Fans of 1950s sci-fi horror films and especially the budget-conscious work of director Ed Wood might embrace Vampire Zombies … from Space! (Cleopatra Entertainment, rated R, 1.85:1 aspect ratio, 98 minutes, $24.95), a black-and-white satire of the genre that was 15 years in the making and now available in the Blu-ray disc format.
With tongue firmly planted through bloody cheeks, director Mike Stasko and comedy writers Jakob Skrzypa and Alex Forman take viewers to the small town of Marlow, which is plagued by some gruesome and extraterrestrial phenomena.
In particular, Dracula (Craig Gloster) and his vampiric minions are above the planet in their starship and unleashing a blood-sucking zombie plague on the citizens below.
The evil plan to create an undead army can only be stopped by a team consisting of a grief-stricken daughter of a family killed by the creatures (Jessica Antovski); a jaded, veteran cop (Andrew Bee); his rookie partner (Rashaun Baldeo); and a chain-smoking greaser with an Elvis complex (Oliver Georgiou).
The film spotlights cheesy special effects such as using visible wires to fly rubber bats; really cheap-looking models of flying saucers; and extreme gore such as generous interactions with human entrails, a human being pulled apart and a lower torso with legs still mobile and fighting an opponent.
The performances are cartoony as expected and largely forgettable, but pay close attention to the scene featuring the interplanetary vampiric council communicating with Dracula via 3D holograms. Yes, that is distinguished, original “Night of the Living Dead” actress Judith O’Dea as Vampira.
For those not willing to embrace the extreme campy homage or understand its source material, the movie is head-shakingly stupid, with only mild bouts of humor.
Its attempt to parody films such as “Plan 9 from Outer Space,” “Invasion of the Saucer Men” and “Invaders from Mars,” which are already vintage cult classics, will make viewers, at best, more interested in watching those originals.
The high-definition presentation does a grave injustice to the shoddy cinematography and production values that require the worst film stock and lowest resolution available to mimic its predecessors.
Best extras: Fans will first appreciate an optional commentary track with the creators of the “musterpiece,” Mr. Stasko, Mr. Skrzypa and Mr. Forman.
They take us through the origins of the film, beginning as Mr. Skrzypa’s 10th-grade high school project. Alas, the cinematographer accidentally deleted 70% of that footage. It took years to find a nearly complete script to reshoot again, which also partly explains why the humor is so sophomoric.
The group enjoys cracking themselves up after admitting to having to practice for their first commentary.
They discuss the mundane action on the screen sprinkling with facts such as hiring actresses that know how to blow up, using roughly 17 masturbation jokes in the film, basing the film’s pacing on the “South Park” movie, shooting parts of the vampiric council’s Nosferatu in a hotel room in Anaheim, California, and inserting public domain footage into some of the news reel scenes.
The boys do not have too much insight into motivations or themes, and I would really have enjoyed a deeper discussion on creating the very fake morgue castle; their influences in comedy and movies (not just a passing reference); their fascination with intestines; and why they used some of the extremely bloody effects.
Next, a collection of interviews comes in three segments: one 16-minute chunk with key cast and crew such as the director, writers, production designer Greg Maxwell, cinematographer Ken Amlin, effects and make-up supervisors Mitchell Branget and Stephanie Johnston and Mr. Gloster; and then two solo spots with Ms. O’Dea and actor Lloyd Kaufman (the public pervert).
All sounded like they very much enjoyed being part of the production.
Viewers also get a 90-second collage from the film appearing at the Windsor International Film Festival, five deleted scenes and a three-minute slideshow from the production.
• Joseph Szadkowski can be reached at jszadkowski@washingtontimes.com.
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