Bloody New Year (1987) was chosen by co-host Dave as the final movie pick in the Year of the Stitch-Up, and what a note to end on. The film was directed by Norman J. Warren, a cult British filmmaker best known for low-budget horror and exploitation fare like Satan’s Slave and Inseminoid. By the late 1980s, Warren was working with extremely limited resources, and Bloody New Year was produced on a modest budget aimed squarely at the VHS and late-night rental market. The production leaned heavily on atmosphere, strange concepts, and practical effects rather than polish, embracing the scrappy DIY ethos of British horror in the post-slasher boom era.
Shot largely on location along the Welsh coast, the film made creative use of abandoned buildings and seaside settings to create an eerie, off-kilter mood without the expense of large sets. Like many British genre films of the time, it struggled with distribution, receiving little theatrical exposure before finding its audience on home video. While largely ignored on release, Bloody New Year has since gained a cult reputation among horror fans who enjoy obscure, unconventional oddities from the VHS era. As the closing chapter of the Year of the Stitch-Up, it’s an appropriately strange, divisive, and deeply VHS-coded selection — the kind of movie that feels discovered rather than released.
If you enjoy the show and would like to support us, we have a Patreon here.
Referral links also help out the show if you were going to sign up:
Trailer Guy Plot Summary
From a quiet coastal town… to an island where time itself has gone horribly wrong.
A group of unsuspecting teenagers arrive at a deserted hotel expecting nothing more than a getaway — but what they find is something far more twisted. As reality fractures, clocks stop making sense, and unseen forces close in, the line between past, present, and pure nightmare begins to dissolve.
Bloody New Year — where the party never ends… and time is out to get you.
Fun Facts
Bloody New Year was also released in some territories under the alternate title “Time Bomb”, which caused confusion among VHS collectors.
The film became far more well-known on home video than in cinemas, thriving during the late-80s VHS horror boom.
Many fans mistakenly associate the movie with the “Video Nasties” era, even though it narrowly missed official banning in the UK.
The eerie fairground setting was created using abandoned seaside attractions, adding an unintentional layer of decay to the visuals.
Several special effects were achieved using camera tricks and editing rather than gore, due to budget limitations.
The movie’s synth-heavy soundtrack is frequently cited by fans as one of its most memorable elements.
Bloody New Year gained renewed attention in the 2000s thanks to cult horror forums and late-night TV screenings.
Today, the film is often discussed alongside other late-80s British horror oddities like Uncle Sam and The Outing as a cult curiosity.
thevhsstrikesback@gmail.com
Look Who’s Talking Now! (1993) was chosen by Chris, rounding out the unlikely trilogy that began as a surprise hit in 1989. By the early ’90s, the Look Who’s Talking franchise had already proven its commercial appeal, and TriStar Pictures was keen to keep the momentum going. This third entry shifted focus behind the scenes, with original director Amy Heckerling stepping away and Tom Ropelewski taking over directorial duties. John Travolta and Kirstie Alley returned following the success of Look Who’s Talking Too, while the production leaned heavily on the established brand recognition rather than reinventing the formula.
The film was produced during a transitional period for Hollywood family comedies, as studios increasingly relied on sequels, celebrity voice work, and broad humor to attract audiences. A major production emphasis was placed on the voice performances, enlisting high-profile actors to give personality and comedic timing to the animal characters through extensive ADR sessions. Despite a solid budget and the continued involvement of its star leads, Look Who’s Talking Now! faced franchise fatigue upon release and struggled to recapture the box-office success of its predecessors. Today, it’s remembered as a curious example of early-’90s sequel culture — a film driven more by brand familiarity than creative necessity, and a reminder of how quickly novelty concepts can wear thin.
If you enjoy the show and would like to support us, we have a Patreon here.
Referral links also help out the show if you were going to sign up:
Trailer Guy Plot Summary
From the creators of a blockbuster comedy franchise… comes the one where the pets finally take over.
The family is back, the chaos is louder, and this time the dogs have something to say. With celebrity voices, slapstick mayhem, and 90s family-friendly insanity turned up to eleven, Look Who’s Talking Now! lets the animals loose — commenting on love, loyalty, and household madness like only talking pets can.
Look Who’s Talking Now! — when the fur flies, the truth comes out.
Fun Facts
Look Who’s Talking Now! was the final film in the Look Who’s Talking trilogy, bringing the franchise to an end after three movies in five years.
The movie marked one of the rare times Danny DeVito and Diane Keaton voiced animated characters together, even though neither appears on screen.
The dogs’ mouth movements were created using subtle animatronics and careful editing, rather than full CGI, which was still limited in the early 1990s.
Despite mixed reviews, the film performed strongly on VHS and rental charts, continuing the franchise’s popularity in the home-video market.
The movie received several Golden Raspberry Award nominations, including Worst Screenplay and Worst Supporting Actress, reflecting its critical reception.
Look Who’s Talking Now! was released during a wave of early-90s “talking animal” movies, alongside films like Homeward Bound and Bingo.
This installment shifted the franchise’s focus more toward family-friendly animal comedy, a move that divided fans of the earlier films.
The film has since gained a nostalgic cult following, particularly among viewers who grew up watching it repeatedly on VHS and cable television.
thevhsstrikesback@gmail.com
Freddy Got Fingered (2001) was chosen by Supporter and friend of the show Blake, and it stands as one of the most infamous, chaotic, and downright bewildering productions ever funded by a major Hollywood studio. Directed by and starring Tom Green at the height of his MTV shock-comedy fame, the film was conceived as a vehicle to capture — and escalate — his unpredictable, confrontational brand of humor. Fox initially expected a quirky, outrageous teen comedy, but Green pushed the project into a surreal, boundary-smashing experiment, gleefully testing how far studio executives were willing to go. With a budget of around $14 million, he was given surprising creative freedom, shooting scenes that baffled executives but perfectly embodied his anti-comedy sensibilities.
Behind the scenes, the production became something of a Hollywood legend. Tom Green committed fully to every bizarre creative impulse, often rewriting or improvising scenes on the day of shooting, much to the confusion of cast and crew. Actors like Rip Torn and Julie Hagerty were brought into the madness, delivering straight-faced performances amid escalating absurdity. Studio executives, increasingly horrified by what they were seeing, considered interfering but ultimately allowed Green to finish the film exactly as he envisioned it. Upon release, Freddy Got Fingered was critically savaged and won multiple Razzie Awards — including Worst Picture — but over the years it has gained a cult following, celebrated by some as a piece of surrealist outsider art wrapped in the guise of a studio comedy.
If you enjoy the show and would like to support us, we have a Patreon here.
Referral links also help out the show if you were going to sign up:
Trailer Guy Plot Summary
Prepare yourself… for a comedy that went too far, then kept going.
When Gord Brody, a wannabe animator with a vivid imagination and zero impulse control, leaves home to chase his dreams, chaos follows in every direction. From catastrophic career moves to catastrophic family moments, Gord’s journey spirals into a whirlwind of wild gags, screaming matches, and deeply questionable decisions — all delivered with the enthusiasm of a man who has absolutely nothing to lose.
Freddy Got Fingered — a film so outrageous, so unhinged, and so defiantly stupid… you’ll wonder how it ever got made.
Fun Facts
Tom Green personally promoted the film in extreme ways, including arriving at the Razzies to accept his awards in person - and playing harmonica on stage until producers dragged him off.
The film’s infamous “Daddy, would you like some sausage?” scene has become one of the most quoted and memed moments in early-2000s comedy.
Freddy Got Fingered was Tom Green’s feature directorial debut, following the success of The Tom Green Show on MTV.
Rip Torn agreed to the role because he admired Green’s fearlessness, even though Torn described some days on set as “completely insane.”
Several of the movie’s props and costumes, including the sausage-pulley rig, were built by Green himself.
Despite being critically panned, the movie later became a favourite of filmmakers like Tim Heidecker and Eric Wareheim, who praised its “anti-comedy genius.”
The initial test screenings reportedly caused walkouts, but studio executives decided to keep most scenes intact because Green insisted the discomfort was the point.
The film includes several cameos from MTV personalities of the era, tying it directly to early-2000s pop culture.
thevhsstrikesback@gmail.com
Malibu Express (1985) was chosen by Patreon supporter Herb, who has mastered the art of selecting premium-grade, sun-bleached 80s glamour for the show. Written and directed by Andy Sidaris, the film was part of his long-running “Bullets, Bombs and Babes” cycle — a collection of action-comedies known for fast cars, glamorous models, and plots that take a distant back seat to the spectacle. Produced on a modest budget, the movie was shot largely around Malibu and Los Angeles, using Sidaris’s signature mix of real locations, Playboy Playmates, and outrageous action beats. Sidaris, a former sports TV director, carried over his love of dynamic camera movement, helicopter shots, and glossy production values, giving the film a surprisingly polished look despite its low-budget roots.
Behind the scenes, Malibu Express was a family operation. Andy Sidaris worked closely with his wife, Arlene Sidaris, who produced many of his films and helped build the distinctive “L.E.T.H.A.L. Ladies” brand that would later define his work. The cast was a mix of rising models, stunt performers, and cult character actors — all encouraged to keep the tone light, playful, and unapologetically over-the-top. The movie embraced the early-80s explosion of VHS demand, engineered specifically to appeal to video-store thrillseekers looking for bikinis, guns, fast boats, and pure escapist nonsense. While critics dismissed it, Malibu Express became a staple of late-night cable and home video, paving the way for Sidaris’s even more outrageous follow-ups like Hard Ticket to Hawaii.
If you enjoy the show, we have a Patreon, so become a supporter here.
Referral links also help out the show if you were going to sign up:
Trailer Guy Plot Summary
Buckle up… because the sun’s out, the boats are fast, and the shirts are nowhere to be found.
Meet Cody Abilene — part detective, part playboy, and full-time trouble magnet. When a simple job turns into a whirlwind of bullets, bikinis, and beachside chaos, Cody cruises into danger with nothing but his wits, his charm, and a cowboy hat that refuses to quit.
Malibu Express — where the action is hot, the engines are loud, and the mystery is mostly an excuse for more explosions.
Fun Facts
Malibu Express was the first film in Andy Sidaris’s “Triple B” series, which later included cult favorites like Hard Ticket to Hawaii, Picasso Trigger, and Savage Beach.
Lead actor Darby Hinton was best known at the time for playing Israel Boone on the classic TV series Daniel Boone before reinventing himself as an 80s action-comedy star.
The iconic red DeLorean-style sports car Cody drives in the film is a Sterling Kit Car, built on a Volkswagen chassis to give the illusion of a futuristic supercar on a budget.
Although set in Malibu, many interior scenes were filmed in Sidaris’s own home, a common cost-saving tactic he used throughout his career.
The movie features early appearances by Sybil Danning and Kymberly Paige, who later became regulars in Sidaris’s L.E.T.H.A.L. Ladies universe.
Malibu Express was a major VHS hit, with video rental stores frequently placing it in their “top 10 rentals” thanks to its eye-catching artwork and 80s sex-comedy-energy.
Sidaris employed a small but consistent stunt team, meaning some action performers appeared in nearly every film he made throughout the decade.
The mansion used for exterior shots belonged to a real Malibu millionaire, who allowed filming in exchange for a small role and a producer credit.
thevhsstrikesback@gmail.com
Champagne and Bullets (1993) was chosen by JAC, who has a real talent for uncovering the most outrageous, bewildering, and unintentionally hilarious films ever committed to VHS. Written, directed, produced, and starring John De Hart, the movie is one of the most unique vanity projects of the early ’90s - a full-throttle explosion of action, romance, country music, and courtroom drama held together by sheer force of ego. De Hart, a California trial lawyer with big Hollywood ambitions, financed the film himself and assembled a cast that included Wings Hauser and William Smith, two cult icons of low-budget action cinema. Shooting took place around Los Angeles on a shoestring budget, with much of the film’s tone shaped by De Hart’s insistence on performing his own music, writing his own poetry, and choreographing his own dance numbers.
The production quickly became infamous behind the scenes for its chaotic mix of genres, improvised sequences, and the cast’s varying levels of investment. Wings Hauser, in particular, was reportedly encouraged to “just go for it,” resulting in some of the film’s most legendary moments — including his drunken, half-ad-libbed musical performance that has since become a cult highlight. The movie went through several edits and re-releases, most notably the 2013 version titled Road to Revenge, before the original cut was restored and championed by boutique labels and cult film festivals. Today, Champagne and Bullets stands as a gleefully bizarre testament to what happens when one man attempts to make the ultimate action movie entirely on his own terms - a glorious disaster that’s now celebrated as a cult gem for all the wrong (and therefore absolutely right) reasons.
If you enjoy the show, we have a Patreon, so become a supporter here.
Referral links also help out the show if you were going to sign up:
Trailer Guy Plot Summary
Get ready for justice… John De Hart style.
When corruption runs wild and the system breaks down, one man steps forward - armed with a badge, a guitar, and absolutely no self-awareness. In a world of betrayal, bullets, and baffling dance numbers, he’ll fight for truth, love, and the right to perform his own country ballads… no matter how long it takes.
Champagne and Bullets - where the action is loud, the romance is awkward, and the hero is whoever John De Hart says he is.
Fun Facts
Champagne and Bullets was originally released in 1993, but due to rights issues and re-editing by John De Hart, it was later reissued under two different titles: Road to Revenge and GetEven.
The film gained cult status largely thanks to Internet rediscovery in the 2000s.
Actor Wings Hauser improvised much of his performance, including the infamous barroom musical number, which has since become a viral cult-movie highlight.
John De Hart wrote and performed all the original songs in the movie, including “Shimmy Slide,” which has achieved meme-level notoriety online.
The “Shimmy Slide” dance sequence was filmed in a real Sherman Oaks bar, using actual patrons as background extras.
Cult actor William Smith shot his scenes in just a few days due to scheduling constraints.
John De Hart’s background as a trial lawyer inspired several scenes meant to showcase his courtroom skills, which fans now consider unintentionally comedic.
Boutique label Vinegar Syndrome restored and re-released the film in 2020, using a new 2K scan that finally preserved De Hart’s original wild vision.
thevhsstrikesback@gmail.com
Lair of the White Worm (1988) is picked by Dave this week, and it’s one of those wonderfully unhinged British horror films that could only have come out of the’80s. Written and directed by Ken Russell, the movie was loosely based on Bram Stoker’s 1911 novel of the same name - though in true Russell fashion, it quickly veered far from the source material and into surreal, erotic, and darkly comic territory. Produced by Vestron Pictures, the same studio behind Dirty Dancing and Return of the Living Dead, the film was made on a modest budget of around $2 million. Despite its low cost, Russell filled it with his signature visual flamboyance, blending Gothic horror, mythological imagery, and satirical British eccentricity into something uniquely chaotic.
Filming took place in Derbyshire, England, using local countryside locations to give the film its haunting yet distinctly English atmosphere. The cast included a mix of rising and established talent - notably a young Hugh Grant, years before his rom-com fame, and Peter Capaldi, long before becoming Doctor Who. The movie was shot in just six weeks, with Russell working fast and loose, improvising many of the more bizarre scenes on set. Upon release, it divided critics: some praised its camp energy and gleeful weirdness, while others dismissed it as absurd. Over the years, though, Lair of the White Worm has achieved cult status - celebrated for its blend of folk horror, sensuality, and sheer outrageousness that only Ken Russell could deliver.
If you enjoy the show, we have a Patreon, so become a supporter here.
Referral links also help out the show if you were going to sign up:
Trailer Guy Plot Summary
In the quiet English countryside, something ancient… something hungry… has awakened.
When a strange discovery uncovers a dark legend, a group of unsuspecting locals is pulled into a world of hypnotic seduction, slithering evil, and serpentine terror. As ancient forces rise and modern reason crumbles, the line between myth and nightmare disappears - and no one is safe from the creature that has waited centuries to strike.
Lair of the White Worm — brace yourself… this is one bite you won’t walk away from.
Fun Facts
Lair of the White Worm was one of Vestron Pictures’ final horror productions before the company collapsed in the late 1980s.
The film is very loosely based on Bram Stoker’s novel of the same name — many critics note that only names and the central “worm” concept survive Ken Russell’s adaptation.
Amanda Donohoe, who plays the seductive Lady Sylvia Marsh, won the role after Russell saw her on stage in London and loved her bold, fearless screen presence.
The movie contains several surreal hallucination sequences inspired by Ken Russell’s own Catholic school upbringing, which he frequently mocked in his work.
Hugh Grant has said that working with Russell early in his career taught him to embrace creative risks, even when the material was utterly bizarre.
The white worm effects were achieved using hand-built animatronics and puppetry, combined with old-school editing tricks to hide limited movement.
Costume designer Vicki Carroll created Lady Sylvia’s iconic snake-themed outfits, including her famous white body paint and fanged headpiece.
The film’s soundtrack includes original music composed by Stanley Myers, who is also known for scoring The Deer Hunter.
The movie was released unrated in the United States because the producers felt an MPAA rating would be impossible without severe cuts.
thevhsstrikesback@gmail.com
Men at Work (1990) was chosen by co-host Chris, and it’s a perfect fit for his love of oddball comedies from the VHS era. Written and directed by Emilio Estevez, the film was a true family affair — with Estevez not only helming the project but also starring alongside his real-life brother, Charlie Sheen. Coming off the back of their late-’80s fame from Young Guns and Wall Street, the pair teamed up for a buddy comedy that blended slapstick humor, blue-collar chaos, and a dash of political satire. Produced by Epic Productions and distributed by Triumph Releasing (a Columbia Pictures subsidiary), Men at Work was Estevez’s second outing as a writer-director, following his 1986 drama Wisdom. The project gave him the freedom to craft a film that played directly to the chemistry he shared with his brother — the same mix of bravado and goofiness that made it a cult favorite among fans of early-’90s video store comedies.
Filmed primarily around Hermosa Beach and Redondo Beach, California, Men at Work embraced the laid-back coastal vibe of Southern California. The shoot was relatively quick and low-budget by Hollywood standards, with much of the film’s tone shaped through improvisation between Estevez and Sheen. The movie’s soundtrack captured the spirit of the late ’80s and early ’90s, featuring a mix of surf rock, funk, and classic rock tracks. While it didn’t make waves critically, Men at Work found a second life on VHS and cable television, where its offbeat humor and brotherly banter turned it into a nostalgic favorite. Today, it stands as a snapshot of a more carefree era in comedy filmmaking — a time when movies about two guys, a truck, and a ridiculous situation could carry an entire Friday night rental.
If you enjoy the show, we have a Patreon, so become a supporter here.
Referral links also help out the show if you were going to sign up:
Trailer Guy Plot Summary
They’re brothers. They’re garbage men. And they’ve just picked up more than they bargained for.
Charlie Sheen and Emilio Estevez star in the ultimate blue-collar buddy comedy — where trash day turns into doomsday. Between the laughs, the chases, and the chaos, these two underdogs are about to clean up the streets… one bad guy at a time.
Men at Work — crime, comedy, and complete rubbish.
Fun Facts
Men at Work was originally written as a dark political thriller, but Emilio Estevez reworked it into a comedy after deciding it would work better as a light-hearted buddy film.
Estevez reportedly wrote the first draft of the script in the mid-1980s, years before the film was made, while he was still working on The Breakfast Club (1985).
The movie’s tagline — "Garbage men by day. Detectives by night." — was coined late in production as a tongue-in-cheek nod to 1980s action clichés.
Estevez cast real-life surfer and character actor Keith David as Louis Fedders, the paranoid war veteran, after seeing his intense performance in John Carpenter’s They Live (1988).
The garbage truck used in the movie became something of a collector’s item among fans and was later used in several low-budget TV shows filmed in California.
Charlie Sheen’s character’s surfboard was custom-made by a local Hermosa Beach surf shop, and Estevez let Sheen keep it after filming.
The film’s theme song, “I’m Gonna Use What I Got,” was performed by The Rude Boys, adding to the film’s distinctive late-’80s funk-rock vibe.
Estevez and Sheen performed many of their own stunts, including the beach chase sequences, to save on the production budget.
thevhsstrikesback@gmail.com
The Wiz (1978) was chosen by show supporter Maff, who’s got a talent for picking bold, imaginative movies that really stand out from the pack. This time, he’s gone for one of the most ambitious musical productions ever made. The Wiz was Universal’s lavish reimagining of The Wizard of Oz, retold through the lens of African American culture and late-1970s New York style. Directed by Sidney Lumet — more famous for his gritty urban dramas like Serpico and Dog Day Afternoon — the film brought together an all-star cast including Diana Ross, Michael Jackson, Nipsey Russell, Lena Horne, and Richard Pryor. With a staggering $24 million budget, it was one of the most expensive musicals of its era, aiming to blend Broadway magic with the spectacle of big-screen fantasy.
The production was a monumental undertaking. Filming took place across New York City landmarks like the World Trade Center, the New York State Pavilion, and the Cyclone rollercoaster in Coney Island, all transformed into surreal fantasy settings. Legendary producer Quincy Jones oversaw the music, infusing the original Broadway score with disco, funk, and gospel influences. Despite its breathtaking ambition, The Wiz was plagued by production challenges, critical skepticism, and financial losses on release. However, in the years since, it has earned cult classic status — celebrated for its stunning visuals, imaginative choreography, and Michael Jackson’s breakout film performance. It may not have conquered the box office, but The Wiz remains a vibrant, soulful experiment that dared to take Oz somewhere entirely new.
If you enjoy the show, we have a Patreon, so become a supporter here.
Referral links also help out the show if you were going to sign up:
Trailer Guy Plot Summary
She wanted something more… but she never imagined this.
When a storm sweeps a shy Harlem schoolteacher into a world unlike anything she’s ever known, she must follow the road, face her fears, and find her way home — with the help of some unforgettable friends.
Starring Diana Ross, Michael Jackson, and Richard Pryor — from the streets of New York to the land of Oz, it’s a journey of music, magic, and pure 1970s soul.
*The Wiz* — ease on down the road to where dreams, disco, and destiny collide.
Fun Facts
The Wiz began as a Broadway musical in 1975, which won seven Tony Awards, including Best Musical — long before the movie version was made.
Motown Productions co-financed the film, marking one of the first major studio partnerships between Hollywood and a Black-owned entertainment company.
Michael Jackson was only 19 years old when he starred as the Scarecrow — and the experience led to his lifelong creative partnership with Quincy Jones.
The film’s costume designer, Tony Walton, created over 300 costumes, many of which were made from recycled materials to give the movie’s world a gritty, urban feel.
Sidney Lumet’s wife, Gail Jones, the daughter of Lena Horne, helped convince Lumet to take on the project despite his lack of musical experience.
The movie’s version of “Ease on Down the Road” became a chart-topping hit for Diana Ross and Michael Jackson, reaching #41 on the Billboard Hot 100.
The yellow brick road was constructed from real vinyl flooring, giving it that glossy, otherworldly shine seen in the film.
The production used over 650 dancers for the film’s large-scale musical sequences — one of the biggest ensembles ever assembled for a musical at the time.
thevhsstrikesback@gmail.com
Re-Animator (1985) was chosen by new show supporter Rhys — and what a debut pick it is. Directed by Stuart Gordon in his feature film debut, the movie became one of the defining cult horror films of the 1980s. Based loosely on H.P. Lovecraft’s serialized story Herbert West–Reanimator, Gordon initially envisioned it as a stage play and later as a television series before realizing it would work best as a feature film. Shot on a modest budget of around $900,000, the production was backed by Charles Band’s Empire Pictures, a studio known for embracing the stranger side of horror and science fiction. The creative team leaned into excess and black comedy, pushing the boundaries of gore and taste in a way that both shocked and delighted audiences.
Filming took place over 18 days in Los Angeles, with Gordon assembling a cast of relatively unknown actors — including Jeffrey Combs, Bruce Abbott, and Barbara Crampton — who would go on to become icons of cult horror cinema. The movie’s practical effects team, led by John Naulin, worked wonders with limited resources, creating gruesome yet inventive visuals that defined the film’s enduring reputation. Upon release, Re-Animator was met with controversy and acclaim in equal measure, with critics alternately praising its audacity and condemning its extremity. Despite its low budget and NC-17-level violence, the film became a sleeper hit and helped launch a wave of splatter comedies that blended horror, humor, and outrageous imagination — ensuring Re-Animator a permanent place in cult movie history.
If you enjoy the show, we have a Patreon, so become a supporter here.
Referral links also help out the show if you were going to sign up:
Trailer Guy Plot Summary
.
Fun Facts
The green reagent serum used in the movie was made from fluorescent green glow stick liquid mixed with food coloring, giving it that unforgettable neon look.
Director Stuart Gordon claimed he was inspired to make the film after watching Frankenstein with his wife and wondering what a modern, more extreme version would look like.
Jeffrey Combs’ portrayal of Herbert West became so iconic that he went on to play the character again in two sequels — Bride of Re-Animator (1989) and Beyond Re-Animator (2003).
The film’s most infamous scene was so shocking that it caused walkouts at its first festival screening — and immediate cult status among those who stayed.
To achieve the movie’s outrageous gore effects, the production used over 24 gallons of fake blood, much of it homemade from corn syrup and food dye.
Barbara Crampton later revealed that she was hesitant to take on her role due to the film’s extreme content, but she has since embraced its legacy in horror history.
The film’s composer, Richard Band, intentionally modeled the score after Bernard Herrmann’s music for Alfred Hitchcock’s Psycho (1960) — a choice that added a darkly playful tone.
The severed head effects were created using a combination of latex prosthetics and reverse photography, which gave the film’s shocking visuals their uncanny realism.
Re-Animator was banned or heavily censored in several countries, including Germany, Singapore, and Australia, due to its extreme violence and sexual content.
The movie’s success helped revive interest in H.P. Lovecraft adaptations, paving the way for later films like From Beyond (1986), The Resurrected (1991), and Dagon (2001).
thevhsstrikesback@gmail.com
28 Days Later was chosen by show supporter Dylan — and it’s one of the most defining British horror films of the 21st century. Directed by Danny Boyle and written by Alex Garland, the film was a bold reinvention of the zombie genre, injecting it with raw energy, political undertones, and a sense of realism rarely seen in horror at the time. Shot primarily on digital video using Canon XL1 cameras, Boyle and cinematographer Anthony Dod Mantle created a gritty, almost documentary-style aesthetic that captured a hauntingly desolate London. The small budget of around $8 million forced the team to rely on guerrilla-style filmmaking, often closing off sections of central London for only minutes at a time during early mornings to achieve its eerily empty cityscapes.
Production began in 2001 and was marked by a collaborative, experimental spirit. Boyle and Garland drew inspiration from a mix of sources — from George A. Romero’s Dead series to British social realism and viral outbreak fears of the late 1990s. The cast, led by relative unknowns at the time, brought grounded performances that added emotional weight to the film’s chaotic energy. With its pulsing soundtrack, handheld visuals, and visceral tone, 28 Days Later became both a critical and commercial success, revitalizing interest in the zombie genre and influencing a decade of horror and apocalyptic cinema that followed.
If you enjoy the show, we have a Patreon, so become a supporter here.
Referral links also help out the show if you were going to sign up:
Trailer Guy Plot Summary
A deadly virus. A deserted city. And a handful of survivors left to face the unthinkable.
From director Danny Boyle comes a new vision of terror — raw, relentless, and shockingly real. When the world collapses overnight, one man wakes up to find that civilization is gone… and something unspeakable has taken its place.
28 Days Later — from the ashes of humanity, fear runs faster than ever.
Fun Facts
The opening hospital scenes with Cillian Murphy were filmed in the empty Day Ward of a real London hospital that was being decommissioned.
The haunting shot of abandoned Piccadilly Circus required the crew to block traffic for only 10 minutes at sunrise, with police assistance to keep curious drivers away.
Christopher Eccleston joined the film fresh off his acclaimed role in The Second Coming and brought a darker, militaristic edge to his performance.
The movie’s terrifying “infected” movement was achieved by casting trained dancers and athletes to create unnervingly fast and fluid motion.
Composer John Murphy created the now-iconic track In the House – In a Heartbeat, which went on to be used in Kick-Ass and The Last of Us trailers.
Danny Boyle avoided traditional zombie makeup — instead, red contact lenses and digital blood splatter were used to keep the infected design grounded and cheap.
The Rage Virus was spread through monkey blood in the film, but the opening sequence with real chimpanzees was filmed under strict animal welfare supervision.
28 Days Later was the first horror movie to film inside the UK’s M1 motorway tunnels, normally off-limits to filmmakers.
The movie was banned in several Asian countries for its extreme violence and realistic depiction of viral infection.
The success of the film led to a comic book spin-off titled 28 Days Later: The Aftermath, which bridged the story to the 2007 sequel 28 Weeks Later.
thevhsstrikesback@gmail.com
The Legend of the 7 Golden Vampires (1974) was chosen by Dave, and it’s a wild blend of classic British gothic horror and Hong Kong martial arts cinema, a true oddity even by Hammer Films standards. By the early 1970s, Hammer was struggling to keep its brand of horror relevant, as audience tastes shifted toward more modern and visceral scares. Looking to revive interest in their iconic Dracula franchise, the studio teamed up with Hong Kong’s Shaw Brothers, who were at the height of their popularity in the kung fu boom. The result was an ambitious Anglo-Chinese co-production that brought together Hammer regulars like Peter Cushing and a full roster of Shaw Brothers talent, hoping to merge Eastern action with Western horror spectacle.
The production was shot largely at the Shaw Brothers’ studios in Hong Kong, with additional second-unit work in England. Directed by Hammer veteran Roy Ward Baker, with martial arts choreography overseen by Shaw Brothers action specialists, the film was one of Hammer’s most visually adventurous projects, complete with elaborate sets, ornate costumes, and an energetic fusion of filmmaking styles. However, cultural and creative differences between the two studios led to a somewhat chaotic production. Despite its uneven tone and limited success at the box office, the film has since developed a cult following, celebrated for its eccentric charm and its experimental East-meets-West ambition.
If you enjoy the show, we have a Patreon, so become a supporter here.
Referral links also help out the show if you were going to sign up:
Trailer Guy Plot Summary
From the misty mountains of Transylvania, to the deadly temples of the Far East, evil has a new address.
When the curse of Dracula reaches across continents, only one man can stop the rise of the undead, Professor Van Helsing! With ancient legends, martial arts mayhem, and seven bloodthirsty vampires, it’s horror meets kung fu in the wildest crossover of the 1970s.
The Legend of the 7 Golden Vampires, where Hammer Horror meets high-kicking heroics.
Fun Facts
A co-production between Britain’s Hammer Films and Hong Kong’s Shaw Brothers Studio, marking the only collaboration between the two legendary film houses.
It was Hammer’s 9th and final entry in their Dracula series, though Christopher Lee declined to return, ending his long association with the role.
Peter Cushing reprised his role as Professor Van Helsing for the fifth and final time in the Hammer Dracula series.
The movie was directed by Roy Ward Baker, known for Quatermass and the Pit (1967), with fight choreography handled by veteran Shaw Brothers action directors.
Hammer wanted to cash in on the 1970s kung fu craze following the global success of Bruce Lee’s Enter the Dragon (1973).
Filming took place primarily at the Shaw Brothers Studio in Hong Kong, with lavish temple sets and hundreds of local extras used for large-scale action scenes.
Two versions of the film exist — the full-length international version and a shorter U.S. cut titled “The Seven Brothers Meet Dracula.”
Despite its cult appeal today, the film was a commercial disappointment upon release, contributing to Hammer’s financial decline in the mid-1970s.
The movie features an entirely new actor as Dracula — John Forbes-Robertson, though his screen time was significantly reduced in the final cut.
Over the years, The Legend of the 7 Golden Vampires has become a cult favorite among horror and martial arts fans, praised for its bizarre East-meets-West energy and campy charm.
thevhsstrikesback@gmail.com
Chris has gone big with his next pick, Van Helsing, Universal’s flashy attempt to revive their classic monsters for a modern blockbuster audience. Directed by Stephen Sommers, hot off the success of The Mummy films, the project was designed as both a gothic action spectacle and a potential launchpad for a wider franchise. With a hefty budget of around $160 million, the film spared no expense on lavish sets, elaborate costumes, and state-of-the-art visual effects to bring together Dracula, Frankenstein’s monster, werewolves, and more in a single monster-mash universe. Universal saw Van Helsing as a tentpole production that could recapture the energy of their golden age monsters.
The production itself was an enormous undertaking, with filming spanning locations such as Prague, Paris, and a host of detailed soundstages built to recreate grand gothic landscapes. ILM and other VFX houses were tasked with delivering cutting-edge digital effects, while Hugh Jackman, in the title role, underwent intense training to perform many of his own stunts. Despite all the ambition and money thrown at it, Van Helsing was met with mixed reviews upon release — critics praised the spectacle but criticised its overstuffed narrative and heavy reliance on CGI. Still, it’s a fascinating example of early-2000s Hollywood excess, where studios swung for the fences trying to build franchises before “shared universes” became the norm.
If you enjoy the show, we have a Patreon, so become a supporter here.
Referral links also help out the show if you were going to sign up:
Trailer Guy Plot Summary
In a time when monsters walk the earth… one man hunts them all. Hugh Jackman is Van Helsing — the ultimate warrior against evil. Armed with gadgets, grit, and a grim sense of duty, he’ll face Dracula, werewolves, Frankenstein’s monster, and a horde of nightmares that refuse to stay dead. With danger around every corner and darkness closing in, the battle between man and monster is about to erupt in a gothic showdown like no other. This summer… evil has met its match.
Fun Facts
The enormous set for Dracula’s castle was one of the largest ever constructed at Prague’s Barrandov Studios, showcasing Universal’s investment in the film’s gothic style.
Director Stephen Sommers insisted on practical stunts wherever possible, leading to Hugh Jackman doing many of his own wirework sequences.
The vampire brides’ flying scenes were achieved with a mix of motion capture and practical harness work, which was notoriously difficult for the actresses to perform.
The film’s werewolf transformations were a blend of prosthetics and CGI, considered cutting-edge at the time, but often criticised for looking dated only a few years later.
Dracula’s three brides were modelled after classic vampire lore, but with a modern twist — Sommers wanted them to feel like “supermodels crossed with banshees.”
The production team used more than 1,500 visual effects shots, making it one of the most VFX-heavy films of 2004.
Kevin J. O’Connor, who played Igor, was a longtime collaborator with Sommers, having appeared in both The Mummy and The Mummy Returns.
The iconic horse-drawn carriage chase scene was filmed on massive outdoor sets in the Czech Republic, with many practical explosions added to heighten the chaos.
Universal Pictures released a tie-in video game for Van Helsing on PlayStation 2 and Xbox, voiced by Hugh Jackman.
The film’s attempt to revive Universal’s monster legacy would later inspire the failed “Dark Universe” reboot attempt with The Mummy (2017).
thevhsstrikesback@gmail.com
FearDotCom (2002) was chosen by supporter Mike, and it stands as one of the more infamous entries in early-2000s horror cinema. Directed by William Malone, the film attempted to ride the wave of techno-horror thrillers that followed in the wake of The Ring and other Y2K-era internet scare stories. Produced on a budget of around $40 million and shot in Luxembourg to cut costs, the film leaned heavily into dark, industrial set design and unsettling visual effects. Its creative team aimed to blend supernatural horror with the growing unease surrounding online culture and the dangers lurking in the digital world.
Unfortunately, what ended up on screen was a messy, incoherent slog that quickly earned a reputation as one of the worst horror films of its decade. Critics tore into its lack of story, overreliance on cheap shock tactics, and shameless recycling of ideas from better movies. Rather than building a cult following, FearDotCom has largely been remembered as an embarrassing misfire — a reminder that big budgets and flashy visuals can’t save a film when the script is dead on arrival.
Check out Mike’s channels for Genuine Chit Chat and Star Wars Chit Chat.
If you enjoy the show, we have a Patreon, so become a supporter here.
Referral links also help out the show if you were going to sign up:
Trailer Guy Plot Summary
A mysterious website, a string of gruesome deaths, and a detective racing against time — FearDotCom! When people log on, they don’t just surf the web… they sign their own death warrant. Now, with only 48 hours to crack the case, the question isn’t who’s behind the killings… but whether anyone can survive clicking the wrong link.
Fun Facts
FearDotCom was filmed almost entirely in Luxembourg, making it one of the most expensive movies ever shot there at the time.
The movie had a budget of around $40 million, but grossed less than $20 million worldwide, marking it as a huge box office flop.
Director William Malone previously worked on another horror movie, House on Haunted Hill (1999), before tackling FearDotCom.
The film holds a rare 0% rating on Rotten Tomatoes, cementing its reputation as one of the worst-reviewed horror movies ever made.
Screenwriter Josephine Coyle came up with the concept after being inspired by fears of the internet in the late 1990s.
The movie’s cinematography leaned heavily on shadows and industrial set design, inspired by German expressionism and the works of David Fincher.
Critics often compared it unfavorably to The Ring, which was released just months later in 2002.
FearDotCom was one of the last major horror films to receive a wide theatrical release before studios shifted many similar “dot com” thrillers to direct-to-DVD.
Despite its failure, the film has developed a small following of horror fans who admire its eerie visual style, if not its storytelling.
Stephen Dorff, the film’s lead actor, admitted in later interviews that he felt the script was weak but took the role because of the big production budget and studio backing.
thevhsstrikesback@gmail.com
Mr Ice Cream Man (1996) was chosen by Patreon supporter Helen, and is a perfect example of the kind of deep-cut oddity that makes their way into the Year of the Stitch-Up. Directed by Mack Hail and co-written with Jim Mills, this low-budget horror outing was produced by Jeremy Settles with executive production from Hail, Mills, and Yvette Hoffman. Released straight to video, the film leaned into the 1990s boom of VHS horror, serving up a mix of camp, gore, and uneasy humor. The cast featured Henry Weckesser, Jim Mills, Cindy Reed, and even Hail himself in a supporting role.
Shot on location in Las Vegas, Nevada, the film made use of everyday suburban backdrops to heighten its eerie and unsettling vibe. While it never received mainstream attention, Mr Ice Cream Man has since earned a small cult following among collectors and fans of obscure horror. Its scrappy production values and surreal tone give it that unmistakable 90s direct-to-video flavor, making it a quirky gem in the world of independent fright flicks.
If you enjoy the show, we have a Patreon, so become a supporter here.
Referral links also help out the show if you were going to sign up:
Trailer Guy Plot Summary
A quiet neighborhood. A summer heatwave. And one man with a frozen secret…
From director Mack Hail comes a twisted slice of 90s VHS horror — where sweet treats turn sour, and the ice cream truck’s jingle is the sound of fear. Starring Henry Weckesser, Cindy Reed, and Jim Mills, Mr Ice Cream Man (1996) serves up a chilling tale of small-town terror with a scoop of pure indie grit.
This isn’t the Ice Cream Man you’ve heard of. This is something darker. Something stranger. Something you’ll never forget…
Mr Ice Cream Man — once you hear the music, it’s already too late.
Fun Facts
Mr Ice Cream Man (1996) was directed by Mack Hail, who also co-wrote the screenplay with Jim Mills.
The film was shot on location in Las Vegas, Nevada, giving it a distinct 90s suburban horror feel.
Director Mack Hail not only worked behind the camera but also appeared in the film in a supporting role.
The cast featured Henry Weckesser, Cindy Reed, and Jim Mills — the latter of whom also co-wrote the film.
Mr Ice Cream Man was produced on a very modest budget typical of direct-to-video horror films of the mid-1990s.
Executive producers included Hail, Mills, and Yvette Hoffman, who all helped push the project through independent distribution channels.
The film was released straight to VHS at the height of the 90s home-video boom, making it a cult collector’s item today.
Despite being overlooked at release, it has gained a small cult following among fans of obscure horror cinema.
Unlike the similarly titled 1995 film Ice Cream Man starring Clint Howard, Mr Ice Cream Man (1996) is a completely separate production with no connection to the earlier movie.
Today, Mr Ice Cream Man is celebrated in horror fan circles as an example of DIY filmmaking that captures the gritty, experimental spirit of 1990s indie horror.
thevhsstrikesback@gmail.com
Miller’s Crossing (1990) was chosen by supporter Justin, and it stands as one of the most stylish entries in the Coen Brothers’ early catalogue. After the breakout success of Blood Simple and the quirky charm of Raising Arizona, the Coens set their sights on the gangster genre, crafting a film inspired by classic Dashiell Hammett novels such as The Glass Key and Red Harvest. Their vision was to make a thoughtful, atmospheric crime drama that combined sharp, layered dialogue with the kind of morally tangled storytelling that would become their trademark.
The journey to get there wasn’t exactly smooth. Midway through writing, the brothers hit a creative wall so severe they shelved the script and instead made Barton Fink before returning to finish Miller’s Crossing. Filming in New Orleans gave the movie its richly authentic period feel, with Barry Sonnenfeld’s moody cinematography and Carter Burwell’s haunting score elevating the production. While the film didn’t set the box office on fire, its craftsmanship and style have since earned it a devoted following and cemented its reputation as one of the Coens’ most accomplished works.
If you enjoy the show, we have a Patreon, so become a supporter here.
Referral links also help out the show if you were going to sign up:
Trailer Guy Plot Summary
In a city of power, deception, and danger… One man navigates the shadows of loyalty and betrayal.
From the visionary Coen Brothers comes Miller’s Crossing — a stylish, tension-packed journey through the underworld, where every word is a weapon, every glance a threat, and nothing is as it seems. With danger lurking around every corner, alliances are tested, and the rules of the game are rewritten in blood and cunning.
Miller’s Crossing - loyalty has a price… and betrayal has consequences.
Fun Facts
Miller’s Crossing (1990) was directed by Joel and Ethan Coen, following their cult hit Raising Arizona (1987).
The film is considered one of the greatest gangster movies of the 1990s, heavily inspired by Dashiell Hammett’s novels The Glass Key and Red Harvest.
During production, the Coen Brothers experienced writer’s block and paused to create Barton Fink (1991) before returning to finish Miller’s Crossing.
The title Miller’s Crossing refers to the forested setting where some of the movie’s most pivotal scenes take place.
Cinematographer Barry Sonnenfeld gave the movie its iconic noir-inspired look, marking his last collaboration with the Coens before moving on to direct The Addams Family.
The haunting score by Carter Burwell is infused with Irish folk influences, including themes based on the traditional piece Lament for Limerick.
Despite a production budget of around $10–14 million, the movie only grossed about $5 million at the box office.
Over the years, Miller’s Crossing has been critically reappraised and is now celebrated as one of the Coen Brothers’ finest works.
The film is often ranked alongside Coen classics such as Fargo (1996) and No Country for Old Men (2007).
Today, it’s seen as a masterclass in neo-noir storytelling and has influenced a new generation of filmmakers in the gangster genre.
thevhsstrikesback@gmail.com
Long time supporter Kent has picked the 1965 experimental film Empire for this week!. True to form in the year of the stitch-up, Kent has chosen a film that’s as unconventional and divisive as it gets. Directed by Andy Warhol, Empire exemplifies the avant-garde spirit of mid-1960s New York, pushing the boundaries of traditional cinema with radical minimalism, extreme duration, and an obsessive focus on observation as art.
The production of Empire was as audacious as the film’s concept. Warhol employed a static 8-hour continuous shot of the Empire State Building, with no camera movement or dialogue, letting the mere passage of time become the centerpiece. Shot at Warhol’s Factory studio, the production encouraged collaboration among artists and performers, embracing monotony and stillness as creative tools. Though challenging for conventional audiences, Empire has secured its place as a landmark in experimental filmmaking and continues to influence artists interested in perception, endurance, and the art of cinematic patience.
If you enjoy the show, we have a Patreon, so become a supporter here.
Referral links also help out the show if you were going to sign up:
Trailer Guy Plot Summary
Imagine… eight hours.
A single frame.
A building.
From the legendary Andy Warhol comes the film that redefines patience, perception, and what it means to watch a movie. Empire — the Empire State Building like you’ve never stared at it before, daring you to survive the longest cinematic gaze in history. Will you sit… or will time sit on you?
Empire — it’s not just a film, it’s a test.
Fun Facts
Originally shot in 6.5 hours – The film was filmed over approximately 6 hours and 36 minutes, from 8:06 p.m. to 2:42 a.m. on July 25–26, 1964.
Extended to 8 hours in projection – By projecting the film at 16 frames per second instead of the standard 24 fps, Warhol extended the runtime to roughly 8 hours.
Andy Warhol’s experimental movie – Empire is a landmark in avant-garde cinema, cementing Warhol’s reputation as a pioneer in minimalist filmmaking.
Filmed at The Factory – Production took place at Warhol’s famous New York studio, a hub for artists, musicians, and performers.
No camera movement – The camera remains completely static for the entire duration, emphasizing stillness and observation.
No dialogue or actors – The film features no spoken lines, with the Empire State Building itself as the “star” of the work.
Endurance viewing experience – Original screenings required audiences to sit for the full 8 hours, turning watching into a performance art experience.
Influence on experimental cinema – Empire inspired future filmmakers and artists interested in minimalist cinema and long-duration art films.
Screened in galleries and museums – Rather than conventional cinemas, Empire is often exhibited in art institutions, highlighting its status as both visual art and film.
Historical record of 1960s New York – The film captures the Empire State Building and surrounding skyline before major renovations, preserving a piece of mid-1960s Manhattan.
thevhsstrikesback@gmail.com
The 1994 science fiction movie Stargate is Dave's selection for this week. The film, which put director Roland Emmerich firmly on the Hollywood map, was marketed as an ambitious blend of ancient mythology and future spectacle long before it gave rise to a massive TV franchise.
With Carolco Pictures supporting Emmerich and director Dean Devlin following their success with Universal Soldier, Stargate's production was ambitious for its time. In 1994, the film's visual effects were state-of-the-art, bringing its world to life with a blend of realistic effects, intricate set design, and early computer-generated imagery. Stargate was a huge movie office success, earning over $190 million worldwide and opening the door for Emmerich's subsequent triumphs like Independence Day and The Day After Tomorrow, despite the fact that critics had differing opinions on how it was executed.
If you enjoy the show, we have a Patreon, so become a supporter here.
Referral links also help out the show if you were going to sign up:
Trailer Guy Plot Summary
Ancient secrets… buried for thousands of years.
A mysterious artifact… that defies explanation.
And one discovery… that will open the door to another world.
From director Roland Emmerich and producer Dean Devlin comes the sci-fi adventure that launched a universe. When the key is unlocked, a journey begins—beyond the stars, beyond imagination… to a place where myths come alive, and the fate of humanity hangs in the balance.
Stargate — the gateway has been opened. Are you ready to step through?
Fun Facts
The film that launched a franchise – Stargate was so successful it inspired multiple TV shows, including Stargate SG-1, Atlantis, and Universe, making it one of the most enduring sci-fi franchises of all time.
Roland Emmerich’s big break – Director Roland Emmerich scored his first major Hollywood hit with Stargate, paving the way for blockbusters like Independence Day (1996) and The Day After Tomorrow (2004).
A surprise box office smash – Released in 1994, Stargate grossed over $196 million worldwide, a huge win for an original sci-fi property.
Record-breaking opening – At the time, Stargate set the record for the highest-grossing October opening weekend in U.S. box office history.
A star-making role for James Spader – Although James Spader was already respected as a dramatic actor, Stargate introduced him to a wider mainstream audience.
Kurt Russell wasn’t the first choice – The role of Colonel Jack O’Neil was originally offered to several actors, but Kurt Russell ultimately took it and delivered one of his most stoic performances.
Filming in the desert – Many of the film’s desert scenes were shot in Yuma, Arizona, and the Valley of Fire in Nevada, standing in for an alien world.
A nod to real mythology – The story draws heavily on ancient Egyptian mythology, blending it with sci-fi concepts to create the mystery of the Stargate.
A cult following grew fast – While critics were mixed on release, Stargate found a passionate fanbase that drove the demand for spinoffs and conventions.
The Stargate prop was massive – The iconic Stargate itself was a practical set piece, weighing over 7 tons and measuring nearly 20 feet in diameter, making it one of the largest sci-fi props of its time.
thevhsstrikesback@gmail.com
The next VHS Strikes Back pick comes from Chris, and he’s gone for the high-octane 1989 comedy Cannonball Run III: Speed Zone — also known in some regions as Cannonball Fever. Chris has a history of picking sometimes questionable movies, and this one certainly fits the bill. Directed by Jim Drake, who was best known for his work in television sitcoms, the film was the third entry in the loose Cannonball Run franchise, following The Cannonball Run (1981) and Cannonball Run II (1984). Despite its connection to the series, Speed Zone leaned heavily into slapstick comedy, celebrity cameos, and outrageous stunt work, attempting to capture the same chaotic energy that made the earlier films cult favorites.
The production brought together a star-studded cast, including John Candy, Eugene Levy, Donna Dixon, and Brooke Shields, with many familiar comedic faces from the era lending their talents. Shot in both Canada and the United States, the movie doubled down on big stunt sequences and over-the-top gags, but it struggled critically and commercially upon release. However, in the decades since, Speed Zone has developed a reputation among fans of offbeat ‘80s comedies as a guilty pleasure, bolstered by its eccentric mix of stars and its place in the larger, gloriously messy Cannonball Run legacy.
If you enjoy the show, we have a Patreon, so become a supporter here.
Referral links also help out the show if you were going to sign up:
Trailer Guy Plot Summary
Buckle up… because the road is about to get ridiculous. When a cross-country race brings together the most outrageous drivers ever put behind the wheel, chaos takes the fast lane. With comedy legends like John Candy and Eugene Levy trading punches with traffic laws, and stunt drivers risking it all for the biggest gags on four wheels… this isn’t about winning — it’s about surviving the ride. Speed Zone… where the gas pedal meets pure madness.
Fun Facts
John Candy joined the cast after turning down several roles in the late ‘80s.
The movie features a star-studded cast, including Brooke Shields, Eugene Levy, Donna Dixon, and Tim Matheson.
Despite being packed with comedic talent, the movie bombed at the box office, making less than $1 million in the U.S.
Brooke Shields won a Golden Raspberry Award (Razzie) for Worst Supporting Actress for her role in Speed Zone.
Director Jim Drake had previously directed Police Academy 4: Citizens on Patrol.
The movie’s stunt work involved real high-speed chases, with stunt drivers performing dangerous maneuvers instead of relying on camera tricks.
The working title during production was Cannonball Run III, but rights issues prevented the official branding.
John Candy and Eugene Levy would later reunite in other comedy projects, solidifying their reputations as Canadian comedy legends.
The film has since developed a cult following among fans of bad movies, often celebrated for its over-the-top humor and chaotic energy.
The film was released internationally under different titles, including Cannonball Run III in some regions, which confused audiences but helped it connect to the more successful franchise.
thevhsstrikesback@gmail.com
This week’s VHS Strikes Back pick comes from Patreon supporter Timothy, and he’s chosen Out for Justice from 1991. By this point, Steven Seagal had already punched and wrist-locked his way into Hollywood as the latest in a long line of action stars. Out for Justice was his fourth movie in just a few years, with Warner Bros. doubling down on his image as a ponytailed, tough-talking enforcer. Unlike the big, explosive blockbusters of Stallone or Schwarzenegger, Seagal’s films leaned on a supposed “authentic” martial arts style — though whether that really translated to convincing screen action is up for debate.
The film was directed by John Flynn, a respected filmmaker who had delivered solid crime thrillers like The Outfit and Best Seller. Flynn brought a gritty, street-level feel to the project, shooting largely on location in Brooklyn. Behind the scenes, however, reports suggest the production wasn’t the easiest, with Seagal throwing his weight around and shaping both the story and the fight scenes to suit his ego. Despite mixed reviews, Out for Justice still turned a tidy profit at the box office — proof that in the early ’90s, audiences were still willing to buy what Seagal was selling, even if the moves looked more like clumsy shoves than martial arts mastery.
If you enjoy the show we have a Patreon, so become a supporter here.
Referral links also help out the show if you were going to sign up:
Trailer Guy Plot Summary
Brooklyn, 1991. The streets are mean, the accents are thick, and justice… wears a ponytail. Steven Seagal is Gino Felino, a cop with a badge, a bad attitude, and a fighting style that looks suspiciously like pushing people through windows.
When crime takes over his neighborhood, one man will grunt, squint, and wrist-lock his way to vengeance. He’s not fast, he’s not flashy… but he’s got a leather jacket, and apparently that’s enough. Steven Seagal is… Out for Justice.
Fun Facts
Out for Justice was Steven Seagal’s fourth starring role, following Above the Law (1988), Hard to Kill (1990), and Marked for Death (1990).
The film was directed by John Flynn, who also made Lock Up (1989) with Sylvester Stallone.
Seagal’s character, Gino Felino, was originally written with a more serious tone, but many critics felt Seagal’s wooden delivery undercut the drama.
The movie was shot in Brooklyn, New York, and made heavy use of authentic neighborhood locations.
William Forsythe plays the villain Richie, and he reportedly gained weight for the role to emphasize his character’s sleaziness.
Despite being marketed as a martial arts showcase, Seagal uses very little traditional martial arts in Out for Justice — relying instead on Aikido wrist locks and throws.
The film’s tagline was: “He’s a cop. It’s a dirty job… but somebody’s got to take out the garbage.”
Critics often describe Out for Justice as one of Seagal’s “grittier” early films, though many also call it one of his most unintentionally funny.
The film opened at number one at the U.S. box office, grossing over $10 million in its opening weekend.
Out for Justice has become something of a cult favorite for fans of “so-bad-it’s-good” action cinema, especially among Steven Seagal skeptics.
thevhsstrikesback@gmail.com
This week’s VHS Strikes Back pick comes courtesy of our Patreon supporter Tony Farina, who’s chosen the cult classic Death Race 2000 from 1975. Produced by the legendary Roger Corman, the film was made on a shoestring budget of around $300,000 and shot in just a few weeks — a hallmark of Corman’s efficient, low-cost production style. Director Paul Bartel brought a tongue-in-cheek, satirical flair to the project, blending dark comedy with over-the-top action. The movie was distributed by New World Pictures and became one of Corman’s biggest hits, pulling in several million dollars at the box office and cementing its place in grindhouse cinema history.
Filming took place largely in Southern California, with many of the driving scenes shot on open roads and rural highways. The film’s custom-built cars — designed to look like weaponised racing machines — were actually modified VW Beetles and other inexpensive chassis, cleverly dressed to appear more menacing on screen. Death Race 2000 also gained attention for casting then-up-and-coming Sylvester Stallone alongside established star David Carradine. Its satirical take on American culture, paired with outrageous vehicular mayhem, helped it develop a long-lasting cult following and inspire numerous sequels, remakes, and reimaginings in the decades that followed.
If you enjoy the show we have a Patreon, so become a supporter here.
Referral links also help out the show if you were going to sign up:
Trailer Guy Plot Summary
In the year 2000, the world’s most dangerous sport isn’t played in a stadium — it’s fought on the open road.
Five killers behind the wheel. One cross-country death race. And every pedestrian is just another way to score.
David Carradine is Frankenstein — the unstoppable champion shrouded in mystery. Sylvester Stallone is Machine Gun Joe — the hot-headed challenger with a taste for blood. In a future where speed kills… and killing wins… there’s only one rule:
Drive fast. Hit hard. Stay alive.
Fun Facts
Filming in Record Time – Production reportedly wrapped in just three weeks, with multiple car stunts done in single takes to save money.
Controversial on Release – Upon release, some critics called it tasteless and violent, while others praised its biting social commentary.
Improvised Dialogue and Action – Many scenes were ad-libbed, giving the movie its quirky, off-the-cuff charm.
Influence on Pop Culture – The movie inspired multiple remakes, sequels, comic books, and video games, cementing its cult status.
Filmed Across California – Despite being set in a dystopian America, most scenes were shot in California’s backroads and desert landscapes.
thevhsstrikesback@gmail.com