exact situation that happens in this film; a runaway engine. With amount force, momentum and weight behind such a mass clocking in above a recommended speed limit, these behemoths can become quite an instrument of destruction. The way it's portrayed here for the time is commendable...but the story is where it's lacking. Which is surprising considering the lead actor won a Golden Globe for it.

 The concept was originally penned by Akira Kurosawa, who directed Seven Samurai (1954) and would later have that adapted into The Magnificent Seven (1960). The screenplay was adapted by Djordje Milicevic, Paul Zindel and Edward Bunker, where two convicts Manny (Jon Voight) and Buck (Eric Roberts) escape a maximum security prison ran by Ranken (John P. Ryan). Together they hide on a freight train where they discover no driver is controlling the now runaway engine. They also discover a crew member by the name of Sara (Rebecca De Mornay) who was asleep when the runaway took off. Together she looks to stop the train while simultaneously the convicts try to avoid being captured. This was also director Andrey Konchalovskiy's first action drama in North America. The same person who went onto to director Tango & Cash (1989).

 This film from a filmmaking viewpoint very well crafted. The problem is its script and acting. Viewers will have a hard time to connecting with the main characters. Rebecca De Mornay perhaps plays a character more relatable only because anyone would be scared in that situation. However, for Voight and Roberts' roles there is no indication as to what there is to sympathize with these two criminals. Manny is a high profile bank robber and Buck is convicted of sexual assault. The story shows it's not Manny or Buck's fault for the runaway train.... nor do they kill anyone when they escape the prison. But they did break out of prison, so they're still in the wrong. In certain ways, the movie seems like it tries to impress upon its viewers that we are to care for them...when really how could we? It just the Sara character that's forced into this uncomfortable situation who seems to be the only likeable one.

 Not even John P. Ryan as Ranken is likeable. The acting is questionable at times too specifically with Voight. At times he goes from reserved to completely outlandish. There are also appearances from Kyle T. Heffner, T.K. Carter, Kenneth McMillan, Danny Trejo, Tommy 'Tiny' Lister and Carmen Filpi. Aside from these points, one cannot ignore the technical prowess of this film and how it was filmed. When the diesel locomotive leaves the railyard is when things get intense. It's actually quite peculiar how similar this film is to Unstoppable (2010). Because this was 1985, viewers can be sure all effects used were practical. Everything from the sound design of the rails hissing before the train coming, to the clanking of couplings is very realistic feeling and treacherous.

 Credit should be given to Alan Hume for being such a competent director of photographer. The angles at which are filmed for this feature can be quite dizzying being that of how the viewer will feel while watching. The shots are made to look like the viewer is riding this megaton engine flying down a rail at 90 miles an hour. It's scary. Hume also filmed for Star Wars: Episode VI - Return of the Jedi (1983) and Supergirl (1984). Sadly, the music was disappointing. Composed by the underrated Trevor Jones, the score is an interesting mix of synthesizers and orchestra. Unfortunately, it's not highlighted enough to truly be recognized. Thankfully a score does exist to purchase, but it would've been helpful in the film too.

 From a film tech perspective, it should be praised for how it was filmed. The tracking and internal shots of this chase is quite unique, as are all the practical effects. But this doesn't take away that viewers may not have compassion for the two lead characters, Voight's uneven acting and hidden musical score that should've been featured more.

Points Earned --> 5:10

Highlander III: The Final Dimension (1994) Review:

The original Highlander (1986) is a film that truly has earned its cult following. Sadly, the story was made in such a way that trying to continue it in further installments would be downright mind boggling. Highlander II: The Quickening (1991) was reviled by fans due to its departure from the original story. Maybe that blunder would talk sense to the producers right? Wrong. Instead another sequel was made, this time further following original story. Initially...this could be promising, but why bother? Once Connor MacLeod won the prize, that was it. Yet somehow, he ends up not being the only one, completely undermining the story from the original. I think continuing the concept is fine...but the original seems to have made the story too perfect.

With a screenplay written by Paul Ohl, his first credit and directed by Andrew Morahan in his first film credit, this sequel is no better than Highlander II: The Quickening (1991). It's nice that everyone tried to approach this entry more faithfully than the last but even then, clearly bad decisions were made. Fans learn that before MacLeod (Christopher Lambert) moved to America but sometime after Ramirez's death, he was in Japan learning skills from another master by the name of Nakano (Makoto Iwamatsu) to fight against the deadly swordsman Kane (Mario Van Peebles), who happens to get frozen in a mountain. Now present day, long after MacLeod has "won" the prize, Kane awakes to finish what he started.

The writing is what really drags this potentially redeeming sequel through the mud. Ohl, deserves credit for at least trying to come up with a way to continue the original. But again, the original story seemed too perfect to continue to begin with. A vast majority of this feature is retreading familiar ground that happened in the original and even some of the first sequel. With Kane on the loose, MacLeod returns to New York where not only does he get pursued by a new cop Lt. John Stenn (Martin Neufeld) who is looking to jail him under his pseudo name of Russell Nash, MacLeod also crosses paths with another woman named Alex Johnson (Deborah Kara Unger) who's interested MacLeod's backstory. Also not to mention, he has an adopted son now too in the middle east named John (Gabriel Kakon).

There are parts of the script that acknowledge the past, like mentions of the first cops who were on MacLeod's tail and MacLeod’s first American love interest Brenda Wyatt, but that's it. Everything else is more or less repeated, including the line "there can only be one". Got it, thanks. This leads audiences to believe though character development doesn't really exist here if similar ideas are revisited. It really makes no sense. Continuity while ok in some places, is another issue in others. Characters are able to find one another with almost no issue....even if they're countries apart. How? As for action, it's slightly better than before, but not by much. For 1994, the special effects are about the same as the last sequel. It's nice to see a different cast of actors alongside Lambert but that's about it. Acting is just average due to the script.

Visually speaking, the camerawork and set design was an improvement. Mainly because the setting took place either in the mountain ranges of different countries or the urbanized streets of the city. The director of photography this time was Steven Chivers, better known for his start with Richard Stanley's Hardware (1990) and Dust Devil (1992). At least the shots filmed look distinguishable from each other, unlike the first sequel. As for music, the score was composed by J. Peter Robinson. Probably better known for his work on Wes Craven's New Nightmare (1994), Robinson does produce more recognizable music than the first sequel’s musical score. It's still not as memorable as Michael Kamen's rendition but it does have some Celtic flavoring sprinkled throughout.

Say what you will about Highlander II: The Quickening (1991) being a bad sequel. However, it's bad for doing something way out of whack. Unlike this sequel which redeems itself with minimal correction in its story, with only average acting, good music and camerawork. Other than that, the action still isn't that impressive, the effects aren't top notch and the story almost being a complete rehash.

Points Earned --> 4:10