WEBVTT - Weirdhouse Cinema: Mutant Hunt 0:00:02.440 --> 0:00:08.760 Welcome to Stuff to Blow Your Mind, a production of iHeartRadio. 0:00:13.039 --> 0:00:15.040 Hey you welcome to Weird House Cinema. 0:00:15.120 --> 0:00:17.560 This is Rob Lamb and this is Joe McCormick. 0:00:17.720 --> 0:00:21.000 And today we have a pretty fascinating slice of low 0:00:21.079 --> 0:00:25.959 budget nineteen eighties New York City grimy genre cinema. It 0:00:26.040 --> 0:00:31.320 is nineteen eighty seven's Mutant Hunt, a movie just so 0:00:31.320 --> 0:00:34.640 so grimy, so covered in a patina of sleeves, but 0:00:34.720 --> 0:00:37.120 without really featuring much in the way of grimy or 0:00:37.159 --> 0:00:42.920 sleezy content. It is a near future dystopian cyberpunk adventure, 0:00:43.720 --> 0:00:46.919 full of many of the familiar bells and whistles, you know, cyborgs, 0:00:46.920 --> 0:00:52.800 bounty hunters, sunglasses at night, pleasure droids, advanced mobile personal 0:00:52.840 --> 0:00:58.080 computer devices. It's absolutely as derivative as many other entries 0:00:58.080 --> 0:01:00.880 in this subgenre. But at the same time, I just 0:01:00.960 --> 0:01:03.560 really admired the hustle of this film. You know it 0:01:03.800 --> 0:01:07.119 you know, clearly made with you know, gorilla style. I'm guessing, 0:01:07.120 --> 0:01:10.120 with a lot of you know, just finding locations, shooting it, 0:01:11.319 --> 0:01:15.319 trying for like really getting ambitious with some of the 0:01:15.360 --> 0:01:18.120 things that it attempts to do with a limited budget, 0:01:18.200 --> 0:01:22.080 but with you know, clearly some scrappy special effects artists, 0:01:22.520 --> 0:01:25.600 and it trots out a few genuinely coolerly and even 0:01:25.640 --> 0:01:28.520 thought provoking ideas and just really goes for it with 0:01:28.600 --> 0:01:31.440 wild plot twists and effects, even as you can just 0:01:31.440 --> 0:01:33.720 feel the budget strain underneath the vision. 0:01:34.160 --> 0:01:37.480 If only we lived in this movie's version of the future. 0:01:37.560 --> 0:01:42.800 When it comes to mapping software, where oh god, yes, yeah, 0:01:42.840 --> 0:01:45.319 they've got these mapping programs that tell you how to 0:01:45.360 --> 0:01:49.040 get somewhere, and it just shows basically an outline of 0:01:49.200 --> 0:01:53.400 Lower Manhattan from space with no streets or words or 0:01:53.600 --> 0:01:57.400 like text or any topography at all, just an outline 0:01:57.440 --> 0:02:00.000 of the land mass and then an X in the middle. 0:02:00.080 --> 0:02:00.400 Love it. 0:02:00.480 --> 0:02:03.160 Yeah, oh there, yeah, Manhattan Island and this is where 0:02:03.200 --> 0:02:04.520 I roughly am on it. 0:02:04.840 --> 0:02:05.120 Yeah. 0:02:05.320 --> 0:02:08.440 It's great because on one hand, the way that the 0:02:10.040 --> 0:02:14.000 this this technology is used in the film like it 0:02:14.080 --> 0:02:16.560 is actually spot on. This is exactly how we get 0:02:16.600 --> 0:02:19.560 around today, you know, and I think any of us 0:02:19.600 --> 0:02:21.280 that have gone to New York City, you find yourself 0:02:21.320 --> 0:02:23.640 moving around in New York this way, checking your device, 0:02:23.680 --> 0:02:26.399 seeing where you are, but with a lot more detail. 0:02:26.600 --> 0:02:27.880 So they I. 0:02:27.880 --> 0:02:30.359 Should have put the streets on there. Yeah, that's a 0:02:30.400 --> 0:02:31.040 good idea. 0:02:30.919 --> 0:02:34.359 Yea, the streets been a good addition, but yeah, instead 0:02:34.360 --> 0:02:35.840 of just Where's Land and wears Water? 0:02:37.280 --> 0:02:40.240 But yeah, there's a lot of good stuff in this movie. Actually, 0:02:40.320 --> 0:02:43.920 it is quite funny in how most of it is realized. 0:02:43.960 --> 0:02:45.839 But every now and then I was thinking like, well, 0:02:45.880 --> 0:02:49.520 that could be an idea from a much more complex, 0:02:49.639 --> 0:02:54.320 more interesting film. Specifically, I know you Flagged, and I 0:02:54.320 --> 0:02:58.120 have the same thought that the esp of the cyborgs 0:02:58.200 --> 0:02:59.160 was kind of interesting. 0:02:59.720 --> 0:03:02.480 Yeah, yeah, yeah, This idea that the killer cyborgs have 0:03:02.560 --> 0:03:04.840 some sort of limited esp so if you begin to 0:03:04.919 --> 0:03:07.880 hunt them, they will detect this and they will begin 0:03:07.960 --> 0:03:10.760 to hunt you back. Yes, kind of reminds me a 0:03:10.760 --> 0:03:13.880 little bit of some of these thought experiments concerning future AI. 0:03:14.400 --> 0:03:16.680 You know Roco's Basilisk, that sort of thing. 0:03:17.320 --> 0:03:20.680 Where like the danger occurs to you once you are 0:03:20.760 --> 0:03:23.920 aware of the of the robot as soon as you 0:03:24.040 --> 0:03:26.760 know about it, it knows that you know about it, 0:03:26.880 --> 0:03:28.200 and now it's coming to get you. 0:03:28.480 --> 0:03:30.480 Yeah, and you want like, at what point do they 0:03:30.560 --> 0:03:32.360 hunt you? Like, how serious do you have to be? 0:03:32.919 --> 0:03:34.560 Is it just like if you would it would have 0:03:34.600 --> 0:03:38.040 just a journalist suddenly be hunted by the Cyborgskau. They're 0:03:38.080 --> 0:03:40.240 investigating the cyborg killings. 0:03:40.280 --> 0:03:42.840 I don't know, what if it just crossed your mind 0:03:43.000 --> 0:03:45.320 that you might be hunting the cyborgs but you're not 0:03:45.520 --> 0:03:47.960 very committed to it, do they still come and get you? 0:03:48.360 --> 0:03:50.280 I don't know. It's one of these ideas that I 0:03:50.320 --> 0:03:52.680 think is probably here in large part to just sort 0:03:52.720 --> 0:03:56.160 of grease the plot things along, but it really does 0:03:56.280 --> 0:04:00.560 raise some interesting questions. Yeah, Also in general, I like 0:04:00.640 --> 0:04:04.720 this grizzly concept of cyborgs whose organic components have been 0:04:04.840 --> 0:04:10.920 mutated beyond recognition by altered like like futuristic altered rave drugs. 0:04:12.000 --> 0:04:16.080 It's I don't know, it's just such a bombastic concept 0:04:16.240 --> 0:04:17.760 and I don't know, and kind of thought provoking in 0:04:17.800 --> 0:04:20.520 its own ways. If you're dealing with a cyborg where 0:04:20.600 --> 0:04:23.240 it's not just terminator style where the flesh is on 0:04:23.360 --> 0:04:26.080 there just as decoration, but if you have an integrated 0:04:26.120 --> 0:04:30.359 system of organic and mechanical parts, then you know it 0:04:30.440 --> 0:04:32.960 makes sense that it would It could be messed with, 0:04:33.040 --> 0:04:35.919 It could be hacked on a technological level, but also 0:04:36.000 --> 0:04:37.440 on an organic level. 0:04:38.160 --> 0:04:40.160 I just had to go searching in my notes because 0:04:40.160 --> 0:04:42.520 I remembered something and maybe it's good to bring this 0:04:42.640 --> 0:04:46.120 up now. At the beginning, did you notice how it 0:04:46.440 --> 0:04:49.600 almost seems to be the case in this movie that 0:04:49.640 --> 0:04:54.080 there's a correlation between how gooey a cyborg is and 0:04:54.120 --> 0:04:57.920 how strong or formidable it is supposed to be. Like 0:04:58.240 --> 0:05:02.600 the more that a cyborg is dripping slime, the wetter 0:05:02.800 --> 0:05:04.920 it looks, the more powerful it is. 0:05:05.520 --> 0:05:07.600 Absolutely. Yeah, by the end of the film, we will 0:05:07.640 --> 0:05:11.599 see one that is supposed to be mutated quote beyond recognition, 0:05:12.120 --> 0:05:16.640 but is just a slimy, sneering ness of a cyborg 0:05:16.680 --> 0:05:20.880 at this point, just a real, real slimy, slimy creature. 0:05:20.960 --> 0:05:23.360 Yeah, it's got kind of a flap that's got half 0:05:23.360 --> 0:05:27.480 of its mouth stuck together. It's just dripping orange juice concentrate. 0:05:27.680 --> 0:05:33.000 And yeah, this is the strongest one it's been incubating. Actually, 0:05:33.120 --> 0:05:36.520 the character Domina has it in like a mummy chrysalis 0:05:36.640 --> 0:05:39.279 in her room and is she's cooking it for a while. 0:05:39.320 --> 0:05:40.360 I guess that's right. 0:05:40.800 --> 0:05:41.400 Yeah. 0:05:41.480 --> 0:05:42.760 And the other thing I love about the film is, 0:05:42.800 --> 0:05:45.800 of course the futuristic grave drug U four on being 0:05:45.800 --> 0:05:47.960 a major plot point. I'm kind of a sucker for 0:05:48.040 --> 0:05:51.520 any sci fi property that has a sci fi drug 0:05:51.520 --> 0:05:54.280 in it, and this one has it in space. 0:05:54.720 --> 0:05:58.640 Does it do anything all that unusual for the humans 0:05:58.680 --> 0:06:01.640 who use it or does it just turn cyborgs into 0:06:01.720 --> 0:06:04.719 mutant cyborgs? But in humans just makes you feel good? 0:06:04.839 --> 0:06:07.520 Yeah, I think in humans it's just like some really 0:06:07.560 --> 0:06:09.760 good rave drug. You know, it's like some sort of 0:06:10.800 --> 0:06:12.680 I don't know if it's like an like MDMA or 0:06:12.720 --> 0:06:14.719 it's like an opiate or something, or some sort of 0:06:14.760 --> 0:06:18.360 combination of the two. But it makes you feel really good. 0:06:18.360 --> 0:06:21.360 And the people who are you four on enjoyers are 0:06:21.400 --> 0:06:24.840 really into it, and they they are offended if you 0:06:25.240 --> 0:06:28.440 if you actually try and disrupt the supply. 0:06:29.120 --> 0:06:32.840 Yeah, it's administered in the ear. I thought that was funny. 0:06:33.520 --> 0:06:36.000 Real drugs you put in your ear with a little dropper. 0:06:36.360 --> 0:06:39.640 I mean yeah, if you have like ear problems. I 0:06:39.640 --> 0:06:43.320 guess I don't know about recreational drugs that go in 0:06:43.360 --> 0:06:48.559 the ear, but maybe I'm just naive, all right, Yeah, 0:06:48.760 --> 0:06:51.039 Mutant Hunt. I first saw this years ago. I think 0:06:51.160 --> 0:06:54.159 I found it amid the various B movies that used 0:06:54.160 --> 0:06:56.919 to populate Amazon Prime, back when they just seem to 0:06:56.960 --> 0:07:01.279 have like a dump truck of slock was unloaded into 0:07:01.279 --> 0:07:04.000 their servers and while they don't have the Sledge selection 0:07:04.080 --> 0:07:06.400 they used to, you can still stream Mutant Hunt there 0:07:06.440 --> 0:07:09.200 as of this recording, at least in the US, I 0:07:09.200 --> 0:07:12.920 don't know about other regions, still absolutely holds up in 0:07:13.000 --> 0:07:16.280 its sort of decayed format. This is like kind of 0:07:16.320 --> 0:07:21.240 grimy film quality cigarette stains, you know, cigarette burns, rather 0:07:21.280 --> 0:07:25.080 on the footage. But this is the sort of film 0:07:25.280 --> 0:07:29.040 where I absolutely believe it's rewarding in general to watch 0:07:29.040 --> 0:07:31.320 any film in the best quality possible, and I still 0:07:31.360 --> 0:07:33.920 stand by that, but with a film like this, it 0:07:33.960 --> 0:07:36.200 can also be rewarding to watch it in sort of 0:07:36.240 --> 0:07:37.880 grimy the footage as well. 0:07:38.080 --> 0:07:41.000 Yeah, it feels right to watch the stream that's available, 0:07:41.040 --> 0:07:43.520 which is it looks like a rip from a VHS. 0:07:43.720 --> 0:07:46.480 But if you go look up the stills that have 0:07:46.560 --> 0:07:49.040 been put out by the Vinegar Syndrome release that has 0:07:49.120 --> 0:07:52.520 this movie in high quality, it takes on a new 0:07:52.680 --> 0:07:56.840 level of comedy to see all these costumes and sets 0:07:56.880 --> 0:07:59.520 really crisp. But they were never meant to look this way. 0:08:00.200 --> 0:08:01.960 Yeah, And at the same time, I have to say, 0:08:01.960 --> 0:08:04.360 in the higher quality stills you'll find some of it. 0:08:04.880 --> 0:08:07.200 You get a better you get a better sense of 0:08:07.200 --> 0:08:09.320 of what they were going for, and you can admire 0:08:09.360 --> 0:08:12.280 some of the lighting choices and the costumes and the 0:08:12.640 --> 0:08:16.320 tree definitely. Yeah, So you know it goes both ways. 0:08:16.720 --> 0:08:19.760 So yeah, this one's widely available for streaming or digital 0:08:19.840 --> 0:08:22.280 viewing right now if you want to see it for yourself. 0:08:22.280 --> 0:08:24.600 But yeah, Vinegar Syndrome put out a really nice looking 0:08:24.600 --> 0:08:27.600 blu ray with fun extras, and the film itself is 0:08:27.640 --> 0:08:30.040 scanned and restored in four K from its thirty five 0:08:30.040 --> 0:08:34.480 milimeter original camera negative. Looks great again. I watched the 0:08:34.480 --> 0:08:36.800 scuzzy video version of it, but now I really want 0:08:36.800 --> 0:08:38.679 to pick up this Blu ray as well next time 0:08:38.679 --> 0:08:40.319 I'm doing a Vinegar Syndrome order. 0:08:51.160 --> 0:08:54.560 Okay, should we talk about the connections? Yeah? 0:08:54.640 --> 0:08:58.480 Yeah, absolutely. Starting here at the top with the writer 0:08:58.640 --> 0:09:02.199 and director, it's Tim kim Kay born nineteen forty four, 0:09:02.920 --> 0:09:06.760 a very interesting figure in genre film history. Kin Kaid's 0:09:06.760 --> 0:09:10.800 most notable contributions to cinema were actually outside of mainstream 0:09:11.400 --> 0:09:14.160 or even low budget genre features like this, and was 0:09:14.200 --> 0:09:16.839 actually that they were actually in the world of adult cinema. 0:09:17.520 --> 0:09:20.160 Under the moniker Joe Gage, he was one of the 0:09:20.160 --> 0:09:23.800 most influential and successful directors of gay adult cinema of 0:09:23.840 --> 0:09:27.640 the nineteen seventies and early nineteen eighties. This is a 0:09:27.640 --> 0:09:30.520 period often referred to as a kind of golden age 0:09:30.760 --> 0:09:34.760 of adult content before the full advent of video, a 0:09:34.800 --> 0:09:39.520 time when films tended to feature characters, plot, and sometimes 0:09:39.600 --> 0:09:42.080 proved quite ambitious in their vision. You know, there were 0:09:42.120 --> 0:09:46.000 attempts to do things that were artful, subversive, and so forth. 0:09:47.520 --> 0:09:50.080 At worth noting as well that gay hardcore material had 0:09:50.120 --> 0:09:52.199 only become legal in the US in the very early 0:09:52.320 --> 0:09:57.079 seventies on the heels of stone Wall, so Kim Kaid 0:09:57.120 --> 0:10:00.360 was really kind of a pioneer of sorts as well. 0:10:00.440 --> 0:10:04.679 And from what I've read, Kincaid's biggest contribution as Joe 0:10:04.720 --> 0:10:08.680 Gage was in his presentation of same sex encounters involving 0:10:08.720 --> 0:10:14.040 blue collar, working class American characters that defied stereotypes were 0:10:14.040 --> 0:10:17.680 at the same time validating and also depicted same sex 0:10:17.800 --> 0:10:20.280 encounters as not merely a gay thing, but a broader 0:10:20.440 --> 0:10:23.440 human thing, often involving characters that are not presented as 0:10:23.480 --> 0:10:28.600 expressly gay in their identity. As Conrad Brewster put it 0:10:28.640 --> 0:10:31.240 in a twenty eleven post at the Gay and Lesbian Review, 0:10:32.160 --> 0:10:35.439 Joe Gage films weren't trying to represent the entire spectrum 0:10:35.480 --> 0:10:38.200 of gay and bisexual life in the seventies and eighties. 0:10:38.360 --> 0:10:42.080 His focus was specific, but at the same time highly 0:10:42.120 --> 0:10:45.680 successful and influential, and his work could also apparently be 0:10:45.720 --> 0:10:49.640 subversive and artful in its own way, so kin Kaid. 0:10:49.679 --> 0:10:52.560 Before all of this, though, Kincaid's first film was a 0:10:52.640 --> 0:10:56.959 nineteen seventy three straight sexploitation film titled The Female Response, 0:10:57.800 --> 0:11:00.880 and this was right before his first ground raking foray 0:11:01.000 --> 0:11:04.840 into gay adult cinema with nineteen seventy six is Kansas 0:11:04.840 --> 0:11:10.200 City Trucking Company, starring Jack Wrangler and Richard Locke. This 0:11:10.280 --> 0:11:13.199 was the first of his so called Kansas City trilogy. 0:11:13.840 --> 0:11:15.920 I'm not going to go through all of his adult titles, 0:11:15.960 --> 0:11:21.640 but these are historically of significance. This era of his 0:11:21.720 --> 0:11:26.080 films he directed his gauge, occasionally directed under another pseudonym, 0:11:26.440 --> 0:11:28.920 and this continued till around nineteen eighty five, and this 0:11:28.960 --> 0:11:31.680 is when Kincaid made a shift to writing and directing 0:11:31.760 --> 0:11:36.600 low budget genre films outside of the adult industry. And 0:11:36.640 --> 0:11:38.800 I've read that at this point he was also married 0:11:39.480 --> 0:11:41.720 and had young kids and wanted to focus on work 0:11:41.800 --> 0:11:44.640 outside of that industry, and his wife at the time, 0:11:44.920 --> 0:11:50.160 Cynthia Depalla acted as producer. So the first of these 0:11:50.160 --> 0:11:54.120 films getting into this B cinema era, and this is 0:11:54.160 --> 0:11:57.000 definitely the era that we find Mutant Hunt in. The 0:11:57.040 --> 0:12:01.920 first of these films was eighty six Bad Girls Dormitory. 0:12:02.280 --> 0:12:06.199 This is a woman's prison exploitation film shot guerrilla style 0:12:06.280 --> 0:12:08.920 in New York City that he apparently offered to Charles 0:12:08.920 --> 0:12:13.760 Band and Band reportedly passed said thank you, but no thanks, 0:12:13.840 --> 0:12:17.120 but he was interested and he said, look, tell me 0:12:17.160 --> 0:12:20.080 what you have planned, and they started talking, and this 0:12:20.160 --> 0:12:22.480 led to Band serving as EP on several of his 0:12:22.559 --> 0:12:24.880 pictures from this period, including Mutant Hunt. 0:12:25.040 --> 0:12:28.560 Yeah, it's interesting to think how exactly Mutant Hunt fits 0:12:28.600 --> 0:12:35.080 in with the standard Charles Band world DNA imprint. It 0:12:35.160 --> 0:12:39.400 is not like movies like Metal Storm, The Destruction of 0:12:39.480 --> 0:12:43.199 Jaredson or Dungeon Master, where I don't know, you can 0:12:43.240 --> 0:12:45.000 watch a minute of it and you're like, this is 0:12:45.080 --> 0:12:48.720 Charles Band. This is like the Charles Band zone. You 0:12:48.920 --> 0:12:52.560 just know it's not like that, So I wouldn't have 0:12:52.600 --> 0:12:56.720 I immediately identified it as a Band associated film. But 0:12:56.840 --> 0:12:59.120 also it fits right in there when you have the 0:12:59.160 --> 0:13:02.320 knowledge that Charles Band World, that feels right. 0:13:02.880 --> 0:13:05.199 Yeah. I mean it also makes sense that it's kind 0:13:05.200 --> 0:13:07.840 of adjacent to the Troma world without actually being a 0:13:07.840 --> 0:13:11.800 trauma picture or having that sort of the goofiness and 0:13:11.800 --> 0:13:14.760 self awareness that you often find in some of the 0:13:14.760 --> 0:13:17.280 Troma or maybe the most popular of the trauma films. 0:13:17.559 --> 0:13:18.040 Yeah. 0:13:18.240 --> 0:13:21.280 So he followed up Bad Girls with Breeders in eighty six, 0:13:21.360 --> 0:13:25.800 a grimy, sounds kind of nasty film about alien impregnations 0:13:25.840 --> 0:13:29.320 in the New York City subway system. And after this 0:13:29.360 --> 0:13:33.280 came nineteen eighty seven's Robot Holocaust, which MST three K 0:13:33.400 --> 0:13:36.480 fans know all too well. It's been a long time 0:13:36.480 --> 0:13:39.120 since I've seen the riff of that, but now I 0:13:39.200 --> 0:13:41.079 kind of want to revisit it on its own now 0:13:41.080 --> 0:13:43.559 that I've refamiliarized myself with Mutant Hunt. 0:13:43.640 --> 0:13:45.199 I think that's like Season one, isn't it. 0:13:45.400 --> 0:13:48.640 Yeah, it's pretty early early days. Yeah, and then came 0:13:48.679 --> 0:13:52.839 today's film Mutant Hunt. After Mutant Hunt, he did the 0:13:52.880 --> 0:13:56.440 eighty seven film Riot on forty second Street. This was 0:13:56.480 --> 0:13:59.839 a crime movie starring Jeff Fayhee, And then nineteen eighty 0:13:59.840 --> 0:14:02.920 eight He's The Occultist, in which quote, a cyborg private 0:14:02.960 --> 0:14:06.000 eye is hired to protect a Caribbean president visiting New 0:14:06.080 --> 0:14:11.080 York City from Sadistic Sorcerers. I've not seen it, but 0:14:11.120 --> 0:14:14.600 that sounds amazing. I like all that. And then finally 0:14:14.720 --> 0:14:18.720 he did nineteen ninety one's She's Back, a supernatural, dark 0:14:18.760 --> 0:14:22.800 comedy that seems to be his most truly mainstream work 0:14:23.200 --> 0:14:26.400 about an electrician haunted by his dead wife's ghost and 0:14:26.520 --> 0:14:28.680 urged to take revenge on a gang of criminals. And 0:14:28.720 --> 0:14:30.920 it starred Carrie Fisher and Robert Joy. 0:14:31.160 --> 0:14:33.480 Hard to believe that the director of Mutant Hunt made 0:14:33.480 --> 0:14:34.760 a Carrie Fisher movie. 0:14:35.040 --> 0:14:39.200 Yeah, it's crazy. Right after this, Kincaid returned to adult 0:14:39.240 --> 0:14:42.640 cinema from I believe two thousand and one through twenty seventeen, 0:14:42.800 --> 0:14:46.760 possibly eighteen, as far as the main movie database listings go. 0:14:47.240 --> 0:14:49.960 Eventually one of his now grown up sons did some 0:14:50.040 --> 0:14:52.160 music scoring for some of these films, but at this 0:14:52.240 --> 0:14:55.640 point I believe Kincaid is retired. He also wrote a 0:14:55.680 --> 0:14:59.160 couple of novels and directed an off Broadway play called 0:14:59.240 --> 0:15:02.000 Naked Highway in nineteen eighty three. I was even able 0:15:02.000 --> 0:15:04.320 to find the playbill for this on eBay. 0:15:04.720 --> 0:15:07.240 You know, I want to say about Mutant Hunt that 0:15:08.160 --> 0:15:10.200 you never really know for sure, and maybe I could 0:15:10.240 --> 0:15:13.000 read stuff about behind the scenes stuff and find out 0:15:13.040 --> 0:15:16.440 I'm totally wrong, But this feels like a movie made 0:15:16.640 --> 0:15:19.720 on a set that was a lot of fun, you 0:15:19.760 --> 0:15:22.440 know what I mean, Just that energy comes through. It 0:15:22.440 --> 0:15:25.960 seems like in between takes the actors were probably joking 0:15:26.000 --> 0:15:30.720 around a lot. It just feels like a fun, lively 0:15:30.920 --> 0:15:34.560 environment and maybe like they're not taking it too seriously 0:15:35.040 --> 0:15:37.240 and everybody's cutting up and having a good time. 0:15:37.720 --> 0:15:40.840 Yeah, And I think probably also important to stress, I 0:15:40.840 --> 0:15:43.520 feel like this is a film where everybody was probably 0:15:43.600 --> 0:15:46.320 excited about filmmaking. You know, there were a lot of 0:15:46.360 --> 0:15:49.400 people that I think were maybe dipping their toes into 0:15:49.440 --> 0:15:52.760 cinema and maybe decided to get back out afterwards. But 0:15:52.840 --> 0:15:55.320 you know, that's an exciting time when you're trying something new, 0:15:56.600 --> 0:16:00.360 or you know, you're trying something different, and certainly with 0:16:00.360 --> 0:16:04.360 with the you know, presumably the gorilla style filmmaking that 0:16:04.480 --> 0:16:06.600 was being employed here, that's also going to keep you pretty, 0:16:07.760 --> 0:16:09.400 That's gonna keep you on your toes for sure. 0:16:09.720 --> 0:16:11.320 Yeah. 0:16:11.400 --> 0:16:13.960 All right, well let's get into the cast here. I'm 0:16:14.000 --> 0:16:17.600 gonna I'm gonna basically go in billing order, but also 0:16:17.680 --> 0:16:20.840 kind of divide things up among the factions. Because this 0:16:20.920 --> 0:16:23.320 is a cyberpunk film, you got to have your factions. 0:16:24.360 --> 0:16:27.120 First of all, let's talk about the bounty hunters, Matt 0:16:27.160 --> 0:16:31.520 Reiker and associates, starting with Matt Riker, the world's greatest 0:16:31.560 --> 0:16:35.120 mercenary and bounty hunter. What a guy, What a guy. 0:16:35.240 --> 0:16:38.960 This guy is a gentleman of beef, as we might say. 0:16:39.080 --> 0:16:41.560 But he just looks great in a pair of tidy 0:16:41.560 --> 0:16:45.400 whities and they'll they'll treat you to that over and over. Yeah. 0:16:45.480 --> 0:16:50.400 Yeah, Matt Riker played by Rick Jiannasi. Like a lot 0:16:50.440 --> 0:16:53.440 of the actors in this film, I have no idea 0:16:53.440 --> 0:16:56.080 how old this guy is. No dates available, yea. Though 0:16:56.120 --> 0:16:59.840 he's one of the actors that did appear in many 0:17:00.000 --> 0:17:04.480 different things. A frequent face in Kincaid's mainstream work, he 0:17:04.520 --> 0:17:08.639 appears in Bad Girls, Dormitory, Robot, Holocaust, Riot on forty 0:17:08.640 --> 0:17:11.520 Second Street, and The Occultist. And after this he went 0:17:11.560 --> 0:17:14.600 on to play his most famous role, that of Harry 0:17:14.640 --> 0:17:19.720 Griswold in the nineteen ninety Troma film Sergeant Kabuki Man NYPD. 0:17:21.160 --> 0:17:24.439 The character Harry Griswold is also the title character in 0:17:24.480 --> 0:17:27.960 that film. Okay, His other credits include eighty nine's Pose 0:17:28.040 --> 0:17:31.719 for Murder, ninety six's Fatal Frames in two thousands, Time Quest. 0:17:32.000 --> 0:17:34.840 He also did episodes of Another World Star, Trek Voyager, 0:17:35.119 --> 0:17:38.360 Caroline in the City, Felicity, and Days of Our Lives. 0:17:39.720 --> 0:17:42.960 So yeah, I would say pitch perfect beef performance here. 0:17:43.000 --> 0:17:48.720 You know, he's earnest, he's reserved, he's not annoying really 0:17:48.760 --> 0:17:50.760 for this movie. Perfect performance. 0:17:51.359 --> 0:17:53.680 You've probably never seen a movie before when a guy 0:17:53.720 --> 0:17:57.240 in just blinding white briefs and nothing else pulls a 0:17:57.280 --> 0:18:00.439 crossbow off the wall and shoots a robot with it. 0:18:01.880 --> 0:18:05.200 That's right. I mean again, he's the best, but even 0:18:05.240 --> 0:18:07.719 the best needs some help from time to time, and 0:18:07.760 --> 0:18:09.800 that's where his right hand man comes in, or at 0:18:09.840 --> 0:18:12.400 least the right hand man for this film, Johnny Felix. 0:18:12.760 --> 0:18:15.919 I love Johnny Felix. Every time Johnny Felix is on screen, 0:18:15.960 --> 0:18:17.760 I just feel like everything's going to be okay. 0:18:18.000 --> 0:18:21.120 Yeah, Johnny Felix seems to He's a cool cucumber. He's 0:18:21.119 --> 0:18:23.520 got it under control, you know, ready to jump in 0:18:23.560 --> 0:18:27.560 with some kicks or some tech, whatever the situation requires. 0:18:28.000 --> 0:18:34.240 He has a good, lively, joyful reaction almost to seeing 0:18:34.280 --> 0:18:36.840 things that are about to kill him, Like when the 0:18:36.880 --> 0:18:40.040 cyborg is coming their way and starts smashing his hand 0:18:40.119 --> 0:18:43.640 through the concrete, Johnny Felix just goes, WHOA Okay. 0:18:44.640 --> 0:18:52.080 Also, in a world of seemingly ubiquitous cyborg activity, he 0:18:52.119 --> 0:18:54.639 doesn't know what the word cyborg mean, Like it's like, 0:18:54.680 --> 0:18:56.000 what do you call these things? 0:18:56.400 --> 0:18:59.040 I was confused by that because I thought his one 0:18:59.040 --> 0:19:02.080 of his main jobs was hunting down cyborgs. It seems 0:19:02.119 --> 0:19:04.639 like that's what they do. But he can't remember the 0:19:04.680 --> 0:19:07.800 word cyborg. He calls them jelly heads. 0:19:07.840 --> 0:19:10.720 Maybe it's like really deeply he is something he doesn't 0:19:10.800 --> 0:19:13.199 like about the term, and he refuses to use it, 0:19:13.240 --> 0:19:16.080 like they're not technically cyborgs. I don't use that term 0:19:16.480 --> 0:19:17.240 something like that. 0:19:17.440 --> 0:19:20.320 But Darla takes offense to this, this other character. She's like, 0:19:20.359 --> 0:19:21.520 they're called cyborgs. 0:19:21.720 --> 0:19:25.399 N Felix did it right? Yeah? So Johnny Felix is 0:19:25.400 --> 0:19:28.520 played by Ron Ronaldi here. He followed this up with 0:19:28.680 --> 0:19:31.800 Riot on forty second Street, and he's also in the 0:19:31.880 --> 0:19:35.439 eighty seven David a prior film Man Killers, and he 0:19:35.440 --> 0:19:38.520 also has a small uncredited role in twenty In two 0:19:38.520 --> 0:19:41.800 thousand and two, writers analyze that. He also did a 0:19:41.800 --> 0:19:44.000 little bit of stunt work, which is not surprising because 0:19:44.000 --> 0:19:47.280 he's throwing some mean kicks in this film. Yeah, all right, 0:19:47.320 --> 0:19:50.639 And then we have Elaine Elliott. This character is a 0:19:50.720 --> 0:19:54.959 dancer by night, also bounty hunter by night and private 0:19:54.960 --> 0:19:56.359 op by night. I don't know what she does in 0:19:56.359 --> 0:19:57.760 the day, it's not important, is. 0:19:57.760 --> 0:20:00.840 It a private op? I thought she's a public op. 0:20:00.040 --> 0:20:05.560 She's a fully candidated government whatever. You remember that line. 0:20:05.480 --> 0:20:08.000 Yeah, she's like globby gobbedy. 0:20:08.040 --> 0:20:10.880 Given there, I had to pass tests for my government 0:20:10.960 --> 0:20:12.960 accdidation of being an op. 0:20:13.280 --> 0:20:16.040 Okay, she's she's above bar and also below bar. She's 0:20:16.080 --> 0:20:19.399 great whatever kind of job you need her for. Elaine 0:20:19.440 --> 0:20:24.200 Elliott is played by Tani Vrennan. This was her first role, 0:20:24.320 --> 0:20:26.919 and she went on to work in in Riot in 0:20:26.960 --> 0:20:30.479 eighty eight's The Big Blue eighty eights, war Board, war Birds, 0:20:30.520 --> 0:20:32.960 and ninety one Switch. She also popped up on the 0:20:33.000 --> 0:20:35.959 TV shows Night Court and Beverly Hills nine O two 0:20:36.000 --> 0:20:36.320 one zero. 0:20:36.720 --> 0:20:40.080 She also seems like she's having a good time on set. Yeah, 0:20:40.359 --> 0:20:42.800 almost laughing while she says a lot of her lines. 0:20:42.960 --> 0:20:46.320 Yeah, and again I thought her performance is perfect for 0:20:46.359 --> 0:20:50.000 this film. Oh yeah, no notes. All right, Now, let's 0:20:50.080 --> 0:20:56.400 move on to the villainous faction of Intel Tracks, intel Tracks, 0:20:56.640 --> 0:20:59.600 intel Tracks or in yeah say they say it different 0:20:59.600 --> 0:21:03.199 ways they do Yeah. At one point it is intel Tracks, 0:21:04.000 --> 0:21:06.360 So I'm not sure how we're really supposed to stress this. 0:21:06.640 --> 0:21:11.440 I think we also get Intel Tracks, yea, intel Tracks. Yeah. 0:21:11.680 --> 0:21:16.240 The CEO, I guess, or tyrannical ruler of Intel Tracks 0:21:16.840 --> 0:21:20.000 is Z just just single letters? Z? 0:21:21.160 --> 0:21:24.760 Is he doctor Z? As in bloodwaters of bloodwaters of 0:21:25.000 --> 0:21:25.679 or just Z? 0:21:26.080 --> 0:21:28.280 I think he's just Z. I would I thought about 0:21:28.320 --> 0:21:31.520 Bloodwaters of Doctor Z a lot, which, as if you 0:21:31.520 --> 0:21:34.320 remember from our episode, doesn't actually feature a character named 0:21:34.320 --> 0:21:39.680 doctor C. But what doctor Leopold is his actual name 0:21:39.720 --> 0:21:39.919 in that? 0:21:40.160 --> 0:21:41.119 Oh? I forgot about that. 0:21:41.200 --> 0:21:43.200 Yeah, but one of the alternate titles was Bloodwaters of 0:21:43.240 --> 0:21:45.600 Doctor C, So it's okay to call him doctor C. 0:21:46.200 --> 0:21:50.159 It's fine. But this Z is played by Bill Peterson. 0:21:50.800 --> 0:21:55.720 Peterson was also in Bad Girls Dormitory, and that's really 0:21:55.720 --> 0:21:59.080 about it. IMDb contains an incorrect reference to him in 0:21:59.160 --> 0:22:02.280 a Rose Marie documentary which I spent way too much time. 0:22:02.280 --> 0:22:05.320 I think I like scanned through most of the documentary 0:22:05.359 --> 0:22:07.960 looking for this guy because they found it on Tube, 0:22:08.840 --> 0:22:11.160