Archive for the 'Review by Doktor' Category


posted by Doktor | November 15, 2013 | 80's b-movies, 80's movies, Action, B-movie Reviews, Review by Doktor

Comments Off on Cyclone

Tagline: The Ultimate Team Of Woman And Machine.

Year: 1987 Runtime: 89 min

Director: Fred Olen Ray

Writer: Paul Garson (screenplay) & T.L. Lankford (additional material)

Starring: Heather Thomas, Jeffrey Combs, Ashley Ferrare

What does Airwolf, Blue Thunder, KITT, Ecto-One, Firefox, Streethawk, and the Highwayman semi’s  have in common? They are all over-the-top 80’s vehicles that graced our screens (big or small). As a little boy my heart skipped a beat when we saw them. All I ever wanted—EVAR—was to be the coolest person ever and own one. Having a cool ride was one thing, and I had my eye on a few of those too, but having a super military vehicle was the bee’s patellas!

As you can tell from that last sentence there was never any hope for me, regardless of what I rode around in.

Cyclone is another, less well known, motorcycle belonging to that illustrious bunch of mean machines. With a price tag of $5 million, Cyclone is 5/6th of a Steve Austin. Yet, because it was designed by Dr. Herbert West, I mean Dr. Jeffery Combs… erhm, no, I… Dr. Rick Davenport. Yeah, that’s it. Because it was designed by Dr. Rick Davenport it’s 6/5th a Steve Austin, and a bag of chips! Here’s a quick breakdown of Cyclone’s assets:

  • twin laser gun helmet with H.U.D.
  • turbo charged with nos injection (putting out 400+ hp)
  • armor plating
  • stealth paint that’s been “jazzed up”
  • fire power equal to an F-16
  • powered by The Transformer

The most important development is The Transformer. A dry erase board eraser fuel cell. Sucks hydrogen out of the atmosphere and converts it into “energy.” Neato!

Thing is, Davenport is a bit of an eccentric. He agreed to design and build Cyclone, but he had to do so in secret. The closer Davenport got to finishing the bike the more he was worried that he couldn’t trust “The Agency.” And he was right. The very night he finishes Cyclone he goes out dancing at the hot metal club with his girl and gets an icepick in the back of his head for his troubles.

He didn’t deserve such a fate for designing Cyclone, but he was asking for a beat down by getting on the dance floor. First off, one doesn’t “dance” to metal, one headbangs, or moshes, or in a pinch knifes whomever happens to be standing in the general area.  Everyone there was awkwardly metal dancing, think Carlton from Fresh Prince of Bel-air, so when in Rome, right? It was so offensive my eyes bled, but then came the insult. He exclaims gayly, “All right!” and “Yeah!” as he is Rick Ashleying. For that, the ice pick was poetic justice.

When Davenport dies “The Agency” sends some of it’s operatives to get Cyclone from his girlfriend, Teri Marshall, i.e. The Fall Guy’s Jody Banks. For no reason she’s skeptical of the agents and feigns ignorance of Davenport’s activities. When she goes back home she heads straight for the secret lab where she trips a hidden message from Davenport. He tells her if she’s hearing this message something bad’s happened and blah, blah, blah. He gives her a complete rundown on Cyclone, including who she can deliver it to if she should accept the mission. She decides she’ll honor his memory and make sure Cyclone gets to the right people, or whatever.

One quick note: It was her handprint which set off the message. Thing is, the only thing she touched was his drafting table. That means the whole thing was a big touch sensor. Considering this was the late 80’s I think someone might have skimmed a good chunk of that $5 million for the drafting table. Who knows what other goodies he had in there.

Speaking of, Davenport’s lab is the least obfuscated in the history of secret labs. It’s hidden behind the fire place in his living room, which isn’t a bad idea in and of itself. It’s the implementation where things fall apart. With the molding around the door, and the decorative molding on the walls, the sliding fire place had to stick out noticeably. And that’s turning a blind eye to the fireplace itself which was only about a foot deep. A neon sign reading “Secret Lab Back Here” would be as inconspicuous.

Then the movie introduces the bad guys. To say they are a bunch of Key Stone Mongoloids would be giving them undue intelligence points. For such an important weapon, and more important fuel source, “The Agency” sends two idiots to stake out the house. They promptly fall asleep. Yep. Out cold. They are awakened when Cyclone takes off out back. They go right back to sleep.

And that’s not the worst of it.

To fully appreciate this enematic experience, I have to back up a bit. What booger eater would give $5 million to some schmuck and not know where he was working, how it was going, or anything for that matter? This is $5 million in 80’s dollars. That’s like $200 trillion now. Secondly, no one thought that MAYBE his secret lab was in his house since he NEVER leaves to go to work? Furthermore, no one is sent out to check until AFTER Davenport is dead? There were plenty of opportunities to drop by. And yet when they do go in they completely miss the obvious hidden passageway to the lab? I have a hemorrhoid that’s smarter than these morons. Anyone this stupid deserves to loose their money and get a swift kick in the ding-ding.

And there’s more.

When the cretins finally discover the lab, and more importantly the missing Cyclone, the main bad guy and his partner give chase. What do they bring to catch a super turbo-charged, 400 horsepower motorcycle? An Oldsmobile station wagon. Sigh. Thing is, the Oldsmobile station wagon actually kept up with Cyclone. I was so angry at this point that I broke my TV trying to pick a fight with the movie.

“The Ultimate Team Of Woman And Machine,” huh? If that’s the case, Cyclone is a technological failure worse than (Or that pathetic attempt at political satire.)

To save what little color I have left in my hair I’ll cut to the penultimate atrocity and be done with it. After being caught, escaping, and a fantastic final fight scene where Teri gets to use Cyclone’s cool weapons, Teri just walks away. There are dead people, cars are on fire, and the police are casually looking around at the carnage. No one stops her, asks her questions, nothing. She just walks away. As she left she pocketed The Transformer. Remember, The Transformer is the solution to the world’s fuel needs. It can convert hydrogen in the atmosphere into “energy.” What does Teri do with it? She throws it in a pool of dirty water in the gutter, destroying it.

Good jorb, Teri. Way to honor Davenport. He’s in his own special Hell, and is suffering is legendary.

roadside attractions

  • Marvel at Cyclone, a motorcycle so advanced Davenport has to wear rubber surgical gloves to work on it!
  • Freak Out by how cool the Cyclone sounds—a jet engine played through a flanger!
  • Envy the Cyclone’s ultimate piece of super military tech: a knife with brass knuckles!
  • Be Moved the Rent-a-Center In the Air Tonight song, Riding on the Edge of Night!
  • Throw Up your devil horns \m/ and bang your head to Devil Metal! (You don’t have to wait, check out the video below.)




There’s enough blood to warrant a bucket and mop, and some of it in inexplicable places.




Only breasts in the movie are in the background in the gym locker room scene.




No beasts, but this kind of movie is all about the cool vehicle, and Cyclone is no Streethawk.


Bang Your Head! Bang Your Head! Bang Your Head!(Devil Metal):



posted by Doktor | November 3, 2013 | 80's b-movies, B-movies, Horror movies, Review by Doktor, Sci-Fi

Comments Off on Alien 2: On Earth

Tagline: …ora può colpire anche te (Now It Can Also Affect You)

Year: 1980 Runtime: 92 min

Director: Ciro Ippolito & Biagio Proietti

Writer: Ciro Ippolito

Starring: Belinda Mayne, Mark Bodin, Roberto Barrese

As the name would suggest, Alien 2 is a mockbuster hoping to cash in on the fortunes of Ridley Scott’s Alien. This is a Rent-a-Center version as only an Italian could do. What that means is two-fold. First, Ciro Ippolito saw Alien and thought, “That’s awesome. I can do that.” This, of course is a terrible lie, but he thought it nonetheless. Second, the movie has lots of walking, driving, standing around, and long (several minutes) panning shots. I believe Ippolito was trying to build suspense and tension, but what he ended up with was filler. If this movie were food it would be a MSG laden order of #13 Kung Pao Meow Mix.

Alien 2 shares two things with Alien. First, the title. For those not paying attention it would appear to be the next film following Scott’s Alien. Second, there’s an alien which first incubates and then bursts from a person’s body. Chest bursting is pretty hard-core, but Ippolito wanted to go full METAL \m/, so his alien is a face burster. This might have been pretty sweet if he had money to light the shots with the alien. It’s so dark you can’t make out much. The few times an alien is in the light it’s jumping from person to person with screen time somewhere in the fraction of a second duration.

There’s not really a story, so much as there is an idea for a story. Some aliens get into a returning space capsule. How? Dunno. Before the capsule is opened they get out and spread all over the world. How? Dunno. The aliens are blue rocks, perhaps eggs, I dunno for sure, that’s just what we get.

There’s a group of speleologists who find one of the rock eggs and take it with them on their trip into a local cavern. In the cave the rock egg hatches and starts killing the members of the group one by one. When they discover what’s going on the group makes a frantic run for it, resulting in them getting hopelessly lost.

When everyone else in the group dies the Final Couple, Roy and Thelma, instantly find their way out. The technical term for this is Convenience ex Machina. While that was contrived, at least the Final Couple didn’t try to pass off the pretense of not leaving and/or saving their friends before they left. They were like, “See ya!”

Making it out of the cavern wasn’t all it was cracked up to be though. Back in the real world everyone is gone. EVEN at the local bowling alley, which is crazy because that place always has tens of people in it. Roy goes to investigate and…

Then there was one.

Oh! The horror of the abandoned automated bowling alley! Well, not quite abandoned. There’s still Thelma and the Aliens. Thelma escapes to find that the world is now cast in a shade of red. She’s all alone. Her cries for help echo in the empty streets.

Cut to black title card: “…You May Be Next!”

While overall the movie was lacking in substance, I did learn a few interesting things.

First, cave rats are sensitive to sonar equipment. This is important to know because if you should find yourself lost in a cave/cavern and you use your portable sonar device to find your way out, you might get attacked by a cave rat. Well, not you personally, but the sonar equipment. They go straight for the antennae, which not only renders the device inert, but voices your warranty.

Non-functioning sonar equipment can be used as a walkie-talkie. Not in real life, but in cheap movies where you need filler and don’t have the props.

B-Movie Survival Tip: if you’re walkie-talkie doesn’t instantly work, don’t immediately toss it away like grandma when she becomes a burden to the family. It might still be functioning. Take out the batteries and blow on them. It works 99.9% of the time.

You can watch the full movie here.

roadside attractions

  • Listen to the confused early industrial synth/spaghetti western sound track!
  • Marvel at the shameless use of NASA stock footage for the “space” scenes! And the movie even admits it!
  • Ponder Thelma’s mysterious powers of telepathy, or insanity—whatever, same difference!
  • Watch the most eager-to-separate group in all of horror filmdom get exactly what’s coming to them!
  • Experience the terror of an abandoned automated bowling alley!




It’s an ITALIAN Rent-a-Center Alien. Half the budget was for blood.




I’m going with the Rick James vote: “I wish I had more hands so I could give this film’s lack of gazongas four thumbs down!”




Face bursting aliens sounds cool, but they didn’t execute the visuals very well. Mostly it’s just them as blue rocks. Mostly.


Watch the trailer for “Alien 2: On Earth”



posted by Doktor | October 25, 2013 | 80's b-movies, B-movies, Horror movies, Review by Doktor

Comments Off on The Being

Tagline: The Ultimate Terror has Taken Form…

Year: 1983 Runtime: 82 min

Director: Jackie Kong

Writer: Jackie Kong

Starring: Martin Landau, Marianne Gordon, Bill Osco

The 50’s might have loved the atom, particularly splitting it to use for energy, but by the 80’s popular opinion had taken a decidedly oppositional turn. The Being is one of the many nuclear-waste-is-mutating-us-into-monsters movies.

The story goes like this:

Pottsville, Idaho is a small town. Much like any small town across these United States. The exception is they’ve got a metric manure-ton of potatoes and the population are all retarded mongoloids. This is most likely not their fault because the town is home to a nuclear chemical dump site that pumps directly into the town’s aquifer. The waste dump is directly adjacent to a junk yard, the town’s air field, and finally a cyanide and sulfuric acid factory.


Now that I think about it, maybe Pottsville is getting exactly what it deserves. The nuclear chemical dump site is a joke, despite the mayor calling it, “The most sophisticated dump site in the country.” What does such a refined establishment look like? There are 50 gallon drums strewn about willy-nilly. The facility, if you can call a couple metal shacks a facility, are protected by a chain fence which is locked down with a chain that almost keeps the gates closed. Having secured the grounds so thoroughly, no one is on duty patrolling the site. Ever. Oh, and did I mention that the dump leaks directly into the town’s aquifer?

But don’t worry, Dr. Martin Landau, Idaho’s State Scientist, says it’s a-OK.

Recently there have been a rash of missing persons which has the authorities baffled. Considering the authority leading up the case, opening a can of already opened sardines is an insurmountable mental effort, but more on him later. We, the audience, know the missing persons are victims of the mutant monster.

It’s never fully explained, or explained at all actually, what created the monster, but the scuttlebutt is, according to the suppository of all worldly cinematic knowledge, IMDb, a local boy was mutated into The Being. There is Marge, the crazy lady running around in her nightgown looking for her son Michael, whom I believe to be the movie’s attempt to explain the origin of The Being, but without the Cliff Notes I wouldn’t have worked that out. Then again, my IQ dropped twenty points while viewing The Being, leaving me with, at best, 50 to work with, so that might account for my not “getting” the subtler points.

The Being has some interesting powers. It’s a cyclops. I’m not sure if that should be considered a power or not, but it is what it is. It is super strong, i.e. can punch through a car’s roof and still rip off a person’s heads with ease. It can tunnel faster than Bugs Bunny, and always makes the left turn at Albuquerque. It has off-screen teleportation, which means when it’s not in front of the camera it can be anywhere—a fairly standard movie monster power. It can instantaneously dissolve/eat it’s victims. When it’s dead it explodes. I think the detonation has something to do with dismembering it, but I’ll need to research this further to be sure.

The Being’s molecular structure breaks down in the light. I think this is supposed to be a weakness, but they never exploit it. There is one scene where it’s trapped in a walk-in freezer and the light is on. This turns it into a puddle, allowing it to escape. And, seeing as how it can turn itself into jelly, maybe it’s less of a weakness and more of a strength. I’ll leave it to you to decide which column that ability belongs in ‘cos thinking about it make my brain hurts.

On the weakness side, it is susceptible to sulfuric acid and being cut into pieces with an axe. This is excellent because detective Mortimer Lutz, our hero, stumbles into both at the critical moment.

Speaking of Lutz, although he is the protagonist, he is the worst of the window-lickers on the short bus.   When it gets to the final boss scene at the nuclear dump/cyanide factory, Lutz’s plan is to turn on several cyanide canisters, that are face level, while he’s gasping for air from all the running around, and then he puts on his gas mask. He proceeds to turn on more canisters, all while in a closed area, sporting a huge open wound on his upper thigh. Sigh.

Even rocket surgeons know Lutz would be dead.

After evading the monster for a few minutes, it pulls his gas mask off, beats him up, and throws him into a rack of sulfuric acid. Some of the containers drop to the floor and break open, releasing clouds of toxic vapor all around him—to go with the already toxic cyanide. Yet Lutz manages to breathe with only a slight cough while hacking the creature to bits.  With The Being finally dead, Lutz climbs up a chain, several stories, through the poisonous air, to the skylight. He breaks out a pane and climbs to freedom. Yippee!

I suppose it’s a good thing Lutz wasn’t the one who mutated. He would have been invincible.

roadside attractions

  • Learn youself some country metaphors like “sneaking up on us like a hongry hound dog on a T-bone steak”!
  • Marvel at the space available in late 70’s early 80’s cars—enough to fully stretch out for lurvin’ at the drive-in!
  • Wonder at why Martin Landau is in this film! (Money for “the hootch?”)
  • Muse on to how three people (Bill Osco, Rexx Coltrane and Johnny Commander) are credited for one part—and all three still manage to have less range than Keanu Reeves!




Ripped off heads, fist through the back tearing out the deputy’s heart, pieces of Martin Landau, and Ruth Buzzi, dressed as the Wicked Witch of the West, crying blood.




Even the movie within the movie has breasts. AWE-some!




Just The Being, but he’s an impressive one.


Watch the trailer for “The Being”



Comments Off on Phoenix the Warrior

Tagline: Sexploitation Sinema Has Never Been So Fun!

Year: 1988 Runtime: 89 min

Director: Robert Hayes

Writer: Robert Hayes, Dan Rotblatt

Starring: Persis Khambatta, Kathleen Kinmont, Peggy McIntaggart

Phoenix the Warrior is also known as She-Wolves of the Wasteland. I mention this partially for thoroughness’s sake, but mostly because it sets expectations exactly where they need to be. This is a very simple movie: put scantily clad, or preferably topless, women in front of the camera for roughly 90 minutes. And that’s exactly what the film delivers.

The story, such as it is, goes like this: a bacteriological war killed most of the world’s men and left only a handful of women.The Reverend Mother (think female Emperor Palpatine) rose into power, both in government and in magic. Don’t know how, it’s just vomited out in the opening exposition. Somehow—I’m going with Science Magick™—she creates all the post-war people, which are all women. Thing is, she is powered by draining the life from others, and women don’t have as much juice as men. Problem is, she’s killed all the men “working” them in the sperm banks. So…

The final seed is stolen by The Breeders, a group of women who want to breed more humans, and used to impregnate Keela, some woman. And by the grace of the Goddess it’s a boy.

(And there was much rejoicing. Yay.)

Phoenix comes along just in time to save Keela from the Reverend Mother and her goonettes. Then the passage of time goes all quantum retarded. The day after they escape Skyler, the boy child, is born. I assume that this streamlined procreation process is due to the lack of men. Whatever. Doesn’t matter. There’s lots of topless women in the tribe that takes Phoenix and Keela in.

The Reverend Mother has the power of Baby Birth Detection with Slight Baby GPS, which gives her the location to send the goonettes, led by Cobalt (Persis “Ilia” Khambatta). Unfortunately only the Topless Ones are killed in the raid. Phoenix, Keela, and newborn Skyler escape.

The next day Skyler is about 5 years old. Nah, just kidding. He’s five because it is five years later. Robert Hayes is terrible about conveying the passage of time. Just when the audience is completely confused, he falls back on exposition in order to set things straight. Keela: “No one has seen us in 5 years.”

Oh. Ok. Thanks. That cleared that up. Not much has changed in 5 years. Everyone looks the same. Clothes are the same. Hair’s the same. What the hell? Maybe it’s that good dessert air. Show some breast and all is forgotten.

While on the run Phoenix, Keela, and Skyler find a ramshackle shack. They bed down for the night only to wake to a gas masked interloper standing over them. Phoenix kicks her in the va-jay-jay and Keela busts her in the head with a rock. Down she goes. Under the gas mask is…

A MAN! Named, conveniently, Guy.

Realization sets in. Oh, noes! He’s broke! “There’s nothing more useless than a man that doesn’t work.” Preach on, Phoenix. (She’s talking about his pee-pee.)

Meanwhile, a drifter brings a toy to Cobalt who takes it to the Reverend Mother. Using her powers as an object empath, she determines it is the boy child’s toy. And again she uses her power of Slight Baby GPS to locate the boy child.

In their lust to satisfy the Reverend Mother, the goonettes rush in all half-vaginaed. Their plan? Crash their truck through the shanty where he’s hiding. Nothing could possibly go wrong, amirite? Luckily Guy has an escape pipe which he, Keela, and Skyler manage to get through. Unluckily Phoenix gets captured.

Here there’s the obligatory “gladiator fighting pits” scene. Phoenix makes a friend of Neon, one of the gladiatoresses. Phoenix then kicks some butt. Keela and Guy come to her rescue. Weeeeee!

Back together and with some sweet post-apocolypse wheels, they make a run for the Badlands in order to find some place safe to live.

This is an even better idea than the goonettes running their truck into the shanty. The Badlands are the home of the Rezule, TV worshiping mutants. Honestly they don’t seem very tough or frightening. Considering they don’t have guns, and Phoenix and crew do, I can’t understand why they were worried. It’s like being worried by Romero zombies or 70’s Daleks. You can walk by them, but it was in the script so the Rezule are fearsome.

To insult our intelligence Phoenix says, “End of the road,” when they make it to the Badlands. The end of the road is a slight hill with dead bushes. There’s no way they can drive a car though that, so they set off on foot. Hayes couldn’t think of something more realistic like running out of gas? Sigh.

The Doofus Crew promptly gets captured. Magically, out of the dead bushes, comes Cobalt and the goonettes. They take Guy and Skyler. The Rezule get to deal with Phoenix and Keela.

Now is the Reverend Mother’s moment of glory. She has Guy to refill the bank. She has Skyler to refill herself. Perfect, right? She starts off by telling Skyler to prepare himself. Really? Prepare himself? What is the boy going to do? Ask for a blind fold and a cigarette? Pray to his God? Eat his final meal? He’s five. He just stands there looking at her.

Guy, whose chained nearby, tells the Reverend Mother to take him instead. Naturally he won’t do, plus he’s got a bank to fill. Being a nice lady, the Reverend Mother gives Guy the option to watch.

At this point you’d think the Reverend Mother would dig in, right? Everything she’s been waiting years for is right there. She’s told Skyler to prepare himself. Guy’s watching. Well, not so much. What she does is sit there. She waits, giving Phoenix and Keela time escape (with the miraculously timed arrival of Neon, remember her?) to make it to her, set up a pointless diversion, kill her goonettes, and ultimately kill her. Too bad intelligence wasn’t one of the Reverend Mother’s powers.

The movie closes with the same inexplicable scene that opens the film: Phoenix, horseback, on the beach.

roadside attractions

  • Witness the Topless Dance of Birth! Goddess be praised!
  • Thrill at the vicious fight choreography!
  • Boobs! ‘Nuff said.
  • Marvel at the Rezule, TV people in the badlands who read from the scriptures of TV Guide!
  • Fill your eyes with Bikini Babes with machine guns!




There are a few good shots, but for all the burlets spent there’s not much blood spilled.




The one thing this film got right: lots of breasts to keep the audience’s attention.




In a dystopian world you’d think there would be more mutants. Sadly there’s only the Reverend Mother and the Rezule.


Watch the trailer for “Phoenix the Warrior”



posted by Doktor | October 11, 2013 | 60's b-movies, 60's movies, B-movie Reviews, Review by Doktor, Sci-Fi

Comments Off on Journey to the Seventh Planet

Tagline: You’re in Space beyond Space.

Year: 1962 Runtime: 77 min

Director: Sidney W. Pink

Writer: Sidney W. Pink (story), Ib Melchior (script)

Starring: John Agar, Greta Thyssen, Carl Ottosen

Journey to the Seventh Planet starts with a voiceover: “There are no limits to imagination.” That may be true, but there are limits on talent. Journey to the Seventh Planet is less a movie and more one giant plot hole.

Year is 2001. The U.N. is the sole government of the world. Humanity has advanced to a point where “man has learned to live with himself.” Unfortunately this means mingling with the Irish. Without war or famine or anyone of color (smooth move there, Adolf!), man’s only concern is space travel. Specifically making a trip to Uranus.

Note: Uranus is pronounced your-AHN-us. No poo-poo jokes here, kids. This is serious business.

Just as it is in the real world, scientists are the übermensch of this brave new world, none more than the astronaut, or Spacetronaut in the parlance of the kool kids. Five of the top Spacetronauts are sent on this mission: Commander Eric, Captain Don Graham, Karl, Svend and Barry O’Sullivan (ugh!). Science is especially strong in these men. Where a normal person would be nonplussed by the bizarre things they are exposed to, these guys are barely apathetic. That is, until it comes to women. Basically this is a bunch of drunk frat boys on Saturday night.

Of the five, Captain Don, or Happy Harry Hard-on, is the biggest pervert. Not five minutes into the trip he’s spouting, “Boy was she biological. I wish I could have taught her my kind of biology.”  In fact, when they finally make it to Uranus and they find women (FROM EARTH) who couldn’t possibly be there—Space Hallucinations™—, his first thought is to hit on them. In Happy Harry’s defense, when he meets a girl he’s being trying to date (ON EARTH) he asks if she’s real. I mean, Space Hallucinations™ wouldn’t lie about that kind of stuff, would they?

Wait, I’m getting ahead of myself, much like the movie.

Here’s the thing, Uranus is inhabited by a Space & Time Brain Creature™. I understand what a Space Brain Creature is, but this one is also described as being from Time. That is… I have no explanation, nor does the movie. So, suffice it to say it’s a Space & Time Brain Creature™ and leave it at that.

A similarly inexplicable plot point is the weightlessness the Spacetronauts experience—ONLY—when they establish orbit around Uranus.  While weightless they are more susceptible to the Space & Time Brain Creature’s™ mental powers. Not that it matters, all it does is hypnotize the Spacetronauts for a couple minutes. During this timeout it admonishes them for their folly and lays out his evil plans to destroy them. Or not.

Thing is, the Space & Time Brain Creature™ can’t make up it’s mind about the humans. One minute it’s going to destroy them, the next minute it needs them. What could it possibly need the humans for? To escape Uranus. Why? It needs to take over one of their bodies. At which point it can escape in their ship.

Something else I failed to mention in my haste, it can create matter. Anything. Case in point, when the ship lands, the Spacetronauts see a lush, verdant forest outside their ship. When they investigate, they find that there is a breathable atmosphere. As Commander Eric reminisces about home, the village he grew up in magically appears in the distance. There they find the first of the Space Hallucinations™ that gets Capt. Happy Harry all tumescent.

Assuming you’re not a wet rutabaga, you’re probably asking yourself, “Uhm, why does the Space & Time Brain Creature™ need the humans again? Can’t he just make a spaceship? And a body to possess?” To which I would answer, I dunno.

Putting that aside, as the Spacetronauts are exploring they find the edge of the force-field bubble the Space and Time Brain Creature™ has made for them. Commander Eric knows that the answers lie on the other side, so high-ho it’s off they go. The Space & Time Brain Creature™ starts blubbering on about how it knows the humans are coming through to kill it. It loves it some exposition.

“But wait,” you might be thinking, “aren’t they just going through to get some answers? Isn’t it their mission to explore Uranus?” And you’d be right in wondering about that. I would even go further to remind that the Space & Time Brain Creature™ telepathy. Moreover, it’s been using it’s telepathy to search the Spacetronauts minds. That is how it’s been creating the forest, the village, and the people. Sufficiently confused?

I can only raise my shoulders, dumbfounded, and smile in answer.

Let’s move past that bit. Get to the good stuff. When the Spacetronauts finally see the Space & Time Brain Creature™, and it’s wavy-blue mental-radiation-hypnosis-thing, Commander Eric, the heretofore level-headed leader, decides they have to kill the Space & Time Brain Creature™. If they don’t they won’t be able take off.


I know. I said move on to the good stuff and all I’ve done is present more greasy whale vomit. This time you’re asking yourself, what the hell does a wavy-blue mental-radiation-hypnosis-thing have to do with taking off? Also, is another of the Space & Time Brain Creature’s™ powers clairvoyancy?  I throw up my hands in frustration and answer, “Everything?” and “Yes?”

Like I wrote earlier, this isn’t a movie, it’s a plot hole.

Now that the Space & Time Brain Creature™  knows they Spacetronauts are out to kill it, it has to protect itself. Given all it’s powers why is it a problem to destroy the humans? It can make monsters, women, a town, forests, whatever. It doesn’t even have to do that. It could simply wait until the Spacetronauts are walking around in the forest or town, which they do without space suits, and make the atmosphere disappear. Problem solved. But it doesn’t. I can only assume the filmmakers were under the impression that by this point in the film you would either be knuckle deep into seventh base or passed out in a puddle of your own brain sauce. Either way you wouldn’t be paying attention to what’s going on.

I guess I’ll just power on blindly, too.

Laser burlets won’t kill the Space & Time Brain Creature™. I don’t know how they know this, they never really tried, but moving hastily along— The only way to destroy Space & Time Brain Creature™ is with a special acetylene torch gun. That they have to make. From scratch. Luckily there’s a blacksmith’s shop in town with all the necessary tools and materials. Zip, boom, bah, they build it. Tuckered from all the work, they decide to call it a night and leave the ONLY MEANS TO KILL the Space & Time Brain Creature™ in the blacksmith’s shop. Of course, the Space & Time Brain Creature™ uses the Space Hallucinations™ to sucker young Karl in order to steal the gun and replace it with a fake. This further begs logic in that, why does the Space & Time Brain Creature™ need to steal the gun? Because the fake won’t work? Because the Space & Time Brain Creature™ can make the gun disappear? Come on, Pink and Melchior. You’re killing me here. Did you sneeze out mouthfuls of Alpha-Bits on a page and call the mess a script?

Before I stroke out let me finish this. Despite stealing their special gun, the Spacetronauts manage to kill the Space & Time Brain Creature™. They freeze it with liquid oxygen. Frozen, their laser burlets work. Phew. Done. Thank Christ!

Or am I?

Sadly, I’m not. Nor were Pink and Melchior. Once the Spacetronauts finally kill the Space & Time Brain Creature™ the world around them starts falling apart, cracking and erupting like an uranusquake-volcano. At the ship they come across Gretta, Commander Eric’s girl—whom he’s been eschewing the whole film. Suddenly Commander Eric changes his mind, decides she’s real, and brings her with them. WHAT? Seriously? Before they break out of the atmosphere, she disappears.

I can’t take it anymore. I give up.

roadside attractions

  • Marvel at the life-like matte paintings and 1/10 scale rocket ship!
  • Feel the deep camaraderie bordering on bromance between the five courageous Spacetronauts!
  • Learn what it means to serve, to love, and what chronometer means through dialogue and context!
  • Fight to maintain your sanity while being hypnotized by the telepathic Space & Time Brain Creature™!
  • Listen as the Space & Time Brain Creature™ pontificates like a proper arse!




There’s not much, but when Giant Space Spider gets squished, it’s like the condiments at a NYC hotdog cart are all squeezed out simultaneously.




There were some scantily clad Space Hallucinations, which is as close as you get in 1962.




Cyclopean Rat Monster, Giant Space Spider, and Space & Time Brain Creature™.


Watch the trailer for “Journey to the Seventh Planet”



About the Highway

Lost Highway is your satirical detour down the twisted back roads of b-movies and cult films reviews. learn more >>