Cheers Phil.
I’m not a massive fan of truckers, but will most certainly give this a go…Thank you, amigo.
Certainly … and lets not have a debate! 
To me it’s a movie aimed at dummies … redneck, yehaaaw, alpha male bullshit.
It’s just charmless junk.
I do have a copy though which I watched recently as an exercise in masochism, kidding … just to see if my opinion might have changed.
Kris Kristofferson isn’t too enamored by it either - I remember him saying in a docu’ about Peckinpah, that it was the only movie ‘Sam’ did for the money.
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Tosc, Aldo, Brian… thank you all kindly for your replies. 
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Maybe because it’s Friday, but this had me rolling.
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I love Convoy, a very underrated movie.
It is The Wild Bunch light, and yes, some of the more commercial elements are a bit silly (but that shouldn’t be any problem for guys who like other silly flicks like The Great Escape or Where Eagles Dare), but there is lots of excellently directed stuff in it. Peckinpah was such a gifted director, and that shows often enough also in Convoy. It is surely a less personal film, but still is full of Peckinpah themes.
It’s definitely fun to watch. 8/10
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I suppose I deserve that! LOL … won’t be able to look at ‘Jeremiah Johnson’ the same way again 
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Watched this one, Curse of the Undead, last night in honor of Halloween and it was surprisingly entertaining. It wasn’t scary at all and the plot was a little goofy, but all the lead performances were well done; particularly the villains’. Worth a watch if you’re into the hyper-specific sub genre of horror westerns.
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Watched the 3 Psycho sequels. I wasn’t expecting much but I actually really enjoyed them (except for 4 which is a direct-to-TV mess). If you love Hitchcock’s classic I really recommend checking out at least Psycho 2. In all honestly, I think I like it a little more than the original. If anyone here has seen it, is the Bates Motel TV show worth checking out?
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IMHO, It is a really good series that only got better as it went along. Though it is the prequel, things don’t follow the path to the first movie entirely and strays from what one expects should happen. That is about all I can say without giving anything away but it is well done.
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Two phenomenal films and a great way to spend the evening.
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Thanks, Brian, and Aldo, for the thumbs up…
They were good, are forever memorable, and have been a constant source of pleasure in my life. I regard them as Classics…with actors at the very top of their game.
When you fancy a great taste of '60’s nostalgia, these are the guys to deliver the goods.
I remember the TV being on in my home ever time that these films were on, and the whole family sitting round to enjoy…especially ‘Cool Hand Luke’, because we all liked Paul Newman… 
As for ‘Heat of the Night’?..another cool dude…long live Sidney Poitier, alongside the ever-excellent Rod Steiger, who won best actor award…please correct if I’m wrong.
It’s nice when brilliant, quotable, unforgettable, classic films can be remembered, if only because they are loved and never forgotten.
"What we got here is a failure to communicate…"
"They call me Mr Tibbs!"
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I’ve watched a ton of movies since starting uni:
My highlights are:
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Cruel Gun Story - Japanese Noir with Jo Shishido, no further explanation is needed. The opening title theme is awesome.
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Zatoichi 1-13 - Decided to take a break at the halfway point to prevent Samurai burnout. Ichi might be one of my favourite film characters of all time, he’s so loveable yet badass. Despite the films being pretty formulaic they still manage to keep me interested. My personal favourite being Zatoichi’s Flashing Sword which has an awesome finale. Really looking forward to some of the later entries, especially Zatoichi vs the One-Armed Swordsman featuring Jimmy Wang Yu.
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Riki-Oh: Story of Ricky - So much fake blood was used that Ricky’s actor was stained red for three days. Did not disappoint in the gore department.
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Drunken Master 2 - Now tied at my number one spot with Police Story for best Jackie film. Awesome stunts, hilarious jokes and fight sequences galore.
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Wes Anderson - The only Wes film I had ever seen was Fantastic Mr Fox which I saw in cinemas when I was about 7ish but it has remained a favourite of mine to this day. I thought it was about time to check out some of his other films starting with Grand Budapest. I didn’t have a clue what I was about to watch but I absolutely loved it. The colours, framing, characters, actors - just everything was so perfectly done. I then almost immediately watched Life Aquatic which I didn’t enjoy all too much. The plot didn’t feel engaging at all and the characters felt underdeveloped compared to Budapest. The Moonrise Kingdom on the other hand nearly made me cry. It’s rare for me to enjoy a film which has child actors as the stars but they did a fantastic job. It really reminded me of Hunt for the Wilderpeople which is another one of my favourite films.
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That’s a lot of watching! I see Stray Dog on there. I think that is one of Kurosawa’s under appreciate efforts though it is not for everyone.
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- Bava: Demons 4/10
- Virtanen: Pähkä-Hullu-Suomi 8/10
- Hardy: Wicker Man 10/10
- Corman: The Masque of Red Death 6/10
- Borowczyk: La Bete 9/10
- Meirelles: Two Popes 6/10
- Capra: Mr Deeds Goes to Town 8/10
- Minghella: Cold Mountain 7/10
- De Toth: The Indian Fighter 5/10
- Franco: The Devil Hunter 5/10
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Ceremonia sangrienta (1973) - Director: Jorge Grau - 6/10 - Although the film possesses all the ingredients of a great horror movie, it ultimately fails to live up to its lofty potential on account of the discernible paucity of narrative discipline. That is not to say that the storytelling is bad, however, it indubitably lacks finesse and balance in that it wants to encompass too many plotlines at once with inessential scenes draining crucial parts of the story of their vitality and focus; in other words, the storyline seems to pay as much heed to insignificant digressions as the irreplacable segments of the work. This results in a monotonous flow of the narrative and while the flick gets going all right, it never really peaks. Outside of that major fault, the horror outing boasts the incredibly grim, morbid atmosphere as well as the gratifying visual presentation. Both factors offset the narrational ephemerality to some extent, notwithstanding, they cannot completely expunge the aforementioned compositional drawbacks. With a sharper editing and a more solid narrative focus, this could have been turned out a lot more compelling and memorable.
La saga de los Drácula (1973) - Director: León Klimovsky - 3/10 - Outside of a couple of unusual plot devices, this is firmly one of the cookie-cutter horror outings of the 1970s. A pregnant woman and her spouse come to a Transylvanian castle to pay a visit to her pale looking relatives. The female intuition tells the heroine to run for the hills, whereas her husband is of a different opinion, what with naked vampiresses roaming around the castle and whatnot. This portion of the story accounts for as much as two thirds of the running time or something along those lines; needless to say, the mind-numbingly predictable disposition of the story makes it incredibly boring to watch. The instant the tawdry shtick with the au naturel vampiresses gets old, the film yanks a cyclops out of the basement and begins to shift into a vampiric family drama of sorts, which admittedly proves more interesting, but it only lasts for about half an hour in order to culminate in the ludicrously gory, over-the-top climax. Suffice to say, this is all too deranged, disjointed and more importantly, too hackneyed, stagnant as well as insipid to transcend its quintessentially trashy nature.
Le regine (1970) - Director: Tonino Cervi - 6/10 - Film’s biggest merit resides in the fact that it does not merely strive to scare and thereby, follow the already established conventions of the genre; the motion picture instead endeavors to conjure up an otherworldly atmosphere and elaborate on the setting as well as the environment of the story, gradually solidifying the foundation of the mystery through the graceful, palatable storytelling. What sets this movie apart from other flicks of this kind and makes the tale so appealing is the wayward trajectory of the narrative: it is hard to predict where it is going to go next and this quality greatly amplifies one’s enjoyment of the presented content. While the venture admittedly fails to wrap up the storyline in an equally effective fashion in that the ending proves to be kind of anticlimactic, the film still possesses good acting, the stylish directing by Cervi, the sumptuous visuals, the lavish score by Angelo Francesco Lavagnino and a great deal of highly evocative dreamlike sequences.
Gli orrori del castello di Norimberga (1972) - Director: Mario Bava - 6/10 - While the motion picture comes to lose focus and momentum in the second half, most of the Bava’s predictably infirm grasp on the narrative is compensated by his discerning eye for lighting, vivid colors as well as the exquisite camerawork. There is no disguising the fact that the storyline sort of meanders around without much orderliness and the premise is on the inept side, but let’s face it, most horror flicks are kind of stupid when you really think about it and at the end of the day, they are predominantly redeemed by their overall atmosphere and tasteful gothic aesthetics as opposed to some outstanding scripting logicality, which is exactly the case here. I did not mind the somewhat forced starting point of the plot and I found Bava’s meticulous attention to unusual camera angles as well as the wonderfully stylish illumination to be sufficient to condone the otherwise shaky filmic foundation. Undoubtedly not one of Bava’s finest works, however, it still constitutes a pretty atmospheric horror yarn that’s well worth checking out in my humble estimation.
Ladykiller (1992) - Director: Michael M. Scott - 2/10 - My love for the look of the Laserdisc format means that I sometimes find myself running into such abominations as this thing right here. The flick is essentially DOA from the very get-go in the sense that virtually every single component, including the drab final twist, turns out to be some kind of scripting template, none of which is developed to a satisfactory degree. What is even worse, although the original formula already has the seeds of character development planted in it, the movie in question does not even essay to capitalize on that and elaborate on the tired, skeletal pattern, squandering what little is left of the good ideas found in the original model and failing to copy the basic character development. What remains is an obnoxiously one-dimensional, monotonous, trite and shallow mystery thriller which grows as torturous as its mind-bogglingly predictable twists and turns leading up to the contrived finale. A great candidate for repeated viewings at the Guantanamo Bay detention camp.
Trouble Bound (1993) - Director: Jeffrey Reiner - 4/10 - It is one of those movies I have been trying to lay my hands on for a while and been able to do so only recently thanks to its eventual re-emergence. Well, I’m not sure whether it was worth the wait. While the flick possesses the great chemistry between Michael Madsen and Patricia Arquette, the rest of the movie is pretty much run-of-the-mill and by the numbers, except that maybe it is a bit more shlocky and crude than your usual “road neonoir” from the early 1990s. The one element which breathes some life into the otherwise stale, bland composition is the terrific performance by Michael Madsen, who plays one of his most anti-social roles here and does so with gusto and verve. Other than that, there is not much to recommend here, as the story rarely strays away from the convention and what is worse, the execution turns out to be on the jerky side with some transitions feeling as tenuous as film’s writing towards the end. Fans of Michael Madsen should enjoy this enough, but there is nothing else here to write home about really.
Black Cobra 3: The Manila Connection (1990) - Director: Edoardo Margheriti - 4/10.
The Black Cobra 2 (1989) - Director: Edoardo Margheriti - 3/10 - The movie gets too convoluted and overwrought for its own good instead of trying to use its zero-budget charm and simplicity to good effect like its successor did. The fact of the matter is that once the flick gets its moderately engrossing prologue out of the way and proceeds to develop the main story, the storyline promptly begins to drag and unfolds at too leisurely a pace to keep one’s attention, especially what with the drab, conspicuously shallow script, the laughable stunts as well as the shabbily choreographed action sequences; the middle section is particularly difficult to get through with its inexplicably stagnant pacing and insipid scripting. The viewer basically always stays a step ahead of the narrative and most of the twists feel a mere formality outside of a couple of odd writing choices, which do more to obfuscate the narrative focus rather than to introduce something novel into the equation. Truth be told, there is nothing really horrible about it; notwithstanding, the film simply does not have much to offer in terms of originality or technical dexterity, whereas the confused flow of the narrative prevents it from becoming anything better in the end.
Deathstone (1990) - Director: Andrew Prowse - 4/10 - I really like the general idea, however, the film does not work all that well and sort of decomposes along the way by virtue of the oddball combination of horror and action genres; the movie regrettably does not benefit from the odd melange of styles in that the horror-oriented component of the story gets side-tracked by the over-the-top action content on the regular basis and stylistically, seems too meager to leave much of an impression in the end. Albeit rather well made, the numerous action sequences substantially diffuse the narrative focus, render the entire composition quite disorderly and clash with the more supernatural elements of the tale. On a more positive note, the chemistry between R. Lee Ermey and Jan-Michael Vincent proves to be surprisingly enjoyable and amusing; Nancy Everhard likewise gives a highly gratifying, foreboding performance and endows the work with its own distinctive edge. All in all, the motion picture is quite entertaining to watch, nevertheless, it should have turned out much better, considering the intriguing premise and the good cast.
El jorobado de la Morgue (1973) - Director: Javier Aguirre - 3/10 - It conspicuously aims way higher than the average Naschy flick, however, most of that ambition gets obscured by film’s tenuous writing, non-existent narrative focus as well as nebulous purpose of the storyline. Is the story intended to showcase the hapless fate of the hunchback or is it meant to encapsulate the ethical boundaries of the scientific method? Or is it to display the police investigation into the whole ordeal? Who knows and who cares, your guess is as good as mine. Suffice to say, the storytelling liberally switches between these motifs and juggles with these disparate narrative strands with virtually no consistency whatsoever. There is no palpable character development to be found here and the movie just sort of bumbles along as it attempts to shoehorn these incompatible topics into the schizophrenic storyline without ever settling on one concrete subject for too long. The primary issue is that the motion picture does not seem to know where to go and simply gets lost en route with most of the running time getting filled with the usual scientific horror mumbo-jumbo and all the consequent stupidity.
Double Edge (1985) - Director: Teddy Page - 3/10 - While the movie could have been actually pretty good with a few tweaks and a more solid idea as to how to go about the storyline, the whole project regrettably dissolves en route and completely loses its way and focus in the end. It alternates between a revenge-style flick, a ninja actioner and a gritty crime film. All of it is conspicuously presented in a cheapjack fashion, however, the cheapo appearance is actually sort of grungy, which adds to the charm. Be that as it may, none of that proves to be of any avail on account of the incoherent mishmash of various ideas and influences clashing with one another and fighting for space in the remarkably congested script, which sometimes feels a material for three separate flicks. The motion picture limps towards the okay-ish climax in a cumbersome manner with the middle section becoming needlessly stagnant and slow. All in all, had it been more consolidated and simplified, this would have turned out legitimately decent, it is just meh though.
Black Fire (1985) - Director: Teddy Page - 3/10 - A teeny-weeny bit better and more coherent than your usual Filipino action piece of trash in terms of pure writing, however, this gets promptly cancelled out by the exceptionally awful acting and the predictably flaccid execution as well as composition. Truth be told, I have no idea why every single protagonist in this type of movies has to turn out to be a son of some kind of ninja father or something to that effect, it’s probably to serve as a pretext to showcase some more laughable ninja/kung-fu fight scenes, but whatever. Anyway, the flick kind of picks up towards the end when it stops bothering with its cheesy dramatics and cuts to the chase with its action sequences and stunts, which are up to par and diverting enough; the climax is surprisingly enjoyable and fun. With that being said, this alone cannot expunge the tedium induced by the rest of the plot or mitigate the unignorably heinous playacting. It is not particularly bad, just the middle-of-the-road kind of bad, which can be construed as a compliment or a criticism depending on the way you look at it.
Cobra Mission (1986) - Director: Fabrizio De Angelis - 6/10 - A positive surprise, it actually turned out to be a lot better than expected. It essentially takes the premise of Rambo 2 and proceeds to develop the subject matter in a lot more compelling way than the original movie did. Instead of rushing to the main storyline, which is set in Vietnam, the motion picture also interjects a brief, but welcome preface elaborating on its main characters and preparing the ground for the rest of the plot. Furthermore, it seasons the tale with a number of political undertones and a highly acerbic political critique, which sets it apart from more mainstream productions, but in a good way. While the film sporadically features some choppy time progressions, includes a handful of more ham-fisted moments and loses its focus towards the end, the work actually succeeds in quite a few of its objectives, possesses perspicuously delineated characters and is penned in a rather solid fashion, which is quite impressive considering the fact that we’re essentially dealing with the B-grade sort of flick. Won’t win any awards, but all in all, quite decent and kind of underrated.
Narco Dollar (1989) - Director: Joe Mari Avellana - 2/10 - It is intended to be some kind of slick action flick about drug trafficking taking place presumably in Miami, but it inevitably fails on account of its ephemeral storytelling, which makes virtually no sense and is completely deprived of focus and consistency. The biggest differentiating factor of the production is that it has no narrative rhythm whatsoever; the said frenetic quality comes to manifest itself most saliently in the scenes which are intercut with numerous other plotlines, making it very hard to follow the story (if you can even call it that). Apart from the aforementioned narrative transience, some sequences suffer from bad camera placement and it is frequently difficult to determine whether portrayed characters are located in the same room both by virtue of the sloppy camerawork and the abysmal editing. The whole movie completely decomposes towards the end with the final showdown featuring the same stupid twists and turns you’ve seen a thousand times before, except that they’re even more repetitive and laughably banal here.
Nirvana (1997) - Director: Gabriele Salvatores - 7/10 - While there is no denying the fact that the film lacks some of the narrative polish and gets a bit too convoluted and messy in the middle section, the rest of the content actually proves to be moody and atmospheric in its own right and the ending turns out quite excellent. The philosophical component of the story is fleshed out in a lot more conspicuous and graceful fashion than in the case of many other sci-fi ventures of this kind, so what the motion picture misses in terms of its overall technical dexterity is largely compensated by its lofty ambitions, the rich, somber atmosphere, throughtful dialogues as well as the general aesthetic playfulness exhibited in its sets and overarching scenery. Had it not been for the structural disarray and some more stagnant moments in the middle, this could’ve become a genuine classic; instead, it just misses the mark by an inch and albeit enjoyable, the endeavor does not become quite as memorable as it easily could have been with a more taut composition and a few tweaks in the storytelling department. That being said, it proves to be much smarter than a lot of similarly intentioned motion pictures.
Colpo di stato (1987) - Director: Fabrizio De Angelis - 3/10 - The original premise is a pretty good one and offers a great point of departure for a story about two indifferent, cynical photo journalists who gradually begin to care about the cause they’re documenting with their cameras, notwithstanding, the whole concept never takes off on account of the rachitic character development, meager characterization as well as perfunctory writing. Apart from John Phillip Law, who gives a surprisingly superb performance as the callous CIA coup-meister, the acting throughout turns out uniformly tepid and so does the directing. There is nothing horrendously bad about the overall execution, but there is nothing to write home about either, since the film is both narratively and visually nondescript, whereas the story itself appears rather shallow, underdeveloped and unrealistic in its final, juvenile form. The climax is unexpectedly grim, which is supposedly an attempt at endowing this trifle with a degree of seriousness, but none of that can expunge the utter superficiality of the content preceding the resolution and isn’t that well executed to begin with.
The Finishing Touch (1992) - Director: Fred Gallo - 2/10 - Neither is it particularly original nor all that well executed. As a matter of fact, the best way to describe the viewing would be to call it uniformly uninspired. Firstly, the storyline is so inchoate, hackneyed and crude that it feels like a derivative of a derivative of a derivative script, there is nothing remotely surprising or engaging about the development of the story whatsoever. The acting varies from tepid to crass, the latter of which is most prominently exemplified by Vosloo’s atrociously forced English accent as well as his cringeworthy lines; the exterior scenes are so few and far between that the flick acquires a claustrophobic, stifling quality of sorts and the uniquely cheapjack appearance of its interiors does little to dispel this pervasive sense of suffocating tackiness. The storytelling is as loose as the worst kind of diarrhea, which renders the narrative flow incredibly monotonous and unconvincing in its sporadic turnabouts leading up to the laughable climax. What a dreary drag, one of the worst Corman’s Concorde affairs.
Peacemaker (1990) - Director: Kevin Tenney - 6/10 - A pleasant surprise. This is a B-flick done right, no more and no less. Part sci-fi, part actioner, part comedy, the movie intermingles various elements from the aforementioned genres so as to arrive at a highly energetic piece of popcorn entertainment, subverting one’s expectations without feeling forced or strained in the end. The project is underpinned with some dexterous action directing, good performances, very solid pacing and genuinely amusing witticisms thrown in for good measure. What’s most notable about the tout ensemble, however, is how deftly it plays with different genre conventions and how many turnabouts it manages to interpose without bringing ruination to the whole composition; the entire thing stays fresh throughout and never really slacks on account of the abundance of well handled twists as well as the galvanizing momentum of its narrative and overall storyline. Smart it ain’t, but the motion picture sure is entertaining and never takes itself too seriously whilst executing the material at its disposal. Fun.
Inseminoid (1981) - Director: Norman J. Warren - 1/10 - Gory, stupid and unbelievably boring and awful. Little good can be said about this low-budgeted and dimwitted Alien rip-off, if anything at all. The sci-fi outing is basically destitute of all elementary components of a competent motion picture and much of it heavily relies on the shock value so as to compensate for the conspicuous technical vileness; firstly, there is practically no characterization and no narrative focus to speak of, so while the movie may very well run for an hour and a half, most of the actual plot lasts for about 45 minutes, after which the storyline grinds to a halt and gets stuck in a rut, repeating the same tired pattern of the cat-and-mouse game until the very end. Virtually nothing is left to the audience’s imagination and consequently, the flick has no tension whatsoever other than that related to waiting for the ending credits. Lastly, the movie is terminally debilitated by its general incoherence, atrocious dialogues and the overarching nonsensicality. Barely watchable and painfully bad, I wouldn’t have made it without the fast-forward button.
Cop Target (1990) - Director: Umberto Lenzi - 5/10 - This is an offbeat, amusing action flick which greatly benefits from Robert Ginty’s unexpectedly prepossessing performance. Surprisingly enough, Ginty’s flair for comedy as well as his automatic cat feeding machine make this rather bland actioner offering a lot more engaging than it otherwise would be, compensating for the unusually slack pacing and making the overall content more lively in the process. As far as the general character development goes, the storyline gets a bit far-fetched and forced towards the end, but given the second-rate stature of the production, it doesn’t constitute much of an issue as long as you keep your expectations in check. You could say that the outing has more of a relaxing vibe than your usual actioner, but that actually proves to be an asset here in that the composition does not feel strained and unfolds in a slightly more graceful fashion than in the case of other cheapo action affairs. Conspicuously, this is hardly an essential viewing, but pretty okay considering the fact that we’re dealing with a Lenzi flick made as late as 1990.
Avenging Force (1986) - Director: Sam Firstenberg - 3/10 - While the flick has some really lovely DX7 swells as well as plonks and is endowed with a noticeably higher budget, there is no disguising the fact that it is still the same hebetudinous American actioner, but what makes the work in question considerably worse is the disagreeable combination of its remarkably stupid story and the relatively serious tone. Oddly enough, the usual tongue-in-cheek humor takes a backseat to the storyline and this perhaps wouldn’t be as much of an issue if the writing wasn’t so goddamn superficial and awful. All this results in a remarkably smarmy, self-congratulory disposition of the narration and the caricaturally stereotypical, perfunctory nature of its characters only tends to exacerbate this phenomenon. The biggest problem is essentially that even though the movie is the cheap, tawdry, D-grade piece of trash at its core, it still aspires to say something meaningful despite the crass tastelessness of its content, which makes it look completely laughable, pretentious and pathetic in the end. I really fail to see why this is supposed to be such a big deal, but then again, I’m not the target audience.
Hornsby e Rodriguez - Sfida criminale (1992) - Director: Umberto Lenzi - 3/10 - The basic idea isn’t really bad, however, the motion picture gets really heavily bogged down by its ill-conceived, asymmetrical composition and eventually stagnates along the way. The crisis phase of the story is introduced right before the climax for some odd reason, whereas the rest of the film, which amounts to roughly eighty minutes of the running time, portrays at length the needlessly prolonged intrigue. Hence, it follows that the film exhibits very little variance in terms of its overall tone and energy, which makes it highly repetitive and boring to watch. The sluggish pacing and the congested nature of the narrative, which is riddled with too many redundant digressions and setbacks, exacerabate the problems caused by the bad structure. The amalgamation of the not-so-funny humor and the not-so-successful buddy cop formula further contributes to the subpar feel of the movie. Simply put, the flick is too slow, flaccid, decrepit, monotonous and tedious to provide much entertainment in the end.
The Long Day’s Dying (1968) - Director: Peter Collinson - 5/10.
Lionheart (1987) - Director: Franklin J. Schaffner - 4/10.
Slipstream (1989) - Director: Steven Lisberger - 6/10 - I really fail to understand all the hatred directed towards the movie, it’s actually pretty good for what it is. The flick sort of aims higher than what it attains in the end, granted, but it’s not such a bad thing and this actually gives variance to the otherwise fairly simple storyline. What differentiates the offering at hand from a multitude of other sci-fi outings are the usage of unusual looking locations, the astonishingly illustrious cast and its compelling, slightly different vision of the future. Practically all actors give good performances all around, but Bob Peck singlehandedly kills it with his interpretation of the role of the amicable android. The earthy, tenebrous interiors as well as some interesting lighting further redound to the prepossessing atmosphere and endow the tout ensemble with the rather intriguing appearance. The only issue dwells in the fact that the pacing is on the slower side, whereas the direction turns out solely solid without displaying much virtuosity needed to prop up its more ambitious moments. This is hardly a classic, nevertheless, it is still quite enjoyable and infinitely superior to a lot of the low-budgeted pieces of sci-fi trash.
Also tried watching Pembalasan Rambu (1985), but turned it off after about 5 minutes, couldn’t get past that.
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One of those postapo movies, which offers an original dystopian world, but I couldn’t consider it a hidden gem. It still delivers some goods though. There’s a weirdly cut shootout scene near the beginning (with Mark Hamill), I thought it was somehow censored at first (there’s basically nothing to see in that scene) and some uncensored version must exist, but couldn’t find any, so probably not.
