Tom McLoughlin’s love for classic movie monsters shines through in his Frankenstein resurrection of Jason Voorhees, a delicious horror pastry filled with gothic tones and meta humor a decade before Wes Craven’s SCREAM got all the glory.
Maybe not as daring as the amicable interracial pairing in EDGE OF THE CITY, but brilliant nonetheless in screenplay, acting and overall execution, chain gang fugitives Poitier and Curtis find themselves on the lam and forced into an unlikely partnership.
Unlike its immediate predecessor, Fred Dekker’s Robosequel appears to have a reverence for the original. Slightly wounded by its PG-13 rating, lack of Peter Weller and general goofiness, it competes for a distant second place more than fans would like to admit.
Martin Scorsese’s debut is sewn together from varying ideas and shoots over a number of years and despite this still shows a level of sophistication, its black and white frame taking cues from his contemporary art house filmmakers.