Money Hunt: The Mystery of the Missing Link (1984)

When people say, “You couldn’t pay me to watch that,” they probably weren’t referring to Money Hunt: The Mystery of the Missing Link. All of 45 minutes, the made-for-VHS “original mystery movie” asked viewers to attempt to solve it for a chance to snag a $100,000 booty. One wonders if this tape is to blame for Dino De Laurentiis’ Million Dollar Mystery, a legendary bomb somehow more watchable even at double the running time.

Then halfway through his TV gig on Magnum P.I. as the mustachioed guy women didn’t want to fuck, John Hillerman hosts. He tells viewers they’ll need to decipher the clues to come up with three things: a region, a city and a safety deposit box number. What he doesn’t share until the end is they need to watch again to locate the phone number to call with the solution, which is like telling a patient who just had a root canal that a colonoscopy is needed immediately and, oops, the anesthesia tank is empty.

Cut to the “movie,” featuring Beverly Hills Cop’s John Ashton as chain-smoking private dick Cash Hunt. (Ha?) Amid a biz dry spell in a hot Hollywood summer, Hunt gets a case that leads him to the House of Liver restaurant, not to mention a few kuh-raaazy characters like a sexy waitress with a Judy Landers voice (Zane Buzby, National Lampoon’s Class Reunion), a patently ridiculous fortune teller (Ruth Crawford, 2009’s American Virgin) and a blind airline pilot (Newell Alexander, 1982’s Homework), all of whom want a gander at his office’s energy meter.

Despite a decent approximation of the rhythm of hard-boiled pulp narration, Money Hunt makes no sense. That may be by design to call attention to awkward clues and/or red herrings. Either way, Hunt’s as in the dark as we are, so with no true conclusion, it doesn’t work as a mystery. By comparison, the lamentable VCR game Ellery Queen’s Operation: Murder is The Maltese Falcon. (Wait, let’s not go that far. The Maltese Bippy.)

Now, just because the program also plays a self-parody doesn’t mean it works as a comedy; it works against it. Try as Ashton and Buzby might to sell them, the jokes are painful. They might have landed in TV’s Police Squad! (or its eventual Naked Gun movies) — for example, after Hunt says, “I think it’s time we lay all our cards on the table,” the camera fades to … yeah, I knew I needn’t go further — but director David Hemmings (yes, the Blow-Up actor) is neither Zucker nor an Abrahams.

As unappealing as the sweaty wife-beater Ashton wears throughout, Money Hunt features a great deal of hotcha-hotcha-hotcha innuendo, a brief animated dream sequence and end credits that include a list of helpful reference materials, from the Rand McNally atlas to The Dictionary of Calories and Carbohydrates. So who won? You, if you never watch. —Rod Lott

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Death Hunt (2022)

With a snazzy Trans Am and snazzier mistress, big-city New York bizman Ray Harper (a feature-debuting Omar Tucci) drives to rural Crawford County to convince the local yokels of a $150 million project to develop their rural farmland. This pitch goes over as well as a Scientology service, but said mistress, Brooke (fellow first-timer Marlene Malcolm), cheers his spirits by gifting him a brand-new compass. Foreshadowing alert!

So Ray and Brooke are kidnapped by a trio of rednecks who pray for societal collapse and whose leader, TJ, looks uncannily like multishirted serpent Steve Bannon. “What’s this aboot?” asks Ray, revealing the movie in all its Canadianness, as the couple is boated to a nearby heavily wooded island for a lovely picnic.

Totally kidding; this ain’t no picnic. Instead, Ray and Brooke become unwilling participants in the most dangerous game: the one in which they’re hunted like animals — a Death Hunt, one might say.

Quoth TJ, “Once you’ve hunted humans, animals just don’t cut it,” so their craven disregard for life at least was built with purpose. Director Neil Mackay (the similar Battleground) needn’t have shown the Confederate flag for us to understand that TJ (Terry McDonald, Mackay’s Sixty Minutes to Midnight) and his gang are evil, but I’ll take it.

As the game begins, Ray doesn’t run so much as lightly shuffle toward a pleasant jog. Brooke fares better — much better — even in capri pants and a cami crop trop. With squibs aplenty, Death Hunt is simple, lean and adds nothing unexplored to the subgenre. Still, I give Mackay credit for not taking this into I Spit on Your Grave territory; refreshingly, rape isn’t even on the minds of the men — much to the bafflement of Brooke, who’s told by an offended captor, hilariously, “We’re married!”

In part because Mackay has stripped the premise to its core elements, but more because Malcolm gives it everything she’s got, this flick works. It’s also beautifully photographed, which rings of irony considering it’s “aboot” the ugliest of humanity. —Rod Lott

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Party Line (1988)

Unequivocally, Party Line is the finest psycho thriller starring a prematurely balding, former Tiger Beat staple in eye makeup and a puffy shirt. That would be Leif Garrett (Macon County Line) as Seth, the whiny, wealthy brother of sexy, spoiled Angelina (Greta Blackburn, Savage Harbor). They have nothing better to do than repeatedly carry out a felonious, three-part scheme as if it were as frivolous as Taco Tuesday: They set up dates by dialing up party lines (the Tinder of their day); Angelina seduces them; then Seth straight-razors them before driving off in a sports car with the license plate “TEMT ME.”

Following a number of these acts of 976-evil, homicide detective Lt. Dan Bridges (Richard Hatch, TV’s Battlestar Galactica) is assigned the case. But because he’s a “dangerous, hotheaded jackass” who exercises both police brutality and illegal search-and-seizure, he’s assigned a buttoned-blouse partner (Shawn Weatherly, Amityville 1992: It’s About Time), a special investigator for the district attorney’s office, to keep tabs on him.

They eventually get a break thanks to a preteen girl (Patricia Patts, the voice of Peppermint Patty in several Peanuts cartoons) who calls the line for kicks. This babysitter has more bearing on the plot — and thus, more screen time — than Bridges’ captain, played by the iconic Richard Roundtree (Shaft, duh).

Seth harbors major mommy issues and sissy issues — the latter best exemplified by his rage-tearing the curtains off the rod as he watches a tanning Angelina rub her bikinied breasts. In this scene and all, Garrett’s performance is hysterical, in both the emotional and humorous definitions of the word.

As clearly as Seth is disturbed, Party Line is clearly a theatrical progenitor — although a weak one — of the ’90s VHS/cable erotic thriller revolution. Director William Webb (The Banker) lathers a prescient Animal Instincts coat of adults’ body paint atop his coupling of William Castle’s I Saw What You Did and Brian De Palma’s Dressed to Kill. You don’t even need the Blu-ray subtitles’ many instances of “(sexy saxophone music)” to recognize that.

Too hokey to be erotic or thrilling, Party Line boasts several pause-worthy moments (and I don’t mean the kind you think*). For instance, be sure to see:
* 37:30 for a cameo by the boom mike, moving more than either actor in the scene
* 41:18 to glimpse the fucking filthy bare feet of Bridges’ cop girlfriend (Marty Dudek, Martial Law), as if she’s not been pulling over speeders, but cleaning chimneys with Dick Van Dyke
* 1:01:33 for one of the era’s more brazen kid mullets (speaking of, Garrett’s hair suggests an odd combo of mullet, ‘fro and failed Rogaine)

Yes, of course “The party’s over” is one of the film’s final lines. —Rod Lott

*That said, gentlemen, check out 1:12:48 for Weatherly in a red satin dress more fiery than the 15-oz. “Party-Size!” bag of Flamin’ Hot Cheetos.

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Night Ripper! (1986)

Three women — er, better make that four — have been disemboweled by an unseen killer in requisite black gloves. Because all of the deceased were models, suspicion falls upon strip-mall photographers Dave (James Hansen, Streets of Death) and Mitch (Larry Thomas, aka Seinfeld’s infamous Soup Nazi). Now, Mitch is creepy AF, but Dave sure seems like a nice guy — you know, for someone who takes boudoir, swimsuit and nudie pics of strange women in the shop’s back room, away from all those nice frames my mom would like.

Although engaged to be married (albeit to a cheating hussy), Dave is smitten when into the store walks Jill, a lovely lady with an indiscriminate European accent and a pressing need for glamour shots for her beau. Uh-oh, doesn’t her posing in a soccer mom-friendly one-piece technically qualify her as a model? Will this innocent sesh of snapshots place Jill on the radar of the titular Night Ripper!? Those questions are as rhetorical as whether this shot-on-video slasher will culminate in a mannequin factory.

Night Ripper! marks the sophomore movie for Victims! writer, director and producer Jeff Hathcock, who clearly has a thing for emphatic punctuation. He also has a thing for showing characters both major and minor getting both in and out of cars both arriving and departing. And yet, Hathcock manages to work in effective misdirection and uniquely staged kill scenes that belie the near-nonexistent budget — enough for Night Ripper! to earn that exclamation point for being entertaining in spite of all its faults, rather than solely because of them.

Believe me, they’re there — none more amusing than a mistress’ post-coital argument with a red herring who won’t leave his wife: “This isn’t love. This is two sweaty bodies fucking a flood lamp!” she cries, then pausing for a delicious four seconds. “And I’m tired of flood lamps!” Seconded. —Rod Lott

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Final Caller (2020)

As if America’s current discourse over this amendment and that amendment weren’t enough of a Gordian knot, Todd Sheets’ Final Caller lays down even more convoluted rules from our crazed druid ancestors: To appease the gods every eight years, eight people must be killed on Aug. 8. So says cannibal/serial killer Edward Ray Hatcher (Jack McCord, Sheets’ Dreaming Purple Neon), a pot-bellied pig of a human being who dubs himself “The Outsider.”

Hatcher relays all this info by calling into the live radio show hosted by FM shock jock/gaseous blowhard Roland Bennett (Douglas Epps, Sheets’ Bonehill Road). What Hatcher doesn’t specify is how many of the endangered octet will be sacrificed on station property. As a murderer, Hatcher doesn’t screw around. Among other savage things, he removes fingers via DeWalt hand saw, hammers foreheads, nails palms, razor-knives necks and, most sphincter-clenching, jams wooden handles into poop chutes. As little as you’d want to carry on a conversation with him (“You’re already seniors. With cobwebs in your pussies.”), you wouldn’t want to pay even the minimum amount due on his Home Depot bill, either.

Unrelated to his radio DJ-centric segment of 2013’s Hi-8 horror anthology, Final Caller is well-trod territory for Sheets as a showcase for torture-porn gore and gallows humor. Although the very bloody effects are convincing in their refusal not to flinch, one still can sense a giddiness among the cast members in making this microbudget mash-up of Oliver Stone’s Talk Radio and, oh, every subtlety-free indie slasher. A character’s T-shirt boasting the logo of Wild Eye Releasing, the flick’s distributor, establishes the level of seriousness we’re supposed to take all this.

An icon of shot-on-video horror, Sheets boasts a filmography of 50 some-odd titles across an astounding near-four decades. With that much hands-on experience, you’d expect progress and growth; indeed, Final Caller allows him to demonstrate a true knack for the rhythms of editing and setting up his shots. I’d love to see what he could do with an actual budget. Until then, however inconsistent, this effort lives as an example of doing better with next to nothing. —Rod Lott

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