We’ve reached a point where I’m starting to wonder if there is anything new that can be brought to the vampire genre. They may not be my favorite horror creature, but vampire movies tend to be fun for the most part, and being fun is mostly what we look for when we decide to check out a horror film. Bloodrunners attempts to show us something new, taking us back to the prohibition era of the 1930’s, but is this a trip worth taking? Grab a bottle of hooch and a stake for the road, because it’s nightfall, and I’m about to dive into this vampire tale.

A new club has opened up. It offers up swinging music and most importantly illegal booze that is served on the hush-hush.  Trouble is, news about the place travels fast, and it is even frequented by some dirty cops.  Running the club is Chesterfield (Ice-T), a smooth band leader who also has been in the illegal hooch selling business for a while.  This is a role for which from the start Ice-T was perfectly cast, and as the film progresses, for me it’s his performance that kept me engaged.  Despite the modest budget, the club looks more than serviceable; after all, most speakeasy joints were in hidden-away rooms that the police were never supposed to suspect. This is where Jack Malone (Michael McFadden, who also had script writing duties) shows up to shake down the place.

When it comes to exploitation films you really are rolling the dice when you find a title you’ve never heard of and you decide to watch it. Through the 60’s and 70’s there were countless exploitation films that covered many genres, many of which were sold to audiences by a cool-looking poster and catchy title.  Sex and violence were the major exploits with these films, and at this time there was also the birth of black cinema, or simply blacksploitation films.  Many have heard of Foxy Brown, The Mack, and Truck Turner, but for all these hits there were many more misses, and it’s the lost gems of the era that film geeks get excited over.  Just because a film wasn’t a hit at the time didn’t mean the film was no good; many just fell between the cracks, and Joe Bullet just happens to be one of those titles.

Joe Bullet is about as exploitation as it comes.  If you are looking for something on par with the quality of the recent Jason Bourne film, well, you better keep on looking.  This is one of the examples of low-budget filmmaking at its finest, where having a car explode most likely was a big chunk of the budget.  I know some people can’t appreciate the camp of these films and quickly dismiss them, but for me I feel there is a bit of charm that comes through because you can see that everyone involved is actually trying to make the best film they can within their financial means.

Resistance was first released in the UK in 2011, and it saw its first DVD release two years ago in Finland. Now in 2017, the US is finally getting DVD distribution. However, like most distribution marketing strategies, the cover, DVD home screen, and advertised star power are an inaccurate depiction of what the film actually offers. While the film has many strengths, all the imagery that you get prior to actually watching the film (the cover and home screen), prepare you for what you think is going to be an interesting WWII-themed thriller with possible action sequences. Instead, Resistance is an interesting, yet severely slow-paced character study that doesn’t necessarily follow its own plot description.

The film claims to be about a small community of wives in a Welsh valley whose husbands mysteriously disappear one morning. The film implies that they have left to join the allied resistance against Germany, but realistically, that is a huge MacGuffin. There is also an interesting subplot involving an inexperienced Allied assassin that also is rather underwhelming, but realistically, that is the point. The film is actually about the internal and external struggles faced by Captain Albrecht (Tom Wlaschiha) as he must balance the morale of his men, the superiority over the women in the community, and his own personal philosophies regarding the war.

Star Trek Voyager was the third spinoff from the original Star Trek, following the superior Next Generation and the inferior Deep Space Nine. While the idea was quite an original premise, the cast never seemed to gel. The obvious attempt at political correctness gives us the most diverse cast yet on Star Trek, including the first female captain. Kate Mulgrew is the weakest captain to date on Star Trek. (I know I’ll catch heat for this.) The reason is not her gender, but such a lack of strength. She never walks, but seems to glide across the bridge when she moves. The strongest characters come in Tom Paris, the Federation inmate, and Torres, the half-Klingon, half-human hybrid. There is real passion in those characters that keeps the cast interesting enough. The combination of Federation and Maquis (a rebel Federation group) members was a great setup that too quickly gets tossed aside in later years. There’s plenty of Star Trek eye candy and a whole new quadrant of aliens to meet here. It had been quite some time for me since I had seen Voyager. 

Star Trek Voyager came into its own during the second season. This was the first full season of the Star Trek spin-off. Voyager once again brought the concept of exploration to the Star Trek universe. The season was very uneven. There is the absolutely terrible and contrived episode The 37’s, which starts off with an old pickup truck floating in space. For the first time a starship lands, and I think that was an unwise development. This is the episode where the crew finds Amelia Earhart. The season does contain one of the best episodes of the series with Tuvix. Remember Tuvok and Neelix getting genetically entwined with an orchid? The combined character was far more interesting than either was individually. I recall wishing they stayed combined. It wasn’t always great stuff, but it was Star Trek at a time when The Next Generation was ending. This was a solid season for Voyager. The show had not yet settled into its too-comfortable environment. The season ended on the usual Trek cliffhanger. It must be noted that since the series began the previous January instead of the customary fall, production of episodes for the first three years does not follow the seasons. If you check out any of the Voyager companions available, you will find discrepancies as to which episodes came from which season. More episodes were produced in years 1 and 2 than were aired. These unaired episodes would begin the following season.