UNSUNG HORRORS HORROR GIVES BACK 2025: Bugged (1997)

Each October, the Unsung Horrors podcast does a month of themed movies. This year, they will once again be setting up a fundraiser to benefit Best Friends, which works to save the lives of cats and dogs across America, giving pets second chances and providing them with happy homes.

Today’s theme: Animal Attack

“They’re urban, they’re vermin, and THEY exterminate YOU!”

Ignore the Troma logo at the beginning of Ronald K. Armstrong’s directed, written, produced and starred in insect film and prepare for something great.

Dr. Craig (John Kilgore)’s chemicals have replaced the bug-killing pesticides in the Bugbusters supply room with one that makes the bugs bigger. After all, Dr. Craig did what you never should and pulled a Goldblum. That’s correct — he tested those drugs on himself, turned into a giant bug and then got shot in the face by his lab assistant. Now, bugs are everywhere in the city, and just being an exterminator puts Dave (Armstrong) into danger’s maw — mandible? — as he tries to defest the home and win the heart of Priscilla Basque). Dave’s partner, Steve (Jeff Lee), may screw things up for both his goals before that.

This has an all-black cast, body melting moments, cartoony aspects like how Steve gets flattened at one point, effects that look like they came from the clearance aisle, a rat puppet, evil bugs with human eyes and way more action — and romance! — than this budget would seem to indicate. In fact, every review of this movie — nearly, let’s not get hyperbolic — seemed to make fun of how cheap this looked. Maybe they should look past that and see that this has heart, brains and, well, guts.

ARROW 4K UHD AND BLU-RAY RELEASE: Spawn: Director’s Cut (1997)

There was a time when comic books were not celebrated. When only the disenfranchised cared or knew about them instead of the mainstream. And in those ancient times — let’s call them 1992 — no news was bigger than when Marvel’s biggest creators left en masse to form Image Comics. At the time, these artists were derided as style over substance. Many of them weren’t known for hitting their deadlines. Or even how to draw feet properly. But one of them — Todd McFarlane —  took the opportunities that his new home presented and made the most of them, creating his signature character: Spawn.

Spawn is everything that McFarlane loved to draw: a muscular hero covered in spandex, chains and a cape that seems to be way longer than it should be. It was an instant hit, giving birth to a toyline, an HBO animated series (which still holds up) and finally, this movie.

Al Simmons (Michael Jai White, playing one of the first African-American superhero to be a movie lead, as this movie and Shaw’s Steel came out at the same time) is a black ops soldier assigned to a mission to investigate a North Korean biochemical weapons site. But he’s been set up by his boss, Jason Wynn (Martin Sheen) and is killed by Jessica Priest, Wynn’s new top assassin. After being set on fire, he winds up in Hell, where Malebolgia offers him a deal. If Simmons will lead his armies to Heaven’s gate, he can see his true love, Wanda, one more time.

You know how those deals with demons work. They’re rarely fair. When he returns to Earth, Simmons learns that Wanda is now married to his best friend Terry(D.B. Sweeney, Fire in the SkyThe Cutting Edge), who is raising his daughter, Cyan.

Malebolgia sends one of his demons, Violator (John Leguizamo), to mentor Simmons. But there’s also Cogliostro (Nicol Williamson, The Exorcist III), who also sold his soul to become a Hellspawn but who has found his way to Heaven.

Meanwhile, Simmons becomes Spawn and attacks Wynn, now a powerful arms dealer. He easily defeats his killer, Jessica, and escapes an attack by an army of mercenaries thanks to his new powers.

Violator — who either appears as a clown or an Alien-esque demon — gets Wynn to add a device to his heart that will release Heat 16, a biochemical superweapon, if he dies. Malebolgia wants Simmons to kill Wynn and start the end of the world. But Violator has his own agenda and nearly kills our hero before Cagliostro saves him. As he learns how to use his powers just as he also learns that Wynn plans on killing everyone he loves.

What follows is a battle on our earth and in Hell, where Spawn denies his contract with the Devil, bests Violator and returns to our reality, ready for the sequel which never came.

Spawn is very of its time, a film packed with early CGI (nearly half of its effects were unfinished until two weeks before it was released) and a soundtrack that mixes techno with hard rock and metal (the Atari Teenage Riot/Slayer mashup “No Remorse” is a highlight). It’s a decent enough film but is a sanitized version of the chaos inside every panel of the Spawn comic. It just feels like something is missing. There’s no real heart in the film, nor any real threat to our hero.

After years of talk of a sequel, McFarlane announced a new Spawn adaptation in 2015, with the goal of the creator writing the script and directing. In July of 2024, it was confirmed that this was true, with the film being produced by Blumhouse. Here’s hoping for something great.

The Arrow 4K UHD and Blu-ray releases of Spawn have 4K restorations of both the Director’s Cut and Theatrical Cut of the film from the original camera negatives by Arrow Films. The reversible sleeve featuring two original artwork options, plus you get an illustrated collector’s booklet featuring new writing on the film by John Torrani and a double-sided foldout poster featuring two original artwork options.
The director’s cut has new audio commentary with comic book expert and podcast host Dave Baxter; archival commentary by Todd McFarlane, Mark A.Z. Dippé, Clint Goldman and Steve Williams; interviews with Michael Jai White, Melinda Clarke, D.B. Sweeney, Howard Berger, Greg Nicotero, Happy Walters and Michael Knue; multiple featurettes; a trailer; scene-to-storyboard comparisons; original Todd McFarlane sketches and a Spawn concept and sketch gallery.

You can order this on 4K UHD or Blu-ray from MVD.

2025 Scarecrow Psychotronic Challenge Day 3: The Bloody Ape (1997)

3. SIMIAN CINEMA: Grab a six-pack of bananas and watch a primate film. Something appeeling.

Directed by Keith J. Crocker, who co-wrote it with George Reis (who organizes the twice-a-year drive-in events), this is also known as Son of Sweetback vs. Kong.

Lampini (Paul Richichi) runs a carnival, and when you do that, you get a gorilla. This one is named Gorto. And when people do you wrong, you send the giant ape out to get revenge. Did you break up with Lampini? An ape is going to kill you. Even if you’re an innocent in this movie, there’s a good chance that a gorilla will kill u and that’s if you’re lucky. If you’re not lucky, you will also get raped by the monster. Then killed. Meanwhile, Detective LoBianco (Reis) is a racist cop (is that a double negative) who suspects black man Duane Jones (Christopher Hoskins) of these killings.

You will believe that an ape can not only drive a car, but rip heads and cocks clean off. Well, not clean. You know what I mean. People used their day jobs as locations, topless dancers from local strip clubs who got paid $100 dollars to get naked and it took five years to finish. That’s a labor of love. Well, as much love as you can make when a murderous ape is scalping people as if he were Joe Zito. And what if someone’s stomach gets torn out? And what if there’s also a castration?

Edgar Allen Poe spun in his grave, screaming, “Is this a loose remake of Murders in the Rue Morgue?” What he should be excited about is that a mayhem-loving gorilla can drive a car, much less drive over a cop’s head. And hey, Joe Zaso shows up. I mean, if you make a shot on video movie — I know, Super 8, I’m a big nerd too, you don’t need to start writing a comment that shows me how much you know — in New York City in the 80s or 90s, he knew you were out there and would show up. He can cook, so he usually brings cookies. Or hot dogs!

Anyway, many people say online that this is total trash. Perhaps this is the first time they’ve encountered actual, absolute trash in their lives. They should shut up and wallow in it.

You can get this from Crocker’s Cinefear Video site.

Perversions of Science E10: The People’s Choice (1997)

Directed by Russell Mulcahy and written by Scott Nimerfro, this is the last episode of Perversions of Science. Todd and Betty Sorensen (Patrick Cassidy and Maxine Bahns) get caught between warring groups of nanny robots that resemble elderly women. When one of their robots is damaged every night, a robot repairman suggests that they buy a new one: a red, white, and blue patriot by the name of Liberty 1 (Roger W. Morrissey). It’s filled with beehive hairdos and a future that feels like the 1950s. Barry Williams and Richard Riele are in it, too.

This takes its title from “The People’s Choice” from Weird Science #16, which was written by William Gaines and Al Feldstein and drawn by Joe Orlando. Please read the original comic, which is so much better than this lazy episode. In the comic book, a version of Kukla, Fran and Ollie runs for President and ends up being an alien who takes over the planet. It’s the best kind of EC story: dumb while smart, commenting on politics and the media while ending with the horrific image of a cute alligator controlling a woman through her arm.

You can download all of the episodes here or watch this episode on YouTube.

Perversions of Science E9: Ultimate Weapon (1997)

A shapeshifting alien from outer space assumes a human form (Paolo Seganti,  Sotto il vestito niente – L’ultima sfila) in order to mate with Lou Ann Solomon (Heather Langenkamp), a housewife who has enough to put up with. She has an ill-tempered husband, Matt (Mitchell Whitfield), drunk girlfriends Selena and Tess (Kim Myers and Maria Chin) and a visit from her parents (Jennifer Darling and Steve Kahan).

Of course, Langenkamp was Nancy and Kim Myers was Lisa in the Nightmare On Elm Street movies.

This is the only directing credit for Dean Lopata, who is primarily a producer and the story editor on Bones. The story was written by Gilbert Adler and Jeannette Lewis. This is her only script, and most of her career was in minor roles on TV shows.

“The Ultimate Weapon” in Incredible Science Fiction #32 is where the title comes from. The comic was written by Jack Oleck and drawn by Bernie Krigstein and Roy Krenkel.

You can download all of the episodes here or watch this episode on YouTube.

Perversions of Science E8: Snap Ending (1997)

On a mission to investigate an uncharted planet, a spaceship captain (Jennifer Hetrick) and her mixed gender crew, Bryan (Wil Wheaton), Taylor (Sean Astin, who directed) and Paula (Kathleen Wilhoite) struggle with anxiety when an extraterrestrial virus puts the ship in lockdown. Then, the self-destruct sequence starts.

This episode was written by Kevin Rock, who was the writer of the Roger Corman Fantastic Four.

This takes its title from “Snap Ending!” from Weird Science #18. That short — “A gag story about space explorers who land on a giant alien child’s balloon and pop it, much to the consternation of the child.” — was written by Al Feldstein and William Gaines and drawn by Al Williamson. This episode is not close to that story.

You can download all of the episodes here or watch this episode on YouTube.

Perversions of Science E7: Panic (1997)

In the 1930s, Bob (Jason Lee) and John (Jamie Kennedy) are just two guests of a Halloween party where everyone is losing their minds over the Mercury Theatre production of The War of the Worlds. It gets out of hand as people start turning up dead.

What a cast! Harvey Korman, Larraine Newman, Edie McClurg, Kria Reed, Tracey Middendorf, Steve Monroe, Bryce Ingman and the one person you should never trust: Chris Sarandon. He’s the Orson Welles! Tobe Hooper directs! Andrew Kevin Walker, who also wrote Brainscan, 8mm and Se7en, scripted!

Yes, somehow all of these people joined to make an episode where the alien threat isn’t a hoax and Harvey Korman has flown through the stars to sodomize Jason Lee and Jamie Kennedy.

This is taken from the story “Panic!” in Weird Science #15 — numbered issue four — and it was written and drawn by Al Feldstein. In that story, a radio station replays the show years later and no one panics, but when a real invasion happens, no one pays attention when a Jupiter ship lands.

You can download all of the episodes here or watch this episode on YouTube.

Perversions of Science E6: Planely Possible (1997)

When Walter (George Newbern) can’t handle the grief of losing his wife because of an intruder — despite having Dr. Joyce Brothers as a therapist — an ex-NASA scientist, Dr. Kurt Rotwang (Vincent Schiavelli), sends him to other realities where Ruth (Elizabeth Berkley!) could still be alive with his Probability Engine. None of those are what he wants, and if there’s a lesson in this, it’s that sometimes you have to take the hand that the world has dealt you.

Directed by Russel Mulcahy (HighlanderRazorback) and written by Peter Atkins (Hellraiser IIHellraiser IIIFist of the North StarWishmasterPrisoners of the Sun), this is one of the better episodes of this show. Oddly enough, Meadow Soprano is watching this one in The Sopranos episode “I Dream of Jeannie Cusamano.”

This episode is based on “Planely Possible” from Weird Fantasy #21, written by Al Feldstein and William Gaines and drawn by Jack Kamen. Unlike many episodes of this show, this one is actually close to the original story, including the moment when Walter’s alternate reality self is put into an incinerator and tries to assume his place, which sets off a series of events that only worsen from there. You’ll see where this time loop is going, but that’s part of why this works so well.

You can download all of the episodes here or watch this episode on YouTube.

Perversions of Science E5: Given the Heir (1997)

A woman named Lisa Gerou (Yancy Butler) has shaped her body to perfection. Then, she goes a decade backward by a scientist (Paul Williams) to meet Nick Boyer (William McNamara), who is obsessed with an ideal of perfection. They have the best lovemaking of their lives, but then he’s the one who screws himself, so to speak. David Leisure shows up, too.

Director Ramón Menéndez also made Stand and Deliver, while writer Mark Verheiden wrote the Dark Horse Aliens and Predator comic books, as well as Superman. He also wrote the movies TimecopThe Mask and My Name Is Bruce.

This episode was based on “Given the Heir” from Weird Science #16, which was written by William Gaines and Al Feldstein and drawn by Jack Kamen. It’s the story of a man who meets one of his future descendants who is traveling back in time, ready to murder the first husband of one of their ancestors so she can inherit his wealth. Yeah, it goes bad.

You can download all of the episodes here or watch this episode on YouTube.

Sizzlin’ Summer of Side-Splitters 2025: The Sore Losers (1997)

Aug 18-24 indie comix week: When I was a kid, I used to read Mad Magazine and Cracked, so when I got a little older, it didn’t take much convincing to pick up Eightball and Hate. I’m an OG in the “complaining about superheroes” game and my scars were anointed on the Comics Journal message board!

Shot on 16mm film between Tupelo, Mississippi, and Memphis, Tennessee by John Michael McCarthy (Damselvis, Daughter of Helvis), this combines E.C. horror comics, rockabilly, teens gone wild movies, UFOs, hippie killing death machines, women with big hair and bigger breasts, David F. Friedman as an alien leader, Guitar Wolf and his band as the Men In Black, a Malt Liquor Angel, Blackie — an alien from the Lo-Fi Frequency Dimension played by Jack Olblivian from the band The Oblivians — and Kerine Elkins as a psychotic redhead that I definitely would have married at one point in my life. Or maybe that would be a union with D’Lana Tunnell, who plays Goliatha of the Amazones, a stripper who dances on top of a motorcycle.

Years ago, Johnny only killed nine beatniks and had to go back home. Now, he has to kill a number of hippies to please his alien boss, who also wants him to kill D’Lana.

It makes almost no sense, but who cares? The music is excellent. There are so many curves you’ll wreck yourself, and it seems like you’re in the third movie in a series of films, not a stand-alone. And I love that. I really feel like this has an audience of one, and I am that person, and thank you for making it for me.

You can watch this on YouTube.