The Destroyer
Official Synopsis:
“When Ivan Moser (football great Lyle Alzado), a convicted serial killer, is set to be electrocuted, a devastating prison riot erupts on the day of the execution. In the wake of the destruction and mayhem, the prison is shut down and Moser becomes a legend. No proof of his death exists.
Eighteen months later, a film director (Anthony Perkins) intrigued by the legend of Moser, decides to use the prison as a film set. One the last night of filming, the truth of Moser’s fate is about to be revealed. The film crew, trapped inside the prison, begin to disappear one by one. This electrifying thriller also stars Deborah Foreman (Valley Girl) and Clayton Rohner (I, Madman).”
First up in this double feature is Destroyer, a little known horror flick with Lyle Alzado playing the killer. Alzado, probably best known for his football career for various teams. Alzado is a pretty big guy, definitely scary in the right situation.
We meet Alzado’s character, Ivan Moser, as he is about to be executed via the electric chair. It has a very promising opening, as the initial direction seems have a hint of black comedy. Instead of being interested in his last meal or reprieve from a priest, Moser is focused solely on a Wheel of Fortune-like game show that occupies every television screen in the prison. He doesn’t care that he is about to die, he only wants the contestants on the show listen to him and pick the right letter. Then, after being strapped down in the chair and asked for a last request, he asks only that the television in the control room be turned so he can see the last moments. As you could probably guess, things don’t go according to plan.
The rest of the first act is pretty straight forward. We are introduced to the rest of the cast of characters who are shooting a film in the prison which was abandoned after the riots ensue. Although top billed, Anthony Perkins doesn’t have a lot of screen time. He steals the show in the scenes that he is in, however, and every one of them is a joy to watch. For those that are only familiar with him as the reserved psychopath Norman Bates, watching the range he has and the professionalism he brings to small films such as this is great to see.
The second act starts strong with a great monster-in-the-house scenario, which our characters are all trapped inside the prison and get picked off one by one. There are some very gruesome and unique death scenes here. Then, instead of the straight forward direction of the first half of the film, things start to get really confusing. We get no motivation or explanation for any of Moser’s actions. Is he alive or dead? Is there some sort of evil force or supernatural involvement? At some point it is mentioned he is half dead. What does that even mean? We get no reasons as to why he is murdering this film crew one by one, or the fixation he instantly seems to have for Deborah Foreman’s character, Susan Malone.
This downward spiral continues on to the third act where Moser is hunting down Susan in the prison, with some irresistable need to eat her hair and put her in the electric chair. We witness this game of cat and mouse for quite awhile, still scratching our heads wondering how Moser knows Susan’s name, why he is writing messages on the wall to her, or his newfound passion for screenwriting. Some previous connection to Moser would have made things make much more sense if they only added one line of dialogue eluding to such a thing. Although this guy seems like a monster, largely due to his size and the fact he was to be executed for raping men, women and children, he isn’t a Jaws type of antagonist. He isn’t doing this because it’s his nature. He is still a person and needs some sort of motivation for doing the things he is doing. At the end of the film Moser is finally asked why. Why did he do all this? His response is simply: “Why not?” Why not seems to the theme of the film, and honestly not a very good one.
Destroyer started out strong, and I was hoping to get a film like Shocker which seems very similar. A lack of focus and underdeveloped characters turned a promising gore-filled hour and a half into a waste of time. Alzado seems to have a cult following of his own, so the opportunity for one of his starring roles to be brought back to a new medium will make those people very happy.
Video
Destroyer is presented in 1080p High Definition Widescreen 1.78:1. Before the film begins, there is a disclaimer by Scream Factory stating the HD transfer was created by the only surviving source print which was titled: Shadow of Death, which was the original title of the film. Despite the condition of the only remaining source print, the transfer was cleaned up as good as it could be. There are a few defects and scratches throughtout the film, as well as heavy grain in many of the scenes, especially the darker ones. Colors are a bit washed out, leaving a very muted feel.
Audio
The audio is presented in DTS-HD Master Audio Stereo. There are a few problems with this track, no doubt from the source element as well. These manifest themselves as pops and crackles in the audio from time to time. These issues are very infrequent and the majority of the track sounds fine. Levels seem to be adequate with only a few instances inaudible dialogue, mainly from Azlado.
Special Features
Theatrical Trailer
Destroyer had its moments of fun and moments that made it stand out amongst the genre. Those moments quickly went dim as all aspects of storytelling disappeared in a horrendous third act. Fans of this film, and of Azlado will rejoice in this film bring brought back to life after such a long time.
Edge of Sanity
Official Synopsis:
“Anthony Perkins (Psycho) stars as an outwardly rational Dr. Jekyll who rapidly descends into a world of sexual obsession and murder as Mr. Hyde… and who may also be Jack the Ripper! A shocking new twist on one of the most infamous crime stories of all time, this terrifying thriller will keep you on the cutting edge of fear!
After a lab experiment unleashes mysterious fumes, Dr. Henry Jekyll undergoes a horrifying transformation into a savage alter ego who calls himself “Jack Hyde.” Meanwhile, the depraved killer Jack the Ripper is slicing his way through the alleys of Whitechapel, leaving mutilated streetwalkers in his wake. Is there a connection between Jekyll/Hyde and Jack the Ripper? And can anyone stop his reign of terror?”
Rarely have I been at such a loss for words when it comes to a film as I did with Edge of Sanity. The Uncut version shown here borders the line of pornography and an acid trip gone horribly wrong. Masquerading as a story about Dr. Jekyll, Mr. Hyde, and Jack the Ripper all rolled into one, this film tests the boundaries of what an average film goer can possibly endure.
The film seems to take place in the 1800’s, but there are inconsistencies in costumes everywhere. Whether intentional or not it isn’t clear, but after a hit off of his crack pipe, Dr. Jekyll encounters people who dress as though they were from 1980. As Dr. Jekyll falls further and further into his insanity things become almost unbearable for the viewer.
Aesthetically, the film is very unique. The cinematography is one of a kind and in an art sense this is the type of that should be studied. Anthony Perkins’ performance is quite amazing as well. Essentially playing three characters, the transformation between them all is fascinating. Unfortunately, this isn’t enough to warrant sitting through the orgy of chaos that takes place every scene.
Video
Edge of Sanity is presented in 1080p High Definition Widescreen 1.85:1. The transfer looks to be in very good shape, with only occasional blemishes noticed. Throughout the film, different filters are used as Anthony Perkins embodies the different personalities. These create some really unique looks and interesting color levels. There is also a fair amount of grain in most scenes, especially the darker ones.
Audio
The audio is presented in DTS-HD Master Audio Stereo. The track sounds good, with some powerful operatic moments. Levels sound fine, especially the center channel which is never drowned out by surrounds.
Special Features
Theatrical Trailer
This is an odd combination of films for this double feature. Touting itself as a double dose of Anthony Perkins, he is barely in Destroyer and hardly worth being a major selling point. Regardless, it is great to see the range he had that was so much more than Norman Bates. These are two very obscure films that never would have made it to blu-ray if it were not for Scream Factory. Despite the lack of special features, fans of these films will want to pick this up. For those on the fence, there are better double features out there.
