There is a small sector of cult film enthusiast for whom the mononymic director Arizal is a legend. This Indonesian auteur spent the '70s and '80s making some of the craziest low budget action films ever committed to celluloid, and Omg Entertainment (Netherlands) new release of 1989's Lethal Hunter (also commonly known as American Hunter) is further proof that this Arizal is an exploitation legend in desperate need of rediscovery. By the '80s Arizal's star had risen to the point where he could command foreign actors to perform his insane stunts and outrageous action. In the case of Lethal Hunter he roped in low budget superstar Chris Mitchum (son of Robert) along with professional kickboxing legend Bill "Superfoot" Wallace and muscleman Mike Abbott to play...
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- 4/24/2018
- Screen Anarchy
Nightbeast
At ten o’clock on the evening of Saturday 26 July, as the lights dimmed inside a 159-seat auditorium inside Wrocław’s nine-screen Kino Nowe Horyzonty, the resounding ambience consisted of chatter, cheers, the clatter of glass bottles and that inimitable sea of punchy hisses as the capacity audience cracked open one beer can after another.
They’d come for a triple bill: Amir Shervan’s Samurai Cop (1989), Don Dohler’s Nightbeast (1982) and Arizal’s American Hunter (1990). Numbers had depleted and decibels had doubled by the time the lights came back on at around quarter-to-three the next morning. The marathon formed part of ‘Midnight Madness: VHS’, the late-night retrospective at New Horizons, western Poland’s excellent film festival, whose annual program also boasts some of the most dependable arthouse titles from the previous twelve months.
Had anybody been observing the scene of ordered anarchy that night, they may have...
At ten o’clock on the evening of Saturday 26 July, as the lights dimmed inside a 159-seat auditorium inside Wrocław’s nine-screen Kino Nowe Horyzonty, the resounding ambience consisted of chatter, cheers, the clatter of glass bottles and that inimitable sea of punchy hisses as the capacity audience cracked open one beer can after another.
They’d come for a triple bill: Amir Shervan’s Samurai Cop (1989), Don Dohler’s Nightbeast (1982) and Arizal’s American Hunter (1990). Numbers had depleted and decibels had doubled by the time the lights came back on at around quarter-to-three the next morning. The marathon formed part of ‘Midnight Madness: VHS’, the late-night retrospective at New Horizons, western Poland’s excellent film festival, whose annual program also boasts some of the most dependable arthouse titles from the previous twelve months.
Had anybody been observing the scene of ordered anarchy that night, they may have...
- 8/4/2014
- by Michael Pattison
- MUBI
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