Fire Fight (1988)

I discovered this I-never-heard-of-it before and somewhat newly-uploaded ditty back in September of last year during one of my many You Tube-rabbit hole excursions. And knowing a B&S About Movies’ movie when I see one . . . I left it on my “need to watch” back burners, waiting for the right moment . . . then Sam the Bossman came up with another apoc-theme week. So blame him for this review. And video purveyors Trans World Entertainment for releasing it.

Paul at VHS Collector comes through again with the clean JPEG of the VHS.

At first glance at the VHS sleeve description, you want to call out this direct-to-video writing and directing debut by Scott Pfeiffer as a ripoff of Kevin Costner’s The Postman — only Costner’s apoc romp was released a decade later. You may know Scott Pfeiffer’s work courtesy of his next effort, the Asian white slavery romp Merchants of Evil (1993) — and that’s only because no one ever passes up a film starring William Smith (his B&S resume). After that, Pfeiffer produced a dozen other low-budget direct-to-video features, the best known of those being a sequel to Hell Comes to Frogtown. And, in a David A. Prior twist: Scott cast his brother, James, as the lead in his two writing-directing efforts.

In this apoc-obscurity, we meet a bickering husband and wife (James Pfeiffer and Janice Carraher; she vanished from the biz shortly after) — she wants a divorce and he won’t give her one — as a radio station voice-over advises us the world is on the brink of world war. Then the ubiquitous phone call: we come to learn hubby is not only a dickhead of a husband, but a dickhead of businessman involved in a nefarious South American business deal that has “the feds sniffing around.”

Luckily, our fair lady runs off into the mountains to be with her grandad. And in those same woods, a merry band of prisoners commandeer their police transport van. And hubby has to hightail it to South America to cover up his company’s corruption, because, well, everyone needs to end up in the same patch of woods. . . .

So, all of our key players are in place. Cue the apocalypse.

America is wiped out by a voice over and stock footage nuclear war. And our just another run-of-the-mill businessman in the pre-apoc world sees the all-new, wiped-out America — well, at least west of the Rockies — as the land of opportunity. Now, is it possible that Scott Pfeiffer read David Brin’s The Postman source novel released in 1985 (Costner greatly detracted from the novel in his film version) . . . because we have another psycho-businessman (in The Postman, General Bethlehem, played by Will Patton, was photocopier salesman) with aspirations to become the land’s new neo-fascist ruler with his merry band of warriors — courtesy of those less-educated escaped prisoners. And as they travel the countryside, the rules are simple: join us or die, just like in The Postman. Meanwhile, our ex-wife and ‘ol grandad are the leaders of a peaceful, wooded enclave. And she finds love again in the arms of — not a postman — but Wilkes (co-writer Butch Engle), a wandering trader.

Do you see where this is all going? If not for the holocaust, we’d have ended up in divorce court or ended up in a ripoff of Kramer vs. Kramer — or worse: one of those psycho-husband romps of the ’90s. Now their divorce plays out — the husband’s Raiders vs. the wife’s Traders (and let’s not forget the poor Radiated People) — in the wooded battlefields of Northern California.

Is this as bad as the Canadian in-the-woods-talking SOV apoc-romp Survival: 1990? Nope. Is it any better than the Gary Lockwood-starring South America-doubling-for-Texas apoc slop that is Survival Zone? Nope. Did this all need a touch of David A. Prior? God help me, but yes . . . for once, where was David A. Prior when we needed him with his fleet of post-apoc Jeep Cherokees and his celluloid partner-in-crime David Winters’s concrete-blocked wall space ships (i.e., the not-the Battlestar Galactica Southern Star in Space Mutiny).

The end.

You can watch Fire Fight on You Tube.

About the Author: You can read the music and film reviews of R.D Francis on Medium and learn more about his work on Facebook.

Angel III: The Final Chapter (1988)

Tom DiSimone was back to make another Angel film, but for the third one in a row, we have a brand new Molly “Angel” Stewart. Mitzi Kapture, who was Sgt. Rita Lee Lance on Silk Stalkings takes over the lead and instead of being a lawyer, Angel is now a photographer.

While taking photos, she ends up taking a photo of her mother, the woman that left her fourteen years ago and sent her off to that world of the streets. The same thing is happening with her sister, so she heads out to Los Angeles just in time for her mom to explode. Now, Molly must become Angel again to rescue Michele (Tawny Ellis, Rockula).

Maud Adams, who played two different Bond girls (Andrea Anders in The Man With the Golden Gun and Octopussy, as well as a cameo in A View to a Kill) plays the madam who is keeping Angel’s sister in her white slavery porn empire.

After the first two Angel films, this is seriously a let-down. It’s not bad, but the whole idea of Angel’s street family was what made those films work for me. Sure, Dick Miller, Toni Basil, Ashlyn Gere and Julie Smith are in this, which I appreciate, but I’m left missing Susan Tyrrell.

The Carrier (1988)

Holy shit, this fucking movie.

If The Abomination is a Shot On Video (SOV) exploration of disease and religion, madness and murder straight out of Texas, this is its oddball rural Michigan brother that has much higher production values.

This is a movie where if I describe it to you, you’ll say, “There’s no way that that is a movie and no way that that much weird can be sustained across an entire movie.”

But you’d be wrong.

Jake’s parents died in a fire that some in town blame him for. He just wants to come to the bar, get drunk and be left alone, but someone has to call him out as a killer. And maybe someone in the bar actually did the killing and not him. But no matter what, Jake really does encounter some black creature in the woods, the kind that people whisper about in that weird bar that Jake should have avoided. But then, even though Jake survives the attack, he’s left with a scar and a disease that makes him — unknown to all in town — the carrier of a strange plague which spreads to every inanimate object that he touches. When anyone touches what Jake has touched, they are dissolved into that object.

Not long into this movie and everyone in town is covered in garbage bags and post-apocalyptic gear and breaking into religious madness and herding cats to use to test anything that has been claimed by the carrier’s horrible touch.

1950’s Sleepy Rock, Oregon may as well be your town during COVID-19, a disease that no one was sure where it came from and how they could get it and all turning against one another. Of course, this movie was about AIDS way back in 1988, but its theme is even more in your face true today than way back when.

Director and writer Nathan J. White honestly should have made more movies than this one and done effort. He was aided by Peter Deming, who was the director of photography on Evil Dead IILost Highway and the Twin Peaks 2017 series.

Every time I thought, “This is getting way too silly,” the movie would redeem itself or get even weirder and sillier, which I appreciate to no end. This is why regional films are so important: there were no studio notes or people saying, “None of this makes any sense.” Therefore, it all makes perfect sense.

Lurkers (1988)

I’m still trying to figure out what to call the genre where a woman goes back to her childhood home or has a memory from her past or who inherits some family plot or goes away on a vacation to find herself and always, always, always runs directly into the supernatural.

This is one more to add the the list.

When Cathy (Christine Moore, Prime Evil) was young, her mother murdered her father right in front of her. Now, her life is dominated by the nightmares of that memory, which leads her back to her childhood home.

Cathy has no idea, but her boyfriend Bob got into her life just to lure her back to the apartment building that she grew up in so that he and his friends can shove her off the building to die. That’s because Vathy’s old home really is Hell and everyone born there must be destroyed and come back as a spiritual being referred to as a lurker. And once Bob has a new woman, can Cathy save her?

Man, Roberta Findlay movies have really been a theme this week, but that’s just because every one I’ve seen has totally entertained me. This one seems to pull from her bad childhood, which she also referenced in Tenement. This is a dark film in the most entertaining of ways.

You can get this on a double blu ray set from Vinegar Syndrome. You also get Prime Evil, which is so close to this that you can consider them spiritual sequels to one another.

THE EXCELLENT EIGHTIES: Deathrow Gameshow (1988)

ABOUT THE AUTHOR: Sean Mitus grew up watching Chiller Theater from Pittsburgh and has been a drive-in enthusiast for the last six years. Sean enjoys all genres but has become interested in Italian horror, thriller and action movies most recently.

“Anyone on death row can be a contestant. Man or woman. Young or old. I do not discriminate.” – Chuck Toedan (John McCafferty)

Deathrow Gameshow was director Mark Pirro’s first 35 mm feature.  Pirro had made several shorts with a small company of friends which caught the attention of Crown International Pictures.  Pirro’s shorts A Polish Vampire in Beverly Hills and The Spy Who Did It Better mixed comedy with other genres which appealed to David Baughn at Crown who gave Pirro $200,000 to make Deathrow Gameshow.

Deathrow Gameshow plays like a warped mashup of National Lampoon comedy and New World Pictures schlocker. Many of the jokes fall flat but that doesn’t stop Pirro and company from trying.  The lead Chuck Toedan, producer and star of the Live or Die gameshow, which features death row inmates play for a stay of execution or a grisly death a la Monty Hall’s Let’s Make A Deal, is beset on all sides by his horny secretary Trudy (Darwyn Carson), protesters and picketers, and the Spumoni crime family’s hitman Luigi Papillardo. Chuck is trying to put on the most entertaining show he can, even if the odds are stacked against the inmates. It’s all proper because the inmates sign a release before taking their chances.  

Deathrow Gameshow’s premise aims for fun and schlock but is undermined by the broad comedy and the low budget’s impact on the sets, props, and special effects. There’s a guillotine that barely accommodates the inmate’s head. There’s simply a rope hangman’s noose. And there’s a gas chamber barely big enough fit the intended victim. However, there’s no gore or actual showing of the contestants (inmates) reaching their demise. All end with a cutaway or the action moves off-screen. There are also tongue and check commercials featuring inmates demonstrating products the lead to their demise.   

The plot centers on sleazebag Chuck meeting Gloria Sternvirgen (Robyn Blythe), a staunch opponent of the show who falls for him and running afoul of hitman Luigi Papillardo, (played over the top by Benjamin Agundez credited as Beano) who initially wants to put the squeeze on Chuck for “protection money” but later wants to kill Chuck after Luigi’s mother accidentally becomes a contestant on Live or Die and goes up in a spectacular explosion. Chuck tries to get rid of Luigi as another contestant. However, Luigi survives for the climax at the end of the film involving a rabid fan who’s desperate to be a contestant on the show.

Deathrow Gameshow was intended for the right kind of crowd at a festival screening or a group of like-minded friends watching home video. Fans of schlock cinema will certainly enjoy this game effort by Pirro and company.  Deathrow Gameshow is a great fit in Mill Creek’s Rare Cult Cinema boxed set.  Fans wanting more can look for Vinegar Syndrome’s stacked Blu-ray/DVD combo. 


The Excellent Eighties: Scarecrows (1988)

When Shout! Factory restored this popular cable-played and home video renter to disc and offered it as an Amazon stream, we had to review it — back on December 18, 2018. And here it is for its first bow on a Mill Creek set, in this case, their Excellent Eighties 50-film pack that we’re unpacking all this month. If you’ve never seen Scarecrows, this Mill Creek bow is a great way to enjoy it and decide if you want to buy the superior Shout! Factory reissue.

As for moi: I enjoyed this movie (somewhat), which I ended up renting as result of its write-ups in all of the various monster and horror rags of the day. And the video stores I frequented had the promotional posters up; a couple of stores had the film in the wall racks as their “Pick of the Week.”

Sam, in his review, feels Scarecrows is “never boring.” I, on the other hand, was bored by the film back then; this is only the second time I’ve watched it since those VHS rental days of yore. And I still find it to be a “muh, eh” flick. However, I agree with Sam: the splatter is good. But I feel it’s ultimately undone by a rickety script (across four screenwriters, including director William Wesley), “meh” acting, and its low-budget.

As I re-watch this all these years later, I can’t help but think Quintin Tarantino and Robert Rodriquez watched this back in the day — and it bled through into their formulating From Dusk Till Dawn, which flips-its-script from being an action caper into a vampire flick.

Here, we have another unfolding “crime caper,” as five paramilitary types ripped off $3 million dollars from Camp Pendelton — and have taken a pilot and his daughter as hostages. Before their stolen cargo plane can make it out of the country, one of the soldiers — in a move that reminds of Sly Stallone’s robbery-plane caper Cliffhanger — greedily parachutes out of the plane with the loot. Think of D.B Cooper, instead of landing in the wilds of the Pacific Northwest, he lands in a foggy cornfield. And instead of zombies showing up, you get, well, you know.

Welcome to Scarecrows.

At that point, we head off into Romero land, with the soldiers and their hostages banning together in an abandoned farmhouse to ward off the demonic scarecrows in the fields around the home — who intend to add our ne’er-do-wells to their sackcloth and flannel ranks. And, as with Romero’s farmhouse classic: this has its own, downbeat ending.

Scarecrows was a vanity production by South Florida wrestler and amateur boxer Ted “Wolfman” Vernon. (To that end: Scarecrows was filmed in his hometown of Davie, Florida.) He later moved into the world of reality TV with the Discovery Channel and Velocity show South Beach Classics (2017), which spotlighted his classic car business. That reality show unraveled in a whirlwind of his domestic abuse allegations (New Times Miami article). Another of Vernon’s projects was working as one of the executive producer’s on John Carpenter’s nobody-asked-for-it-remake of Village of the Damned (1995). Did anyone see Vernon’s feature film acting debut as the title character in the wrestling drama Hammerhead Jones (1987)? No, us either. And neither has anyone on the IMDb: critic or user.

Scarecrows was the feature film debut of William Wesley, a U.S. Army vet who parlayed his work here into contributing to the syndicated horror anthology Monsters (1991). He followed up with his second — and final feature film — Route 666 (2001), an even low-budgeted and not-as-good-as zombie romp starring the on-their-way-down Lou Diamond Phillips and Lori “Tank Girl” Petty (who’s great in Prey for Rock & Roll). One watch and you’ll wonder if Wesley seen John Hayes’s zombie romp, Garden of the Dead (1972), with its formaldehyde-sniffing prisoners returning from the grave. (Hayes gave us Crash! and the utterly-whacked End of the World.)

While Ted Vernon and William Wesley vanished, cinematographer Peter Deming went onto bigger and better films with Hellraiser and Evil Dead 2.

Now, for the behind the scenes drama:

Although it was shot in South Florida, Ted Vernon, who raised-bankrolled the $300,000 for the film, was the only local actor; the rest were L.A.-based. Vernon and Wesley also came to reportedly hated each other, with Vernon seeing the first-time writer and director as an incompetent that not only squandered the budget halfway through shooting, but wanted more funding. So Vernon ended up physically choking-out Wesley; the father of Wesley’s then girlfriend fronted the rest of the money.

The planned theatrical release of the film fell part when the distributor, Manson International Pictures, went bankrupt; however, the film returned $3 million on the home video market under the well-known Orion Pictures banner. Manson is a name you know, as the studio also gave us Terror at Red Wolf Inn (1972), Star Knight (1985), Brain Damage (1988), and Slaughterhouse Rock (1988), just to name a few of the 80-odd films in their catalog. All of those films — only to go under upon the release of Scarecrows.

As is the case with ultra-low/low-budget SAG-shot films (see the box office failures that are Zyzzyx Road (2006) and Christian Slater’s Playback (2012), as examples), Scarecrows had a one-week theatrical engagement on a single screen in a Des Moines, Iowa theater to contractually satisfy SAG, investors, and video distributors.

A valiant attempt at a case of “what might have been,” indeed.

You can watch Scarecrows on Amazon Prime or buy it from Shout! Factory. There’s also now out-of-print DVDs in the online marketplace issued by MGM and 20th Century Fox. In addition to the embedded trailer above, we found a nine-minute clip to enjoy on You Tube

And how many “scarecrow” movies are there: more than I realized, courtesy of Tubi.

About the Author: You can read the music and film reviews of R.D Francis on Medium and learn more about his work on Facebook.


Originally a four-part miniseries adaption of the memoirs of Christabel Bielenberg, a woman who was married to a German lawyer during World War II, the version of this film on the Mill Creek The Excellent Eighties box set is two hours and twenty-seven minutes long, versus the four hour and twenty-minute original running time.

This is yet another example of a film on this set that has an early role for someone who would later become a major star. Christabel is played by Elizabeth Hurley, who had only appeared in the movie Aria and an episode of Inspector Morse before this.

This was written by Dennis Potter, who wrote Gorky Park and Pennies from Heaven. This movie really stood out to me because it showed just how quickly Hitler went from a joke that everyone ignored to something that they had to deal with someday soon to finally, a force that could jail them and destroy their lives. It felt — non-surprisingly — like the last four years of our lives.

THE EXCELLENT EIGHTIES: We Think the World of You (1988)

As London recovers from World War II, an aimless young man — who is bisexual and already married — named Johnny (Gary Oldman) is sent to prison. He gives his dog Evie to his parents, Tom and Millie, who are conniving at best and abusive at worst. The man who really falls in love with the dog is Johnny’s older ex-lover and best friend Frank (Alan Bates).

Based on the 1960 J.R. Ackerley novel, this film was directed by Colin Gregg, who also directed the Liam Neeson-starring Lamb, which you guessed it, is also on this Mill Creek box set.

If you ever wonder how much our world has changed, when the trailer for this movie played in the U.S., it was sold as a light-hearted comedy about a dog and nothing was said about the romance between two of its leads.

You can watch this on Tubi.

The Excellent Eighties: Night of the Sharks (1988)

How is it that Mill Creek hasn’t done an all-shark disc set of every Jaws ripoff out there? Well, no worries. We love our Jaws ripoffs at B&S About Movies and included this obscurity as part of our “Bastard Pups of Jaws Week” on December 19, 2018. And we love our shark flicks so much, we rolled out a “Bastard Sons of Jaws Week.” Like we said: we love our shark flicks. And to the Italian, Spaniard, and Mexican filmmakers that make them: we thank you. And while we’d rather Micheal Sopkiw as our “Brody,” we get the very cool and always game Treat Williams in the bargain.

And a great poster. And the better the poster, the badder the film. And when we say bad, we mean “bad,” as in awful, and not “so bad it’s good.”

Treat, Treat, Treat. I get it, work is work. But when you have a contract slide over to your chair on a conference table at your agent’s office and it clearly shows the project is a joint Italian-Spanish-Mexican production . . . maybe just eat Campbell’s Tomato Soup and Cheese Sandwiches for a just a bit longer until a network TV guest spot pops up (you were great as ex-football star Jake Stanton on “Spiraling Down” for Law and Order: SVU, by the way). But there’s mortgages to pay and taxes to cover. Plus . . . you get a really nice vacation on a producer’s dime in the Dominican Republic (that’s doubling for Miami, Florida, and Cancun, Mexico, here).

Sure, other actors have done a lot worse than Night of the Sharks for just those reasons: but political intrigue, diamond theft, and man-eating pet sharks?

So we meet David Ziegler (Treat Williams; we’ve reviewed several of his films; we love ’em ‘ere at B&S), a ne’er-do-well beach bum who makes his way as a shark hunter with his buddy and business partner, Paco (Holy Crap! Antonio “Huggy Bear” Fargas from Starsky and Hutch!). Oh, and they have a “Cyclops” — their pet man-eating shark.

Then we meet David’s film-flaming brother James (Italian actor Carlo Mucari as the Americanized Charles Mucary); he’s got a corrupt businessman (John Steiner, aka Overlord, from Yor, Hunter from the Future) — with connections to the President of the United States — on the hook, so he decided to extort $2 million in diamonds. And James runs to David for help and upsets his peaceful, beach bum existence. And along comes the assassins. And David’s ex-wife (Janet Agren from City of the Living Dead, Eaten Alive!, and Hands of Steel), of course, gets involved to screw David for the diamonds that he took from James’s dead hand.

Or something like that. Yawn. When does the action start? When do get to the “We need a bigger boat” part?

Anyway, David decides to kick ass like a gunless-MacGyver — using only his martial arts skills, an array of blades — and his shark buddy. And along the way, Christopher Connelly from Atlantis Interceptors shows up as a priest because, well, it’s an Italian film and all Neapolitan ripoffs must have a priest in them, regardless of genre.

The twist of this mess is that it’s not even a shark movie: it’s a political intrigue-cum-diamond heist-cum mobster movie that figured a nice big shark on the theatrical one-sheet would sucker people to see the movie. And it worked. And don’t let it work on you. But it’s the always likeable Treat Williams — who always reminds me of Kurt Russell and vise-verse and how they never played brothers in a movie is beyond me.

Sure, you can stream Night of the Sharks on Amazon Prime with a subscription, but why? We found a freebie stream on You Tube.

About the Author: You can learn more about the writings of R.D Francis on Facebook. He also writes for B&S About Movies.

THE EXCELLENT EIGHTIES: Delta Force Commando (1988)

ABOUT THE AUTHOR: Robert Freese contributes to many different magazines, zines and websites such as Videoscope, Rue Morgue, Drive-in Asylum, Grindhouse Purgatory, Horror and Sons and Lunchmeat VHS. (His most recent piece, about the 80’s video distributor Super Video, can be found here). He also co-hosts the Two Librarians Walk into a Shelf podcast so he has an excuse to expose library patrons to ninja and slasher films. 

An unnamed terrorist leads a team of mercenaries onto a United States military base in Puerto Rico to steal a nuclear weapon. Commando Lt. Tony Turner witnesses the gang’s getaway. His pregnant wife is killed in the crossfire.

Vowing vengeance for his murdered wife and unborn child, Turner immediately commandeers Delta Force pilot Capt. Samuel Beck’s Mercedes and directs him at gun point to follow the goons. From this moment forward, Turner and Beck follow the rebels to Nicaragua and senselessly blow up so much property there is little left for Col. Keitel and the Delta Force calvary to sift through when they finally catch up with the rogue commandos.

For me, Delta Force Commando is perfect Saturday afternoon entertainment. It is an excellent example of the kind of movies I would rent with my brothers on VHS and devour over the weekend. All the thrills we craved to burn through a lazy afternoon are delivered here by the truckload: non-stop action, the obligatory scene where the hero packs his duffle bag with weapons, torture with some wires and a Diehard car battery, multiple shootouts, hand to hand smack-downs, a scar-faced villain, throwing knife mayhem, sling-shot mayhem, crossbow mayhem, macho one-liners, bodies destroyed in meaty bullet hits and copious, glorious explosions. They blow up everything in this movie: cars, buses, jet fighters, helicopters, trucks, bodies, bridges, buildings… I lost count after forty-three explosions, and every last one of them was old school gunpowder and gasoline pyrotechnics, no doubt pulled off by a pyro-effects wizard, probably missing a finger or two.

Fred “The Hammer” Williamson (Black Caesar) as Beck and Bo Svenson (Walking Tall Part 2) as Keitel have their names above the title, but Brett Clark as Turner, is the real star of the film. Like Michael Sopkiw before him, and Richard Anthony Crenna after him, Clark was given the chance of headlining an Italian production made for the international film market in the hopes of becoming a superstar like Clint Eastwood. Clark will be instantly recognizable to you, but you might not know him by name. We’ve been watching him since he first played one of the Camp Mohawk basketball players in Meatballs. He made all kinds of daytime soap and movie appearances. He’s maybe best known for his role of Nick “The Dick” in the Tom Hanks comedy Bachelor Party. (And if you aren’t familiar with “Mr. Dick,” you just need to watch Bachelor Party.)

Mark Gregory essays the role of the unnamed bad guy. Gregory is probably best known for his portrayal of post-apocalyptic hero Trash in 1990: The Bronx Warriors and the sequel, Escape from the Bronx. Here he sports some scabby facial make-up, short hair and a never wavering maniacal smile. Of all his performances I’ve seen, this is the first time Gregory appears to really be having fun with his character.

Director Frank Valenti (a nod to former president of the MPAA Jack Valenti, perhaps?) is really Pierluigi Ciriaci. Long time Italian movie scholars don’t need me to tell them writer David Parker Jr. is really Dardano Sacchetti.

To understand my appreciation for this flick, you really have to understand the era in which it was made. The 80’s were an amazing time of every kind of movie getting made, many receiving a theatrical release and almost all of them eventually showing up on home video or cable. One hit would begat dozens of similar follow-ups, from all over the world. Delta Force Commando was one of the many films that came into creation thanks to the always in demand action movie market and the success of films like Rambo: First Blood Part II, Commando and Missing in Action.

These films would get made, usually on low budgets, have a few recognizable stars, lots of action and sell tens of thousands, sometimes hundreds of thousands, of videotapes to the vid stores across the country. When Vista released this film on VHS, it was in every neighborhood video shoppe, in the new release section, right there next to 1988’s Rambo III.

For me, Delta Force Commando is way more entertaining than Rambo III. Of the two, Rambo III has some stunning action sequences, yes, but the characters talk too much, there’s too much plot and story and worst yet, the movie has a “message.” On the other hand, Delta Force Commando doesn’t have a “message” to bog down the action, and we can just munch popcorn and cheer on Lt. Turner as he turns the men responsible for his pregnant wife’s death inside out.

I had the opportunity to ask Dardano Sacchetti about his involvement with this film, as it is a film in which not a lot seems to be known about it. He had this to say, “The Ciriaci brothers had a supermarket and an oven that made bread in a small town near Rome. The oldest was very rich and the youngest wanted to be a director. My agent told me they would pay well for my script. I talked to them and they ended up making films from three of my scripts, but they did not come up roses. I only did it for the money, which turned out not to be very much, in a cloud of cigarette smoke and lots of Vodka.”

As far as the similarity of this title with a Cannon release around the same time, Sacchetti offers, “I believe my Delta Force was written a few months before the American one with Chuck Norris.”

When you’re in the mood for just watching a couple old-school guys blow up a lot of stuff in the name of vengeance, Delta Force Commando is a perfect pick.