After the end of the world, water is in short supply. One woman has the key to the last fresh water on Earth, which is guarded by Amazons. She gets taken and tortured by an army of road warriors and only one man can save her. Stryker!

Cirio H. Santiago! Hello, old friend! We’ve watched so many of your movies, like Demon of Paradise, Wheels of Fire and The Big Bird Cage. Here, you’ll take us to Armageddon and beyond!

Our heroine, Delha, is on the run from Kardis and his gang. Luckily, Stryker (Steve Sandor, the voice of Darkwolf from Fire and Ice and Orion on the 1990’s Superman cartoon) and Bandit (William Ostrander, Christine) are here to help.

Delha has been trying to contact Trun, Stryker’s estranged brother, to help defend her colony. But Bazil, one of his Trun’s second-in-command guys, betrays them. Stryker is captured and tortured, but luckily he gave some dwarves water. So they come and rescue him just in time for the rest of Trun’s soldiers to defeat Kardis and give everyone the water they need.

There is also an entire army of Amazons wearing football shoulder pads, because that’s what you do in the future. Stryker goes more for the western look and he makes it work.

You can grab the blu ray of the Kino Classics reissue of this film from Diabolik DVD.

Grey Trace is a man out of time. He’d rather stay in his garage and work on old school combustion engines while the rest of the world wants electric cars that drive themselves. As more and more people are augmenting their human bodies with computers — like the work his wife Asha does for Cobolt — he keeps himself 100% human. But his life is about to change.

Grey has just finished a car for Eron Keen, a mysterious tech inventor who has removed himself from humanity to create life-changing things for his company, Vessel. The guy has his own cloud — not the internet, a cloud — in his home. While there, he shows the Traces his STEM chip that serves as a second brain.

Grey obviously hates the idea, saying that when he sees that chip, he sees more jobs going away. As he and his wife discuss it on the way home, their self-driving car leads them to the slums where Grey grew up. Their car crashes and a gang murders Asha and severs our hero’s spinal cord, forcing him to watch his wife die.

Between the death of his wife, his near-total loss of mobility, being forced to be cared for by his mother and the police’s (including Blumhouse regular Betty Gabriel) inability to catch the killers, Grey decides to kill himself. That’s when Eron offers to install STEM into his body with one catch — he can’t tell anyone.

The chip is a miracle, allowing Grey to move again. Soon, he’s exceeding the limits he had even when he was unharmed. And then, STEM starts talking to him and explaining how he can get revenge.

Upgrade is a movie that continually exceeded my expectations and challenged my assumptions. It starts like a modern version of Death Wish mixed with RoboCop before becoming a sly critique on the invasion of technology into our lives and the military industrial complex. What seems like a balletic modern fight scene is nuanced by the fact that our hero is no longer in control of his body, trying to hide his eyes from the violent vengeance that he is unleashing.

Grey eventually comes face to face with the men who ruined his life, but even they aren’t what they seem. I loved the way this film mixes Cronenberg body horror with military tech — I’ve never seen a bad guy who can sneeze nanite missiles into your bloodstream before. And the way they arms conceal guns that are loaded along their bloodlines is a stroke of genius.

Once our hero starts using his new brain to try and learn why his wife was killed and he was crippled, everyone is against him, including the police and Eron. It all races to a brutal and surprising conclusion where our hero and his new brain both get what they want.

No more spoilers. I’m overjoyed that I came into this movie cold and was continually surprised and delighted by the most minute details of the script.

Filmed in Australia and featuring a cast of Down Under actors, the home of writer/director Leigh Whannell, who you may know better as Specs from the Insidious movies. He’s also written the Saw and Insidious films, as well as directing Insidious: Chapter 3. Of all the Blumhouse releases I’ve seen, this one feels intensely personal. It had me on the edge of my seat, waiting for each new fight, each new reveal, each new surprise.

Hitler didn’t die, but after World War II he was taken to Antarctica. However, plans fell apart and now his decaying zombie body is being kept in Adelaide, Australia while Dr. Josef Mengele prepares an alien-infused immortality serum for the Fuhrer. If you haven’t stopped been offended or stopped reading this by now, then you’re the audience for Hitler Lives!

While Hitler rots away in his new bunker, the world has moved on. Once, governments and agencies worshipped him and begged for his counsel, but now his dream of a thousand year Reich and taking the ubermensch to the stars has changed to embrace global one world government and bitcoin.

All Hitler has is a radio that barely works, powered by baby angels ala Eraserhead, living with the dreams and nightmares of the past as he slowly decomposes. His memories are shown to us via puppets and newsreel footage, interspersed with moments where he communicates with Mengele via video screen. Oh yeah — there are also burlesque dancers.

There are no professional actors per se in the main roles. Hitler is played by Morte, the singer for Australian black metal band Nazxul and his bandmate Rev. Kriss Hades also is in the film and created the soundtrack.

Your ability to enjoy this film will be colored by your patience and how many Nazi conspiracy books you’ve read. Seeing as how I can speak at length about Die Glocke, the Thule Society, the Ghost Army, inner earth theory and more, I made it through the film, even some of the slower parts.

Hitler Lives! is the first movie written and directed by Stuart Rowsell, who has worked on films such as Alien: Covenant, Scooby-Doo and two of the Star Wars prequels. The effects are pretty great and after all, when else are you going to see Hitler with breasts?

Want to see it for yourself? Head on over to the official site.

Disclaimer: I was sent this film by the filmmakers and in no way did that impact my review.

Remember when I said, we’ll get to the sequel to W Is War in the future? The future is now. And in this future, everyone will ride a tricycle with armor and flames all over it.

After World War III, the planet is destroyed. But on an island in the Pacific, some survive in a fortified colony and are led by Maizon, a one-eyed cyborg bad guy who makes everyone fight in gladiator battles. Rex, our hero, tries to escape with his son, but he is caught and his son is killed. Oh yeah — Maizon also killed his father and wife, too!

Rhea helps him escape, taking him to the scientist colony Ophelos, where her father, Zeus, leads a peaceful people.

Let me tell you a few other things about Maizon. He often takes off his armor to reveal that his face is all scarred up. He can’t give up on his dream of seeing Rex’s blood stain the sands of his arena red. He has armies of gladiators ready to die for him. He raw dogs a black girl in the dirt while his entire army turns their back. And oh yeah. He’s a werewolf.

Look — any movie that starts with a two-minute long nuclear explosion set to disco music is going to be one that I grow obsessed by. This movie is bonkers. Every outfit is great. Every character is awesome. Every line of dialogue is unhinged.

There’s a scene where a gladiator salesman tells Maizon all about his gladiators that is full of wonderfully bad acting, sparklers and maniacal goofball laughter.

The final scenes of this movie are everything you want a film to be: explosions, tricycles, gladiator fights, machine guns, militaryesque hand signals, an army of dudes with mashed spiked mohawks, literally bad guys by the thousands getting mowed down by machine gun fire to the sounds of disco synth, people on fire, more explosions, a nice wood fence, a subterranean cave base, slow death reactions, leaping martial arts, axes, running, even more explosions, one hit kills, guns that shoot knives, a lightsabre duel, a bad guy blowing up real good, sparklers, a makeout session over the dead body of the previously mentioned bad guy and so much more.

The love interest closes the film by telling our hero, “You’re really crazy. Crazy like a mad warrior.” He rides his horse off into the sunset and I start screaming like a maniac. This movie. This movie!

Cult Action has this. I would advise getting it now and starting your own gladiator army!

I love having people over to our house to watch movies. However, some folks don’t get to watch the really strange films in our collection. They have to make it through a test to see if they can hang. I’ve had the misfortune of trying to explain Beyond the Valley of the Dolls to people and get angry, then sad, then angry again when they just don’t get it. If you make it through my cinematic ring of fire, the journey through excess and madness and horror, then and only then are you greeted by the final challenge: 1973’s epic freakout The Baby.

This isn’t a movie that I’ve known about forever. Quite to the contrary — I discovered it two years ago when the trailer played during one of the all-night drive-in events at the Riverside Drive-In. The blast of strangeness in that trailer was enough to get Becca and I repeating the dialogue for weeks: “What have you done with my Baby?”

Luckily, Bill from Groovy Doom/Drive-In Asylum had a copy that he was only too happy to bring to our house. Too often these days, we’re greeted with too much hype for movies, with statements like, “If you don’t love this movie, you don’t understand cinema!” and “This movie shook me to my very core!” Well, I can honestly say that The Baby has destroyed my mind in a way that no film made before or since ever has.

Ann Gentry (Anjanette Comer, The Loved One) is a social worker who has just been assigned to the incredibly strange Wadsworth family. There’s Mrs. Wadsworth (Ruth Roman, who not only starred in Strangers on a Train, but survived the sinking of the Andrea Doria), the strong-willed mother. Her daughters Alba (Susanne Zenor, who was the original Samantha in the pilot of TV’s Three’s Company before Suzanne Somers took over the role), who teaches tennis, and Germaine (the transcendent Marianna Hill, Messiah of Evil, Schizoid, Blood Beach), who occasionally acts in TV commercials when she’s not looking like a maniac. And finally, there’s Baby (David Manzy), a twentysomething man who doesn’t walk or talk and who has been raised as an infantilized adult.

You just read that right. This is a movie about a grown-up baby that sits in a crib and cries, but not just as cries. The original track containing baby sounds that  Manzy worked so hard to craft during the filming was lost, so the voice of an actual baby was used. It’s disconcerting to say the very least. Add in that the actor completely shaved his body for the role and you have the foundations for a movie that’s more than a little left of center.

Ann is driven to improve the lives of her cases, but Baby is a special case. Perhaps too special to Ann, as she’s recently recovering from a severe auto accident that had a serious effect on her husband. The Wadsworth family totally depends on Baby for most of their income and as a result, won’t allow him to grow into an adult. And it seems like Ann could change all that, as she discovers that Baby’s current state is the result of neglect.

“Baby doesn’t talk. Baby doesn’t walk.” Baby also isn’t allowed to do things by himself, either being beaten, cattle prodded or restrained when he does anything against the rules. Even when Ann shows the family that Baby has the capacity for growth, she’s instantly rebuffed.

If all of the above was all that this movie would be about, it would still rank amongst the oddest ever made. But it gets much stranger. You see, nearly every woman who meets Baby wants to possess him. And some often want to have sex with him, like the sitter who gets into his crib and allows him to nurse from her. The Wadsworths come back home to this scene and proceed to annihilate the young girl and beat Baby into further submission. And even Baby’s sisters may love him a little more than siblings should.

Finally, the simmering discord between Ann and Baby’s family comes to a head on the night of Baby’s birthday party — which is the strangest one committed to film since perhaps Jessabelle the cat’s celebration in The Sentinel. That said, any party that has Michael Pataki as a guest is one that I want to be at!

After escaping the murderous intent of the Wadsworths, Ann finally succeeds in taking Baby away. Rather than turning him over to an institution, she keeps him at her house and then sends his family photos of their manchild doing adult things like standing up straight.

This sends the Wadsworth clan into a murderous tailspin, as they head for Ann’s house with killing in mind. However, she and her mother-in-law aren’t willing to give up their new guest without a fight.

Even though this film was made over forty years ago, I’m not giving you the ending here. I want you to see it for yourself with no preparation whatsoever.

Now, after reading all of the above, you have to be thinking — surely The Baby is an unrated affair or at worst it got an R, right? Nope. This is a PG movie. The 1970’s did not care at all about children, blasting them with both barrels of bonkers with movies like this, The Little Girl Who Lives Down the Lane and It’s Alive all getting just a simple Parental Guidance suggested label.

Here’s the next surprise: The Baby wasn’t an underground film. Nope, it was a mainstream release directed by Ted Post, who directed numerous TV series like GunsmokeThe Twilight Zone and 178 episodes of Peyton Place, as well as Hang ‘Em High, Magnum Force, Beneath the Planet of the Apes and the TV movies Do Not Fold, Spindle, or Mutilate and Cagney and Lacey, which led to the series. The dark nature of this film kept Post away for a year before writer Abe Polsky was able to talk him into getting behind the lens.

The Severin blu ray of this film was a great package, complete with informative interviews with Post and Manzy. Arrow Video is releasing a new version this week with even more extras, including newly commissioned artwork by The Twins of Evil, deep commentary by Travis Crawford, interviews with Marianna Hill and one of the set painters and a discussion with film professor Rebekah McKendry on the influence of the film. It’s a great package that truly does this movie justice.

Back to the hype engine that sours so many on so many movies. Often, you’ll read things about how movies have permanently changed lives and scoff. I’m telling you that the way that I view movies and live has been forever altered by this movie. It’s hard for me to find another film that can match it for sheer audacity and bizarre subject matter. However, no words that I write can do it justice. You must watch it for yourself and be changed by the act of viewing it.

You can grab the new Arrow Video release of The Baby from Diabolik DVD.

BONUS! Here’s the podcast where we discuss The Baby in detail with Bill!

Disclaimer: I was sent this movie by its PR team, but as you know, that has no bearing on my review.

An alien is hovering in the sky above New York City, extracting the endorphins produced by the brain when an orgasm occurs. With each happy ending, someone is murdered, all so the alien can use that energy for…well, I’m not really sure. There’s also plenty of drugs, punk rock, synthesizers, fashion shows and face paint. It’s pretty much perfect.

It all starts at a fashion show in a nightclub where we meet two models, Margaret and Jimmy, who are both bisexual and addicted to fame and cocaine. They’re both played by Anne Carlisle, who was also Victoria in Desperately Seeking Susan. Neither of them has any money to pay for those drugs and they’re constantly at one another’s throats.

Jimmy’s mother, Sylvia, is a TV producer who somehow comes into the orbit of German scientist Johann Hoffman, who is the only person on Earth who understands how the aliens work. And how they work is by killing each person who has had an orgasm with Margaret and making a crystal come out of their heads. Where once she doesn’t believe that these deaths are her fault, by the end, she’s yelling things like “I kill with my cunt!” and taking out men who have wronged her.

Shot in the U.S. by a small Russian production team, Liquid Sky may as well have been beamed down from space. It feels like it came out of the New York club scene with places like Danceteria and groups like Michael Alig’s clubkids. Even its title is slang for heroin.

You can take this as a memento of New York in the 80’s or a science fiction infused comedy. Or both.

Vinegar Syndrome has recently re-released this film along with a 50-minute documentary about the film. You can also watch it on Amazon Prime and Shudder. We featured Liquid Sky — with a second look — as part of our weekly “Drive-In Friday” featurettes with a tribute to the old USA Network’s “Night Flight” programming block from the ’80s.

The Weapons of Death, The Vehicles of Destruction, The Army of Terror… Together they spread their evil across the land! But then there was…W!

I can honestly tell you that while I’ve watched hundreds of Mad Max rip offs, I have never seen a movie like this one. This is the pure bad movie drug that you need to freebase.

How can I even start? As directed by Willy Milan, this is how the Philippines must have seen the end of the world, yet it appears to take place in our modern world. Nosfero leads an army of bald, face painted maniacs who worship strength and have no mercy for the weak. His dangerous cult starts a marijuana and murder empire until Sergeant W2 of the special police tries to stop him. He does well until W and his minions defeat him and cut his dick off.

Yes, you read that right. The hero of this film gets castrated minutes into the film. It ruins his marriage, in a scene where we see his wife masturbating in the shower while he destroys the living room in an impotent rage. That sounds dramatic — trust me, it’s hilarious.

What must one man do? Simply have a montage where he and a bald punk girl weld all manner of metal to his car then stand against the sun rising before slowly rolling out and killing every member of the gang.

The gang! Cyclops! Pentagon! A whole bunch of people in vests! It’s like the comic Love and Rockets became real life and everyone took their fashion cues from it. And their cars! Not since Wacky Races have so many silly vehicles been on your TV screen!

I re-watched the ending of this film numerous times in a haze and still need to see it again. It completely blew out what remains of my fevered film fanatic mind. I dream of a world where more movies are like this — there is a sequel called Mad Warrior and you better believe we’re going to be covering it — but I don’t know if we can handle it. It’s like crack. Of course, it’s a better cocaine. But it just might kill people because not everyone can handle it.

The maniacs at Cult Action — who somehow were able to get me the Italian TV version of Yor, Hunter from the Future — have this. You should go buy it right now, quit your job, shave your head and join the gang of this movie. Do it.

Update 2021: Long since our 2018 posting, Cult Action, of course, is defunct. We have, however, come to discover — shocking — that DVDs of W is War are available at Walmart via their online platform. We have no idea of the quality, so shop smart.

Willy Milan movies at Walmart: the world makes sense, once again. Thanks, Eli!

Assassination Nation has no idea what kind of movie that it wants to be. It’s the kind of film that wants to desperately wants and needs to be important, to provoke you with sex and violence and provocative themes while at the same time giving you a list of potential trigger warnings before the story begins. And yet even that warning is shot in a winking way, like the square up before Ilsa, She Wolf of the SS. I doubt that’s the comparison the filmmakers want, because this is also a film yearning to be important, to be discussed, yet it seems to have disappeared into theaters.

The fact that the movie takes place in Salem, Massasschutesetts is the first of many sledgehammer subtle points that the script makes. There, our four heroines — Lily, Bex, Em and Sarah — are normal teenage girls dealing with high school and growing up and hormones and all the horror that goes with it.

For some, it’s harder than others. Lily has stopped being a babysitter for the Mathers family after the father’s (Joel McHale) attentions got to her. That hasn’t stopped her from continuing to text him and referring to him as Daddy, despite her relationship with Mark (Bill Skarsgard, It). Beks is transgender and has a crush on Diamond, who wants to keep their hookup a secret. Em and Sarah really never get a chance to define who they are, to be perfectly honest.

A wannabe hacker named Marty is asked to spread a file with images and videos of anti-gay Mayor Bartlett having sex with men and dressing in women’s clothes. This causes the mayor to go into a downward spiral and kill himself at a press conference. As the police try to investigate, everyone in town becomes hacked, like Principal Turrell, who is one of the few positive adults in the film. His phone has photos of his child nude, which makes everyone think he’s a pedophile, yet he refuses to stop being an educator. His story kind of stops there, despite all the investment the movie has put into it so far.

From there on out, the town’s secrets are revealed. Cheerleader Reagan (Bella Thorne) leaked her best friend’s (Maude Apatow, daughter of Judd) nude photos and must pay. Lily’s secret sexting older man is revealed and his family leaves him. Lily’s photos and videos that she would send the older man are revealed, which leads to Mark and his friends holding her down and taking photos of her body marks to prove it’s her in a harrowing scene. Her life goes to hell as her parents kick her out, men chase her with knives and the entire town soon believes that she’s behind the hacks thanks to Marty revealing that tons of internet traffic was coming from her house (it’s worth noting that Becca instantly figured out the film’s big reveal here).

Here’s where the film either gets suspenseful or narratively falls apart, depending on your point of view. Everyone in the town starts wearing masks to hide their identity and sins from one another, which is an interesting plot point if the masks they wore didn’t look exactly like The Purge. Again, this is a movie that yearns to be taken seriously with a woke angel on one shoulder while the devil on the other keeps pulling it toward exploitation. Because it never really goes all in on either side, it becomes somewhat of a muddled mess.

That isn’t to say the final scenes aren’t packed with suspense, including a stedicam sequence outside and inside the house as masked assailants invade the home and take the girls hostage that recalls Dean Cundy’s landmark work in Halloween. And the standoff between Lily and Nick, her “daddy,” is filled with eye-popping close-ups and intense violence, with the gore actually grossing out people in our theater versus titillating them.

That’s when the film descends into empowerment fantasy territory, with the girls donning red trenchcoats ala Female Prisoner #701: Scorpion. Most people would probably get past the scene of the girls watching this movie in bed quickly, but it felt like the brakes being slammed for me. You know, this is pure Quentin Tarantino territory — this is obviously some alternate reality where the most popular girls in school all get together to cosplay watch an incredibly deep cut Japanese rape revenge film. That said, you can totally buy the official jacket they wore from the film now.

The girls unleash their vengeance on the town before Lily finds the time to make a viral video that unites all of the young women together as they come face to face in a final confrontation with the masked men of Salem.

If the film stopped here and gave no answers as to why this all happened or what happened next, but instead just kept the narrative that bad things happen for no reason, I may have liked it more. I liked that the fate of the main characters could be left up to the viewer, but the closing scene establishes the true ending.

I think Sam Levinson is a hell of a director. This film looks gorgeous and attempts some really technical sequences, like the home invasion, as well as split screens that would make DePalma jealous. The colors, the textures, the rapid pops as footage zooms in — all gorgeous. But the story is lacking. Lily’s final speech wants so badly to be a rallying cry, but so much of it comes off as an apology that’s an actual lack of apology. Everybody has bad secrets in their closet in Salem, but it’s the young women who have never had a chance to do things the right way — well, at least our four protagonists and their sisters that rally between them, at least — who are the ones in the right. Lily is able to admit that she’s done things that are wrong, but seems to write them off in this speech.

Assassination Nation wants to be Heathers for the SJW generation, vehemently denounced by the establishment and endlessly debated on talk shows and in classrooms, but it seems like no one really cared. Instead, it comes off as “What if Harmony Korine directed The Purge?”

It’s a movie that at the same time wants to empower women and give them a voice while putting masculine weapons into their hands and allowing them to shoot and stab their way to emancipation, skirting the issue that we live in a world where mass shootings happen nearly every single day, but the right good guy or girl with a gun is the narrative difference. If that true, how is your side any more correct than the other side? Instead of picking a side, instead of choosing between parable and pablum, this film makes no such choice.

The credit sequence — in which an African-American marching band drumline steps through the carnage of the town to their version of Miley Cyrus’s “We Don’t Stop” sums up this film perfectly. It looks gorgeous, it seems transgressive and it feels like it has something to say but is ultimately sound and fury signifying nothing.

We’ve spent plenty of time learning how the Australians and Italians see the end of the world in cinema on this site. But have you ever wondered how the Dutch envision the world post-apocalypse? Wonder no longer — Molly is here.

Our titular heroine (Julia Batelaan) has incredible fighting skills — owing as much to her stamina as her striking abilities — and supernatural powers that have kept her alive in the teaming wastelands. But now, the powers that be in charge of the Thunderland fight club are on the hunt for her. Their champion, The Truth, was defeated in combat and they want the one called The Girl to be their new star. And their leader, Deacon, wants to infect her with the zombie-like disease that he uses to keep everyone under his control. And once he kidnaps Bailey, the girl that Molly has pledged to protect, a confrontation between the two is inevitable.

What really struck me about this film is the way the fight scenes are presented. They’re not gorgeous ballets filled with flashy bits of action. No, they’re down and dirty skirmishes, with Molly often emerging because she has more heart than anyone else. Between the innovative camera work and use of colors, the film’s low budget doesn’t distract. And it’s not played for laughs like Turbo Kid, a movie I’ve seen many reviewers compare it to.

I’ll be on the lookout for more from creators Colinda Bongers and Thijs Meuwese. The end of the film sets up a sequel and they’re already working on a prequel to this movie called Kill Mode.

Look for Molly on blu ray, DVD and VOD October 2.

Disclaimer: I was sent this film by its PR team and in no way did that impact my review.

Cirio H. Santiago sure has some interesting movies in his oeuvre: TNT Jackson, Vampire Hookers, Stryker, Hell Hole, Caged Fury, The Sisterhood, Demon of Paradise and many, many more. Today, we’re here to talk about his take on post-apocalyptic movies.

“If you thought Max was mad — meet Trace!”

Trace is looking for his sister, Arlie (Lynda Wiesmeier, Malibu Express) and finds her running with the Nomads and her boyfriend, Bo, who loses a fight for her car. Trace fights that guy and wins — he’s Trace, of course he fucking wins, bro — and we get a car chase. It will not be the last one in the film.

Soon, everyone is battling Scag and The Scourge, who ends up tying Arlie spread eagle on the hood of his car. Dude, you’re going against Trace! What the fuck are you thinking?

Bo dies — of course, he’s no Trace — and then we meet Stinger (Laura Banks, Star Trek II: The Wrath of Khan), who is the film’s badass girl (she’s playing the Sandahl Bergman to Trace’s Arnold). Meanwhile, his sister is getting raped by everyone (these scenes are left on the cutting room floor thankfully).

There’s also a mutant and a little person who help them, which they’ll need it as they battle the gang that done took Trace’s kin.

Long into the movie, we learn that the True Believers and how they are building a rocket to go to Paradise, a planet safe for man. Oh yeah. Trace used to be part of The Ownership, a government group that keeps order. And so was The Scourge.

Did I mention that Stinger has a trained falcon, so that this movie can rip off The Beastmaster too? Well she does.

Anyways, Trace goes to rescue his sister, who ends up sacrificing herself to save him. And Skag dies when Stinger sacrifices herself. Man — post-apocalypse female life is cheap.

If this all seems like a jumbled mess to you and you may say, has Sam forgotten how to coherently relay a plot, you obviously have never seen this movie before.

Interestingly enough, The Scourge was going to be played by Fear lead singer Lee Ving. But he left before shooting began.

You could do worse for a movie. I’m not sure how. But I’m certain you could.