ABOUT THE AUTHOR: Matt Frame is one of the creators of Camp Death III In 2-D, which you can check out on Amazon Prime. We interviewed him last year and he’s been good enough to send us his last of slasher and horror films from the 1980’s that he loves. For more info on his film, head on over to its Facebook page! Thanks, Matt!
Hi guys! Apologies for not getting back to you before now. I was on a tricycle riding over the Rockies with a coconut chained to my waist. True story. I tried to pedal from Seattle to Milwaukee in order to hand a bluray copy of my film to the guys at Red Letter Media. Only made it 600 miles after being snowed out in Montana. Whole affair can be seen here.
Anyways, you know I’m an 80’s horror hound so my list of 60 is from that era, by year, alphabetical order.
Any time people wonder why women keep pushing harder and harder for their inalienable rights, you should force them to watch this movie, which shows how far our society has come since 1978. There’s a scene in here that literally made us start yelling at the TV set because of how insane it is. Yet forty years ago, this type of thinking was commonplace.
Originally airing on CBS on September 20, 1978, Are You In the House Alone? is based on the 1976 novel of the same name by Richard Peck.
Gail Osborne (Kathleen Beller, Dynasty) is a high school student dealing with all the pressures of being sixteen, such as discover her skills as a photographer and dealing with boys who only want sex. Her family has moved away from San Francisco to a new town to escape the dangers of the big city.
She starts dating a guy named Steve (Scott Colomby, Tony from Caddyshack), despite her overprotective parents (Blythe Danner and Tony Bill). Despite this young love flowering, Gail keeps getting threatening letters and calls from a man who laughs at her. She asks her principal for help and is basically told that it’s all probably her fault for a way that she’s treated one of her male classmates.
Gail’s life is pretty much falling apart. Her parents constantly fight, her dad’s back off the wagon and he gets fired from his job without telling anyone. The letters and calls start to increase and we have a red herring dangled in our snooping noses in the person of way too involved photography teacher Chris Elden (played by the incredibly named Alan Fudge who was in Galaxis, My Demon Lover, and Brainstorm).
Surprise — it ends up being her best friend Allison’s (Robin Mattson, who was in Candy Stripe Nurses and a film that this is remakably similar to, Secret Night Caller) boyfriend Phil (Dennis Quaid, who is so young it’ll blow your mind). He attacks her while she’s babysitting the children of Jessica Hirsch (Tricia O’Neil, Piranha II: The Spawing), a lawyer who just happens to be dating the aforementioned Mr. Elden.
The shocking part we mentioned above is that when Jessica becomes Gail’s lawyer, she tells her that there’s a chance no one will put Phil in jail because she’s not a virgin anymore. The world may be a mess these days, but man, in 1978, it was a real mess.
While not technically a slasher — there’s no body count to speak of — the hallmarks of the genre, such as a babysitter being stalked and constantly threatened by a maniac, are all here.
Also — what was it with 1970’s made for TV movie houses and plants? Every single home in this movie is abundantly lush with vegetation. Every plant is green and thriving, despite no sunlight in any of these homes. How did they do it?
Want to watch it? Good news. It’s on Amazon Prime and I’ve embedded the full movie from YouTube below. You can also buy it from Shout! Factory on a double disk with The Initiation of Sarah. I wish they had put out more TV movies like this!
DAY 13. DO YOU FEEL LUCKY, PUNK?: A film about luck; good, bad or ugly.
William Beaudine — as we discussed back when we watched Jesse James Meets Frankenstein’s Daughter — came back from England in 1937 and had a rough time re-establishing himself with American studios. He ended up directing all-black films, realizing that when he did, he’d never reach the heights of fame he was at before.
Lucky Ghost was made a half-decade later, a sequel to Mr. Washington Goes to Town. It concerns the continuing adventures of Washington Delaware Jones (Mantan Moreland, the messenger in Spider Baby and a man considered to take over for Shemp in The Three Stooges in 1955), who has been such a strain on his hometown that a judge banishes him. As he travels to find a new place to live, he brings along Jefferson (F.E. Miller, who made several all black movies like Harlem on the Prairie, Harlem Rides the Range and The Bronze Buckaroo).
Neither man has any experience nor do they much like to work, so they decide to be food tasters. Their career path starts with impersonating food inspectors and stealing chickens, which gets them shot at.
The two then play craps with a rich man named Brown and two of his friends, cleaning them all out and getting a fancy car out of the deal. They travel to the country club of Dr. Brutus Blake, a con artist who wants to steal their money and keep Washington away from the club’s hostess.
That’s when we learn that Blake’s relatives haunt the joint and they’re none too happy about how he is turning out. But even when our heroes defeat Blake and win his club, the place is just as sinful and decadent as it’s ever been. So the ghosts en masse begin to haunt the club, sending the twosome of Washington and Jefferson running for their lives as the ghosts bemoan all of the “jitterbugging, jiving, and hullaballooing” and begins slamming doors and even playing the drums.
Race films — as they were called — featured parts for actors that never really got the chance to be anything other than servants.
Moreland is a great example, as he was mostly known for his role as chauffeur Birmingham Brown in the Charlie Chan films. He also worked with Ben Carter (who was replaced by Nipsey Russell in the 1950’s) and was inducted into the National Multicultural Western Heritage Museum Hall of Fame in 2004.
F.E. Miller is considered one of the seminal figures in the development of African American musical theater on Broadway and was posthumously nominated for a Tony Award in 1979 for his contributions.
After discovering just bad Lucio Fulci’s health was, Dario Argento decided to help him find a new project in the hopes that directing would lift his spirits and his well-being. Sadly, pre-production and Argento’s work on The Stendahl Syndrome went on a few months too long and Fulci died before production could begin.
The two directors rarely got along and disagreed throughout pre-production. Ironically, Fulci wanted a classical horror movie while Argento wanted to increase the gore. Go figure.
Argento turned the project over to special effects artist Sergio Stivaletti, who created the effects for Demons, Hands of Steel, Opera, The Church, Cemetery Man and many more Italian horror films. He adjusted the script to increase the special effects. It brought a tear to my eye to see the dedication to Fulci before the film began.
We open in Paris in 1900, as a moving camera gives way to black-gloved hands, revealing a couple who has been murdered by a masked killer with metal claws.
Fast-forward to 1912. There’s a new wax museum in Rome and much like House of Wax, it’s known for having lifelike murder scenes. Meanwhile, the daughter of the couple we saw murdered in the opening, Sonia Lafont, is now a costume designer who wants to work for the museum’s owner and main artist, Boris Volkoff. Yet all is not as it seems. As people disappear and others die inside the museum, new figures begin to appear in its exhibits.
What makes this movie isn’t the story or the acting, but the gorgeous production design and strange combination of Victorian machinery with Terminator-like machines. Sure, some of the animation and fire effects look rough today, but the creature and gore effects are incredibly strong even twenty-plus years after its release.
While this will be streaming on Shudder as of October 14, you should just order it from the awesome people at Severin. Their release is absolutely loaded with extras, including interviews with Argento, Fulci, Stivaletti and more. There’s also a limited edition with an exclusive slipcover and the soundtrack to the film.
DAY 12. THE FRACAS AND THE FUZZ: Something revolving around cops and criminals.
After a day of cop related slashers, it’s kind of nice to know that I’m finally winding down with the final film — 1992’s Adam Rifkin-directed Psycho Cop Returns. Yes, the same Adam Rifkin that wrote and directed The Dark Backward, as well as being the writer for Small Soldiers, Mouse Hunt and Underdog. He also directed the KISS-centric Detroit Rock City.
Writer Dan Povenmire was offered the chance to direct the film, but as this would require him to quit his job on The Simpsons. Therefore, he declined the opportunity.
Officer Joe Vickers — again played by Robert R. Shafer — is continuing his series of murders for Satan. This time, he’s pretty much going Die Hard on a drug-fuelled office bachelor party.
This is one of the few slashers you’ll see where one of the victims ended up winning the Academy Award afterward. But Nick Vallelonga, who plays Michael, co-wrote and produced Green Book.
To balance that out, the ladies of the film are played by the always dependable Julie Strain (pretty much every late Andy Sidaris movie, but let’s go with Return to Savage Beach), Melanie Good, Maureen Flaherty and Carol Cummings, billed here under her non-adult stage name Kimberly Spies. The two go-go dancers are Brittany Ashland (adult actress Tanya Rivers) and Sara Lee Froton, whose only other credit is the deranged slasher Skinner. They were both discovered by the director at an actual bachelor party. And the host of that party? Charlie Sheen.
John Paxton, the father of actor Bill Paxton, also shows up as Mr. Stonecipher, the boss of this office building that’s being used for sexual and drug-addled hijinks.
Just like the first film in this series, you have the right to remain silent during it, as the humor and gore may just not be your cup of tea. Or you might totally love it. The jury, as they say, is out.
You can buy this from the crazy people that are Vinegar Syndrome, who have given their blu ray release of Psycho Cop Returns all the white glove attention that Criterion would to a Robert Altman film. God — or Satan — bless them.
DAY 12. THE FRACAS AND THE FUZZ: Something revolving around cops and criminals.
How have I ended up here, watching Psycho Cop in the middle of the night? I blame the annual Scarecrow Psychotronic Challenge. What started with just Maniac Cop ended with all three of those films, then I was like, well, let’s see if there were any other cop-based slashers. Bad news for me — there totally was.
Wallace Potts would not be the filmmaker I’d think would make this film. The lover and documenter of international ballet star Rudolf Nureyev, he’s probably most famous for assembling, on behalf of the Rudolf Nureyev Foundation and the Fondation Rudolf Noureev, every single bit of footage possible of the dance star. Besides that, he directed the films Demi-Gods, Tales of the Unliving and the Undeadand a French adult film entitled Dude.
I hate stereotypes, but again, not who you think of when you’re looking for someone to direct a slasher about a Satanic serial killing peace officer.
The film begins with Barbra and Greg, two newlyweds that you shouldn’t bother getting to know, as they soon come across a ritualistic murder ground. Joe Vickers (Robert R. Shafer, Bob Vance from TV’s The Office) finds them and easily snuffs out both of their lives. He’s a cop who was promised a good life by God that decided to go with Satan instead. He may also be one of the undead.
The very next day, three couples travel to a secluded mansion that comes complete with a hunky caretaker who is soon killed by Vickers. Probably the only one of these people who you may know would be Cindy Guyer, who was a romance novel cover model and once engaged to Corey Haim for eight days before he threw her from a movie vehicle. She survived. As the character Julie in this movie, she does not.
Your capacity to enjoy this movie depends on just how desperate you were for new horror movies back at the end of the 1980’s. If you were like me, you rented anything with that little green horror sticker, so a movie like this may be grating in parts, but easily flies by. If you wasted your time watching actual pieces of cinema, you are probably going to despise every single moment.
Vickers is really Gary Henley, a discharged psychiatric patient who Satan has helped to infiltrate the California Police. He’s able to shrug off point blank bullets, but not a log that impales him. However, we never get a full disclosure of his powers and also learn that he could also be Ted Warnicky, an escaped psychopathic serial killer. This is what they call a non sequitur. Don’t say that slasher movies never taught us anything — you just learned about a conversational literary device that is derived from the Latin phrase “it does not follow.”
The Psycho Cop — of course — survives. There must be more psycho patrols to perform. He’s not really all that special or memorable. To paraphrase Lloyd Bentsen, “Psycho Cop, I watched the first Maniac Cop with Matt Cordell. I watched the second and the third. Matt Cordell was a friend of mine. Psycho Cop, you’re no Matt Cordell.”
This isn’t available on DVD as of yet. Trust me, you’re not missing anything. But hey — here’s a link to watch it on YouTube.
DAY 12. THE FRACAS AND THE FUZZ: Something revolving around cops and criminals.
But what if the Maniac Cop found love?
This is the question we must answer.
Aren’t we all worthy of adoration?
Even those of us who have risen from the grave and killed numerous people in an obsessive quest for bloody revenge?
But first, the problem of bringing back the Maniac Cop, Officer Matthew Cordell, played once again by Robert Z’Dar. Leave that to Houngan Malfaiteur, played by Julius Harris from Hell Up In Harlem, Black Caesar and Superfly. I love the character names that Harris had in movies, like Tee Hee Johnson in Live and Let Die, Gravedigger in Darkman and Speedbagger in Prayer of the Rollerboys. He uses the dark powers of voodoo to bring our favorite boy in blue back from the beyond.
Meanwhile, there’s also another cop named Katie Sullivan (Gretchen Becker, who is also in Firehead and was Martin Landau’s partner until the end of his life) who gets shot in a convenience store holdup. Thanks to more police corruption, she’s painted as using excessive force and the man who shot her is due to go free, which upsets investigating officer Sean McKinney (the returning — and always awesome — Robert Davi).
It also upsets the Maniac Cop, who shows up to the hospital ready for mayhem. He kills one guy with defibrillator paddles and another with straight-up x-ray radiation. And the four reporters who joined in on Kate’s frameup? Toast.
McKinney joins up with Doctor Susan Fowler (Caitlin Dulany, who along with Jesica Barth, formed Voices in Action after the multiple accusations against Harvey Weinstein) to investigate the murders and Kate’s strange behavior, even though she’s braindead.
The Maniac Cop is interested in Kate, who Houngan claims refuses to return from the land of the dead. So he does what any of us would do. He sets everything — including himself — on fire.
Despite getting blown up real good, the body of the titular protagonist survives enough to hold Kate’s charred hand, even in the morgue.
This movie is packed with talent, including The Breakfast Club‘s Paul Gleason, one-time Freddy Krueger actor Jackie Earle Haley as holdup man Frank Jessup, and Doug Savant from Melrose Place and Robert Forster as doctors.
Maniac Cop III: Badge of Silence had a troubled production. Despite director William Lustig’s rough cut clocking in at just 51 minutes, he refused to shoot the additional scenes the producers wanted. That’s why the Blue Underground release has Alan Smithee listed as director. To fill in the gaps, there are several scenes that are obvious outtakes from Maniac Cop 2.
DAY 12. THE FRACAS AND THE FUZZ: Something revolving around cops and criminals.
Bill Lustig and Larry Cohen return to tell the next adventure of Maniac Cop Matthew Cordell, who somehow survived being skewered with a pole and a dunk in the rivers of New York City last time. Now, he’s got a junked out police car and is patrolling the city and killing past enemies like officers Jack Forrest and Theresa Mallory (Bruce Campbell and Laurene Landon).
Officer Susan Riley (Claudia Christian, Calendar Girl Murders) is now on the case of not only the Maniac Cop, but a killer named Steven Turkell (Leo Rossi, Bud from Halloween II) who has joined forces with the titular character. Turns out that for some reason, the Maniac Cop wants an entire army of criminals on his side. Look for Clarence Williams III from Mod Squad as one of those crooks named Joseph T. Blum.
Detective Lieutenant Sean McKinney (Robert Davi!) is also trying to stop the Maniac Cop, even promising him an honorable burial and exoneration for his crimes. For what it’s worth, our antagonist gets to kill the three inmates who scarred him and then takes our Turkell in a fiery explosion.
Of course, the credits roll with Maniac Cop’s hand bursting out of his coffin. You can’t keep a bad cop down.
Charles Napier, James Earl Jones, Danny Trejo and Hank Garrett, who once wrestled as The Minnesota Farmboy before going into comedy and appearing as Officer Nicholson on Car 54, Where Are You?
Sadly, Joe Spinell was to play Turkell the murderer, which would have united Maniac Cop with Maniac. However, Spinell died before filming began and the film is dedicated to him.
Although top billed in the credits and on the posters, Bruce Campbell is killed 17 minutes into the movie and has about 3 minutes of screen time. He also hates when people bring this movie up, as it reminds him of a painful time in his life. He always fires back — in a hilarious way — on hecklers who don’t follow this rule at conventions, which has led to goofballs purposefully asking queries about it just to get roasted by him.
DAY 12. THE FRACAS AND THE FUZZ: Something revolving around cops and criminals.
While he may be most famous for Cannibal Holocaust, a movie so controversial that he lost his license to make films and was arrested for the suspected murder of the film’s cast, Ruggero Deodato is no one-trick pony.
After growing up nearby Rome’s film studios and being friends with the son of director Roberto Rossellini, he worked his way up to being the assistant director on the film Django before helping Antonio Margheriti finish Hercules, Prisoner of Evil, a peplum that also has horror elements like a werewolf. He also directed the superhero film Phenomenal and the Treasure of Tutankhamen and Zenabel before taking time away to work in advertising.
He returned in 1976 for the film Waves of Pleasure and then made the film we’ll be discussing today. Later Deodato films of interest include Jungle Holocaust (which stars future cannibal icons Ivan Rassimov and Me Me Lai), Concorde Affaire ’79 (which has a veritable murderer’s row of junk cinema stars in it, like James Franciscus, Mimsy Farmer, Joseph Cotten and Edmund Purdom), The House On the Edge of the Park (which rips off The Last House On the Left so much that it even has Davis Hess in it), the slasher Body Count and late in the game giallo like Phantom of Death and The Washing Machine.
But Deodato will forever be known for his cannibal excesses, so much so that he was in Hostel II as a cannibal character.
When Edgar Wright was writing Hot Fuzz, Quentin Tarantino played him this film and Walter Matthau’s The Laughing Policeman for inspiration. On the commentary track for the movie, Tarantino says that it has “one of the greatest titles of all time, and it lives up to its name.”
Screenwriter Fernando Di Leo was behind several of the most well-regarded spaghetti westerns, like A Fistful of Dollars and Johnny Yuma before moving into the poliziotteschi genre. His Milieu Trilogy, which he both wrote and directed, includes Caliber 9, Manhunt and The Boss.
This movie, however, is all about the Fred (Marc Porel, Don’t Torture a Duckling) and Tony (Ray Lovelock, The Living Dead At Manchester Morgue), two members of the Special Squad. This secret arm of the Italian police seems to have complete impunity and grants their agents a license to kill.
Fred and Tony take full advantage of that. The film begins with them chasing purse snatchers — to be fair, the failed heist leads to them killing a woman directly in front of children waiting in line to meet Santa Claus — for nearly twelve minutes before impaling one and breaking the other’s neck before the normal cops arrive. As people wait for them to be arrested, they just casually walk away and ride their motorcycle together. Yet for all the killing, shooting and wanton seduction of women these two will accomplish in the next 100 minutes, they really have no issue holding one another.
Keep in mind that Deodato shot this epic sequence with no permits whatsoever and you may see that he saw these two as kindred spirits.
Their boss is played by Adolfo Celi, who you’ll probably recognize for playing Ralph Valmount, the villain in Mario Bava’s Danger Diabolik. They pretty much drive him crazy for most of the film, with him opining that they’re probably worse than the criminals that they go after.
Yes, this is probably the only cop movie you’re ever going to see where the good guys wait for the bank robbers to start their job, then just walk up and shoot them with silenced handguns with no due process. And then they go off and do target practice, which is pretty much them shooting at one another and dodging the bullets.
Silvia Dionisio plays Norma, the tough secretary for their boss. The film pretty much sets its tone when they have their conversation with her before seeing him. You expect the Bond/Moneypenny type flirting until she tells them that men often talk a great game, but she can go twenty times in a night while they’ll be sleeping after one orgasm. That’s why she keeps flirting with both of them, because they may have to team up to satisfy her. It’s disarming and shows that she’s no shrinking violet. Also, if anyone in this movie was smart, it’s Deodato, as he married Dionisio right around this time.
The boys’ big assignment is to stop crime boss Pasquini, which they start by visiting one of his finest clubs and setting all of the patrons’ cars on fire. He eventually comes after them, even slicing out the eye of one of their informants (and stepped on the eyeball, in a screen that Fulci must have been jealous he didn’t direct) to get them mad. This scene was censored from how it originally was intended, but the intent is there. There’s also a bonkers scene where the boys visit a relative of Pasquini and end up taking their turns with his needy niece.
Of course, everything works out for our heroes, thanks to their boss being a much better cop than both of them. But hey — they still get to blow up a boat.
If you ever watched a movie like Lethal Weapon or Cobra and thought, boy the captain is coming down pretty hard on this cop and he’s just doing his job, you should check this out. These supercops make Dirty Harry look like a third-grader with their near-limitless brutality.
Sadly, this was Ruggero Deodato’s only poliziotteschi film. But really, where do you go from here? A sequel was in the planning stages, but ended up being canceled due to Marc Porel and Ray Lovelock not getting along.
This is one of the most entertaining films I’ve ever seen, a cops with guns movies that rivals the excesses that Hong Kong cinema would achieve a decade later. It really has no story, just hijinks, but you won’t notice. You’ll be too busy trying to get your jar off the ground, trust me. If it didn’t come through in all these words, I love this movie.
DAY 12. THE FRACAS AND THE FUZZ: Something revolving around cops and criminals.
Beyond being the CEO of Blue Underground, Bill Lustig will get a forever pass just for making the films Maniac and the three movies in this series. I mean, Bruce Campbell, Tom Atkins and Robert Z’Dar in the same movie? And it’s written by Larry Cohen? Count me in.
There’s a series of murders going on in New York City, all being committed by someone in a police uniform, which leads to complete panic. However, that policeman is even more frightening than anyone dared dream. He’s not just a cop. He’s a…Maniac Cop.
Ellen Forrest thinks that her husband Officer Jack W. Forrest, Jr. (Campbell) is the Maniac Cop, following him to a hotel where she catches him in bed with fellow officer Theresa Mallory (Laurene Landon, Yellow Hair and the Fortress of Gold, Wicked Stepmother, your teenage dreams). She runs from the room right into Maniac Cop, who kills her, a murder for which Jack gets the blame.
Detective Lieutenant Frank McCrae (Atkins) believes that Jack was framed. He gets Jack to tell him about his fling with Mallory, who is currently undercover working as a prostitute. She and McCrae fight off the Maniac Cop, who is cold to the touch, doesn’t breathe and shrugs off several bullets.
The trail of the killer leads to Sally Nolland, a fellow female officer who Mallory confided in. She’s played by Sheree North, whose life was pretty interesting. In the mid-1950s, 20th Century-Fox groomed her as a replacement for the studio’s leading — and volatile — leading lady, Marilyn Monroe. They even had her test for two roles — The Girl in Pink Tights and There’s No Business Like Show Business — that Monroe was up for. To add insult to injury, the studio gave her Monroe’s wardrobe.
In March 1954, North dealt with a scandal when a stag loop of her in a bikini surfaced, but the studio capitalized on the bad press. Her next leading role was opposite Betty Grable in How to Be Very, Very Popular, a part Monroe had turned down. She was suspended by the studio as a result and this led to North getting into Life magazine with the headline “Sheree North Takes Over From Marilyn Monroe” emblazoned on the cover.
How to Be Very, Very Popular is a forgotten film today, but at the time, North’s “Shake, Rattle and Roll” dance proved memorable. The studio kept trying, casting her in two movies with Tom Ewell, Monroe’s co-star in The Seven Year Itch. While their second pairing, The Lieutenant Wore Skirts, was a success, the studio soon grew disinterested and began hyping a new blonde star — Jayne Mansfield.
Part of that reason may have been North standing up for herself. Her agent advised that she turn down a role that parodied Monroe in The Girl Upstairs and when Elvis dropped out of The Way to the Gold, North hated his replacement, Jeffrey Hunter.
After North’s contract with Fox ended in 1958, her career slowed. She did a series of TV shows, appeared in John Wayne’s last film The Shootist, was in Destination Inner Space and finally acted alongside Elvis in The Trouble With Girls. Ironically, she played Marilyn Monroe’s mother in the made-for-television film Marilyn: The Untold Story.
Today’s audiences would probably remember her best for two sitcom roles: Blanche’s sister Virginia on Golden Girls and as Cosmo Kramer’s mother Babs on Seinfeld.
But I digress…
McCrae follows Noland to a warehouse, where she meets with the Maniac Cop. She calls him by his real name, Matt, which leads McCrae to discover the history of Matthew Cordell (Z’Dar), a cop who was jailed for brutality before his fellow prisoners mutilated and murdered him. Of course, he was also set up after discovering corruption all the way up to the mayor’s office. It turns out that he survived — barely — and has been waiting to get his revenge ever since.
From here on, we get the shock and awe we were looking for, with Officer Cordell wiping out cops left and right. Yet even being impaled on a pipe at the end of the film can’t stop the rage of this now undead peace officer, who rises to murder the mayor as the film closes.
Look for Sam Raimi, Richard Roundtree and boxer Jake LaMotta, Lustig’s uncle, in cameos.
This is a fun movie that I have no complaints about at all. It’s fun, fast-moving and is filled with stunts and violence. If you’re expecting an Oscar-winning movie, well…
After years of rumors, a new Maniac Cop is on its way. According to Variety, the series will be the first production of Nicolas Winding Refn’s byNWR Originals, a part of his cultural site byNWR.com and will air on HBO.
Here’s the press release: “Set in Los Angeles, Maniac Cop is said to be told through a kaleidoscope of characters, from cop to common criminal. A killer in uniform has uncaged mayhem upon the streets. Paranoia leads to social disorder as a city wrestles with the mystery of the exterminator in blue. Is he mere mortal, or a supernatural force?”
Sounds interesting. Want to know about the other Maniac Cop films? Stay tuned — we’ll be covering them both today.
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