George Kennedy was a damn fine man and one hell of an actor. He was also the sort of working character actor that seems to be oddly diminishing these days. The type who could win an Oscar for Cool Hand Luke and go on to appear in dreck like The Terror Within nearly 20 years later, with no seeming complaints. Hell, the man kept coming back to the Airport movies even when they were clearly running out of ideas.
Hell, and it's a testament to the man's talent that he could so often nearly steal the show from Leslie Nielsen in The Naked Gun movies.
So naturally, while I was a bit shocked to discover the man was still alive--and had been working right up until 2014--I was definitely also sad to hear of his loss. And naturally I was eager to join the rest of my comrades in the Celluloid Zeroes when they suggested a roundtable devoted to his memory.
At first I struggled to think of a suitable film to tackle. I'd already knocked out The Terror Within, after all. Did I really want to tackle the killer cat puppet flick, Uninvited? Or did I want to go for one of the Airport flicks?
And then it hit me: hadn't George Kennedy starred in a truly whacked-out Bigfoot movie? Well, I simply couldn't resist satisfying my curiosity about that.
The film opens with one of the most frightening things you'll ever see:
|Oh God, ABORT! ABORT!|
Anyway, back to the movie. After a rather woeful shot of a meteorite streaking towards the Earth as seen from space, we see a priest (John Durbin) leading a horse through the hills. He is boring the poor animal by reading from his bible or singing "Amazing Grace", when he reacts to the meteorite streaking past him.
I think. Either the cheap VHS quality of the only version available to me washed out the effect of the meteorite or there never was one, because we see him react to the sound of it but then are shown ordinary footage of the hills right before the priest recoils from the object's impact off screen. We do, however, see an adorable attempt at forced perspective as the priest stares at the meteorite before him, which dwarfs both him and his horse.
The object is also clearly not just a space rock, and the priest interprets it as the second coming and walks towards it, enraptured.
After the credits--which naturally give Kennedy top billing, credit the story to John Carl Buechler, and allow us to discover that the soundtrack (by one Dan Slider) will be a Casio synth score that wishes it was John Carpenter's work--we find ourselves at a little cabin in the woods. Inside, Bill Crafton (our dear departed George Kennedy) is playing Trivial Pursuit with his adult daughter, Julie (Jill Marin). It's actually a fairly charming little scene, but the encroaching POV tells us not to get too comfortable. In fact, after Julie teases her father about his mismatched socks, Crafton hears something grunting outside his patently flimsy door. No, seriously, the door could not be more obviously made of flimsy fake wood paneling if was just paper with "wood" written on it.
Sure enough, the door explodes inward, knocking Crafton down as a Bigfoot-type creature bursts into the cabin. Crafton can only watch helplessly as it attacks Julie before he passes out, and then the limp body of Julie is dragged away by the monster.
|"Uh, Mr. Trump? You're on stage in five."|
Cindy Ossman (Colleen McDermott) then asks if they're going to the area where some people on vacation were recently attacked and Carrie Austin (Pamela Gilbert) jokingly says that will be exciting. Tom then brings up that the place is called "Demonwood." This starts the whole car chanting that this are woods of hell, to Jack's considerable consternation. When they arrive at their destination and begin unloading, Tom freaks out about the group being careless with unloading his "fragile shit."
"Yeah, I always knew you were a fragile shit," Fred quips. Tom, for some reason, responds to this by sniffing the air like he just smelled something revolting. That's...that's not a comeback. Meanwhile, the girls return to inform the lads that there's no door to the cabin. Then they dance halfheartedly when Tom whips out the boombox and plays generic rock that was pretty obviously not played on set during filming.
Inside the cabin, the group finds the place a shambles, the way it was left after the attack we saw earlier. Keep that in mind for a sec. Anyway, Jack dismisses it as the work of kids and goes out to finish unloading the car. Carrie comes over to talk to Jack as he unloads a series of guns. She points out that Jack's uncle had guns and that didn't help him, but Jack is adamant that he will be able to succeed where his uncle failed--though Carrie is more concerned that he hasn't told the others about why they're here. And then Tom comes and takes some sensitive electronic listening equipment from Jack, which further sets up that these yahoos are actually here because of the Bigfoot stories, not in spite of them.
In fact, Fred sees that Tom has a gorilla mask in his suitcase, which Tom was going to use to give everyone a scare until he saw how shook up Cindy was when they came into the wrecked cabin. Fred agrees that Tom should definitely not pull that prank--but that he should. You know, the prank that involves scaring the hell out of Fred's girlfriend. So, apparently Tom is not the group's biggest asshole after all.
At any rate, a gunshot from outside announces the arrival of Bill Crafton, now wearing a silly yellow hat. He orders all the kids to come outside, but before he can finish telling them why he ordered them out at gunpoint, Jack sneaks up behind Crafton with a handgun and makes him drop the rifle. Crafton explains he meant no harm, but is there to warn them about the creature that attacked him and his daughter months ago when he rented the cabin from Jack's uncle. Oh, and this means he knew uncle Clem, too.
It also means that the attack we saw happened months ago and was, in fact, the attack Carrie referenced--but nobody has bothered to clean up the cabin in any way since! Anyway, Crafton scoffs at the kids asking why he didn't go to the cops about his daughter, takes back his rifle, and departs with one last word of warning that they should all leave if they have any brains.
|"Also, if you see a bear named Paddington, tell him I've got his hat."|
So Carrie and Jack retire to their room for a romantic excuse to show breasts, while Cindy goes to take a shower and rebuffs Fred's attempts to join her even after he points out that there's no hot water. Frustrated at having his sexual advances twice spurned already, Fred decides to embrace his true douchebag and to puts on the gorilla mask to wait outside the bathroom window to frighten her. So when Cindy gets out of the shower to provide some non-romantic T&A, Fred knocks on the window and somehow produces a synthesizer-heavy growl to scare the towel off her.
Naturally, Cindy runs right into the waiting arms of Tom, who tells her it was a mean joke that Fred played. She seems oddly clam about the way he's creepily holding her and rubbing her arms when she has nothing but a towel on, but when they lean in for a kiss it becomes clear that they've had something on the side all along. Of course, they're interrupted by Fred pounding on the door. It seems that Fred has run afoul of the real Bigfoot. Of course, they take their time answering the door and by the time they do, Carrie and Jack have joined them to investigate the noise--and Fred is gone.
Well, most of Fred is. His flashlight is on the ground beside some bloody rocks. Worse, Jack and Tom see that their truck's hood is up and the engine has been torn apart. The group hurries back inside and barricades the door while Cindy throws on some clothes and Jack grabs the guns to load them up. Unfortunately, when Bigfoot crashes through the door, Jack's bullets don't seem to faze it that much. And when the beast starts to go after Cindy, Tom intervenes--and gets strangled for his trouble before having his neck snapped.
Jack raises his gun to shoot the creature, but suddenly freezes. Not even Carrie screaming at him to shoot the monster seems to get through and he just stares at it as it grabs some of his listening equipment and strolls out the door. Regaining his senses, Jack carries Tom's dead body up the stairs and then the surviving three huddle together on a mattress on the floor by the stairs, so they can watch the door.
Of course, as he starts to doze Jack is woken up by breaking glass. He goes upstairs to investigate--and finds Tom's body is gone. He declines to mention this to Carrie when he comes back down, but merely begs her to go back to sleep. In the morning, Jack takes the rifle, gives Carrie the handgun, and gives Cindy a knife. He explains that they'll have to risk travelling through the woods to get to town faster. When Cindy asks if they're just going to leave Tom's body, he dodges the question.
And now it's time for more expendable meat as a jeep carrying Betsy (Michelle Bauer) and Tara (Shannon Kennedy) drives along a dirt road. The two are telling funny stories about Betsy's ex-boyfriend as they go, since apparently they're heading to raid his "Secret Garden." Tara also makes sure to acknowledge the painfully generic rock song they're listening to with, "I love this song!"
Meanwhile, Jack proves so jumpy that when a pine cone falls from a tree, he whirls and shoots it with his rifle. He then suggests that they take a rest, while Cindy demands they keep moving--and then Jack almost attacks her. For some reason he is suddenly furious with Cindy and calling her a bitch despite her having done nothing but get frustrated with him because she is obviously scared. It really makes our hero look like an asshole, I gotta say. Sure, he admits to Carrie that he's largely angry because he sees this whole thing as his fault but...yeah, it kind of is.
Meanwhile, we see a random hiker (Larry Grogan) getting lost, before cutting to Betsy and Tara discovering that someone else has already beaten them to the "Secret Garden" and all the weed growing there is gone, Well, when life gives you lemons, you flash your tits as the saying goes. Which is why Betsy responds to this disappointment by taking off her top, because they might as well get a tan while they're in this shady section of wood. Tara follows suit--although she keeps her bikini top on--oblivious to the Bigfoot watching them from the bushes.
And at this point in the film I have no idea if the fact that its mask looks nothing like the Bigfoot we've seen so far is intentional or a foul-up.
|"Rargh! My feet aren't the only thing that's big, baby! Raargh!"|
And there is something inherently silly about the gait of this film's Bigfoot, I have to say. Like Ro-Man from Robot Monster took up fun running.
As Cindy ponders what they're going to tell people when they get back to civilization, Betsy manages to find a moment to put her shirt back on and break down crying. The hiker, having eluded the Bigfoot, suddenly runs into a zombie. Luckily for him the zombie isn't interested in attacking him, but that doesn't make the poor sucker feel any better and he takes off running again.
|"Grraarrrgh! I'm voting Trump because Trump tells it like it is. Graarrrrggghhh!"|
Crafton's righteous indignation is kind of hard to maintain when, after Jack has Cindy take away Crafton's gun, Carrie notices that he's wearing Tom's watch. Crafton claims he found it outside his camp and, at gunpoint, Jack demands Crafton take them to his camp. Meanwhile, the terrified hiker stumbles into a small clearing full of bones, severed limbs, and half-eaten corpses. As he tries to regain his footing, Bigfoot suddenly pounces on him and forces his arm into a bear trap before disemboweling him with a stick. Okay then.
At Crafton's camp, Jack demands answers. He also reveals to the others that he had been hiding the mysterious disappearance of Tom's body. Crafton reaffirms that he knows nothing about the attack the previous night, but simply found that watch by his camp. He explains that after he recovered sufficiently from his injuries, he came out here to find the monster that killed his daughter, He wears his silly yellow hat so it can easily find him and he riddled the woods with traps. Carrie snidely remarks they found several already, but then Crafton reveals they were lucky to avoid his biggest surprise--tripwires rigged to bundles of dynamite.
Unbeknownst to Crafton, however, Bigfoot is going around pulling the blasting caps out of the dynamite and tossing the sticks aside.
Crafton asks about the attack the night before, specifically if Jack noticed anything weird. In fact, Jack did notice that the beast acting like it recognized him. Crafton asked if it took anything and Jack mentions the stolen listening equipment, but Crafton doesn't get to explain why that's relevant because Betsy--having heard the gunshots--shows up at the camp and narrowly avoids setting off a dynamite trap.
Crafton sends Jack into his tent to get the first aid kit and water--but wouldn't you know it, our big hairy friend that can't ever seem to go anywhere without constantly growling audibly has learned stealth in order to wait inside the tent. When it comes out, wringing Jack's neck, nobody else can shoot it without risking shooting Jack. Cindy leaps onto it and begins stabbing it with her knife, but that just results in her taking Jack's place as Bigfoot's human shield--until Bigfoot proceeds to slap her unconscious and then proceeds to do the same to Cindy and Betsy.
Crafton then tries to lure it to a dynamite trap, only for it sneak around behind him and proceed to smash his skull against a rock over and over. After all, we're an hour in and George Kennedy's charisma was no doubt a bigger portion of the film's budget than all of its creature effects combined.
When Jack regains consciousness, he is completely alone. He gathers his guns and the dynamite before he sets off into the hills to try and follow the creature's trail. Instead, he finds a dazed Cindy staggering through the brush. However, she won't respond to him calling to her. When he runs up and grabs her arm, he finds out why--she turns around and reveals that half her face has been clawed away and she is growling vaguely like Bigfoot. Which, of course, would have been a much more effective reveal if we hadn't already had a totally random zombie earlier.
|Misogynistic fanboys were up in arms after Drew Barrymore was announced to play Two Face in the new Batman movie.|
Coughing up blood, Clem apologizes to Jack, saying he never wanted to hurt anyone but they made him do it. Clem dies and Jack goes further into the cave and discovers lots of torn up radio equipment--again, feeling pretty Robot Monster here--and what appears to be the skin of a man's face. Jack trips over himself in shock and then runs deeper into the cave, only to run smack into a group of rotting zombies carrying electrical equipment around!
And here the movie's ambition really begins to outstrip its budget. The zombies are, to a man, obviously normal people in pristine clothes who are wearing really, really obvious rubber masks. So obvious, in fact, that when Jack finds an inexplicably still living Fred tied up beside a spaceship doorway that looks like it was borrowed from Star Trek, the rubber gorilla mask Fred is still wearing doesn't look any less convincing than the zombies.
Fred is bleeding from the nose and mouth and says he's all busted up inside, so Jack should leave him and go rescue Carrie inside the spaceship. Fred says the priest inside the craft wants to use Carrie and some other girl for some purpose and they won't be alive for long if he succeeds. Jack rests Fred's head on his jacket and turns to enter the ship, only to be confronted by zombie Tom. And to our great chagrin, zombie Tom is not only not mute like the other zombies, but is trying to do the hammiest of hammy Jack Nicholson impressions. After mugging for a bit with no real reason, Tom tells Jack that he should just come quietly--but Jack listens to the audience and shoots Tom.
Stupidly, he only shoots Tom in the shoulder so Tom continues advancing, summoning the other zombies to join him. Then, despite Jack's gun clearly having fired the last bullet in the clip a second ago, Jack fires again and mercifully (for us) hits Tom in the head this time. After killing three more zombies with headshots, Tom's gun runs out of ammo for totally real this time so he slams in another clip--and proceeds to miss every shot. After slamming a third clip in, Jack immediately abandons the whole gun idea and decides to go for punching instead.
He gets himself swarmed for his troubles.
Now we see the zombies doing repairs inside the spaceship, using all the stolen electronics to fix its insides. In garish chamber, the priest from the opening, now much paler, chants, "Azdreth is Lord!" He then raises a ceremonial dagger and advances on Betsy, topless again and strapped to a sacrificial altar.Meanwhile, a pretty cool slimy alien with metal claws, scorpion tail, and bat-like ears sits nearby, eagerly watching the sacrifice unfolding--presumably this is Azdreth. The priest says that his master is returning to the stars and then cuts out Betsy's heart and offers it to Azdreth, who mumbles alien gibberish and happily begins eating the heart.
|Hey, what do you, know, Ted Cruz was in one of those "teen tit films" after all!|
Now it's Carrie's turn to be strapped to the altar half-naked. The priest excitedly tells them that after over a hundred years of being trapped on Earth, the mighty Archangel Azdreth is ready to return to the stars and they will each feed him in turn. Well, it turns out that zombies make shitty muscle, because Jack instantly wriggles free and tackles the priest.
Jack then apparently shoves that dagger where the sun don't shine, which kills the priest. This angers Azdreth, but the zombies barely look up from their spaceship repair so I guess they don't have any particular loyalty to the priest.
|"Azdreth don't pay nearly enough braaaaaiiiinsss to also fight college kids."|
Oh, he's still alive, sure, but after Carrie dresses herself in the dead priest's robe, she discovers that Fred is starting to turn into a Bigfoot. Guess that mask was foreshadowing, huh? After Jack sets a pile of dynamite down with an attached timer set to go off, Fred yells at them to leave him behind. Seeing his friend's hairy arms is enough to persuade Jack and he hilariously shoves aside a whole conga line of zombies as he and Carrie make their escape from the chamber.
The gradually transforming Fred clutches the bundle of dynamite to his chest as Carrie and Jack flee through the cave. Unfortunately, they bump into Cindy on the way and for some reason Carrie just flat-out refuses to abandon her clearly undead friend. So Jack, demonstrating the one reasonable instance of his assholishness towards Cindy, shoots her repeatedly in order to force Carrie to abandon her. At that range and angle he really would probably have hit Carrie, too, but whatever.
For some reason, once outside of the cave the couple ducks behind a large rock instead of, I don't know, just continuing to run away. Bigfoot Fred breaks out in air bladders and roars before the whole cave erupts in a fireball...
...and Jack suddenly wakes up in bed next to Carrie, in what is unmistakably a darkened sound stage with no furniture beyond their bed and the lamp sitting on its frame. Carrie rolls over and Jack explains he can't stop thinking about Tom and Fred (but not Cindy, the prick). Carrie comforts him and says it's about time they got back to their lives and makes a suggestion that they go to the beach, only for the zombies to suddenly appear out of the shadows and surround them...
...and then Jack finds himself in bed next to a zombified Carrie...
...and then Jack wakes up in fright, alone in the bed, the camera zooming in on his tense face and--roll credits?! Seriously, that's your fucking ending?
|"Honey, maybe you should ease up on the exfoliating...:|
Wow. Demonwarp is the kind of film that leaves me virtually unable to decide what to make of it. On the one hand, for most of the running time this is a rather dull "young people go into the country and get murdered" flick with a Bigfoot as the death dispenser. However, it wisely cast George Kennedy in a major role so there's at least one engaging character. Then, on the other hand it suddenly becomes an almost engaging sci-fi horror flick with the introduction of Azdreth, his zombie minions, and his Sasquatch Stinger. And then it immediately squanders that cool stinger with the laziest bullshit stinger ending this side of Breeders (1988). I mean, fucking Breeders, man! If your film in any way compares unfavorably to that film, you've taken a severe wrong turn.
In toto, then, I'd have to see this is a crappy movie. However, as anyone who has read this far probably knows that there are different levels of crappy movies. There are the crappy movies that are no good at all, the crappy movies that manage to achieve a kind of perverse goodness from being so crappy, and then there are the crappy movies that manage to actually be fun on their own merits while still basically being awful. Amazingly, Demonwarp is all three of those.
At times Demonwarp commits the cardinal sin of a bad movie by being boring, while other times it ventures into the delightful territory of leaving you pondering what the hell its makers were thinking, occasionally is so incompetent it becomes brilliant, and then in a few scenes it actually engages you in the way the filmmakers intended.
As I said before, George Kennedy is excellent even with the little material he is given to work with, and I actually rather liked Colleen McDermott as Cindy--and not just because she was willing to bare it all on camera, I might add. Hell, even David Michael O'Neill as Jack gets a few good moments in, but his character is just so poorly written and unlikable it's impossible to feel anything for him. The film's direction is nothing special, for that matter, and the score is not very good at all,
The film's creature effects, as I said before, are definitely a mixed bag. The zombies are, aside from the first one we see and Cindy, pretty much awful to a one--but the Bigfoot has a very expressive face, even if it still has that patently rubber quality to it. The alien Azdreth is definitely the highlight of the film, even if its metal claws look like they're actually silver cardboard.
Is this a film worth tracking down? Well, it's not yet on DVD or Blu-ray but the internet makes it easy to find until such time as Scream Factory, Kino Lorber, Mill Creek, or one of the other genre-heavy distribution companies get their claws on it to give it a proper release. (I can only imagine how awful the zombies will inevitably look in HD) Therefore it doesn't require much effort to find and watch it, so I'd say if you're in the mood for some genre fare you haven't seen before you could definitely do a lot worse.
In the end, I'd say the crazy alien plot just barely makes it worth viewing. It's definitely perfect for a Saturday night viewing with friends if your friends are the sort who make a habit of viewing obscure 1980s horror movies.
And really, those are the best kind of friends, aren't they?
This review is part of Petroni Fide! the Celluloid Zeroes' tribute to the late, great George Kennedy. Check out what the other Zeroes did below!
Checkpoint Telstar took The Human Factor into account.
Cinemasochist Apocalypse was Uninvited, an unfortunate slight.
Micro-Brewed Reviews had a Nightmare at Noon.
Psychoplasmics joined The Delta Force.
Web of The Big Damn Spider got slapped into a Strait-Jacket.