Murder Weapon

Murder Weapon_720p(480P)

Californian exploitation films have always bothered me. It's not the same deal as like Nail Gun Massacre or Offerings. Those films weren't made in the heartland of moviedom or "The Kingdom of the Cinema" as Claudio Fragasso once put it. I mean, what do i know, but i feel these films have less an excuse to be cheap than those made in America's less photographed states. This was the main point of contention i eventually had to get over with when watching Murder Weapon, a film filled with as much bizarre trash as it has scenes of people talking about bizarre trash because the production couldn't afford to shoot much else. It is too obvious at times where David DeCoteau couldn't afford it and instead John Forded it and cut scenes out entirely from the screenplay or altered them so that they could be just people talking in a room. This is where the California gets strong. DeCoteau, like Olen Ray and Wynorski, barely adds any atmosphere to these talking heads scenes and for the most part leaves the actors for dead with only the script to share the non atmosphere. Then again, i could say almost the exact same thing about many of the regional American horror films of the time. It all comes down to self-awareness. Who is laughing at whom? Is this a sincere attempt at reforming the slasher film at a time when it was falling into a nadir of sequeldom? Or is it business as usual for Exploitation's moviebrats and it's only by frugality that any true psychotronic value can be gained? I know my answer. Murder Weapon has intense gore, excessive softcore nudity and a script for an after school special that probably started off life as a pitch for a Nightmare on Elm Street sequel. This was not a shot on video production, but does have the inconsequential narrative of one. All of this works in Murder Weapon's favour. But it's not exceptional trash, like Blood Rage. Blood Rage had a schizophrenic 18 going on 34 year old hacking his stepdad to death with a machete, culminating in a twitching severed hand holding a beer can. Murder Weapon has a dream sequence with 'Garbage Day' guy slicing a neurotic valley girl's throat in a poorly implemented close up. The blu-ray packaging promised something along the lines of Blood Rage and i was kind of disappointed. Not enough though to prevent me from giving it a recommendation. Even by DeCoteau's standards, this is wildly incoherent and fun for the fact.

Really a four out of ten film, but the Grateful Dead got mentioned so I gave it an extra star.

I imagine most people watched this for Linnea Quigley, I did. Whilst much of her work is in B movies this is bottom of the barrel stuff. Her acting is ok and thats just about all of the positives folks. 1st gripe is that the Scenes are far too long, long scenes are fine if you have the right calibre of actors, this would have been better served with more action and shorter scenes. The sound editing is shockingly bad, the music soundtrack is so loud in places that you cannot hear the characters clearly (Although perhaps thats a blessing given the awful dialogue). The first 40 minutes is all over the place and actually kind of confusing with flashbacks sequences and badly written exposition. They did have something to work with when it came to the storyline, it wasn't bad, it was just so terribly executed that a promising idea came to nothing. I am a fan of low budget trashy movies so I am quite forgiving but this one just didn't work at all. Sadly, not worth your time.

Perhaps one of the more conspicuously neglected 80s slashers is the feverishly titillating, terminally top-popping, Linnea Quigley produced sledgehammer-savage, sensationally sleazy slasher 'Murder Weapon', wherein two wickedly wholesome B-Movie babes organize a 'coming out of the psycho ward' party, as you do, and this perfectly perky pair of blissfully bikini-clad horror hotties do the nasty with their beer-boozy beaus, and very soon this fearlessly frothy beer bash turns terror-toxic, as it would appear that one especially perfidious party goer has taken the 'party till you drop' maxim to its more luridly logical conclusion! B-movie impresario David DeCoteau's blithely blood-soaked, bra-burstingly bonkers 'Murder Weapon' is a crudely effective, wide-scream 80s slasher starring the dazzlingly delicious, drop-dead gorgeous Linnea Quigley!!!

So bad it's great. It was made at the very end of the 80s but still feels like the quintessential cheesy 80s slasher- it feels very 1986. This movie has an abundance of tits, sex, gore, bad acting, and awful dialogue. So it's perfect if you're looking for something to laugh at.

To celebrate their release from a mental hospital, two hot young girls (played by blonde scream queen Linnea Quigley and sexy brunette Karen Russell) hold a party, inviting their ex-boyfriends (all stud-muffins—this is, after all, a David DeCoteau movie). While the party-goers chill, drink beer, play ball, soak in the pool and have sex with the two girls, someone starts to kill them one by one. The first forty or so minutes of Murder Weapon are a real test of patience: overly talky, with numerous lengthy flashbacks in which the girls talk to a psychiatrist (played by Lyle Waggoner, Steve Trevor from Wonder Woman), only a smattering of T&A prevents this half of the film from being a total loss (wearing a skimpy bikini, Russell is given a full five minutes to oil her arms and legs). Then, at roughly the 45 minute mark, a guy gets his head smashed to pulp with a sledgehammer and things pick up a bit from thereon-in; the talky stuff continues, but is now interspersed by sporadic sex and violence. Linnea Quigley strips off and humps a dude, a guy is force fed his own heart (a hand inexplicably erupting from his chest), someone gets a broken champagne bottle in the throat, and another guy is shot in the head. The effects are cheap and trashy, but enthusiastically gory, and the film ends in style with an impressive full body burn stunt, the killer doused with petrol and set on fire. Overall, an unexceptional late '80s slasher, but worth persevering with for the inept but juicy deaths, and Quigley's sex scene. 5.5 out of 10, rounded up to 6 for IMDb.

Linnea and Karen are two friends who throw a party inviting their ex-boyfriends. I love this movie, both ladies have * scenes, there are a couple of bloody effects, and funny one liners. At times it might seem slow, but once the bodies start dropping it becomes really interesting.

This fun slasher was made when the slasher craze was going out of style. But it's still enjoyable. From the cheesy dialogue, Linnea Quigley and Karen Russell getting naked, and the very gory death scenes made this movie very entertaining. I'm a fan of Linnea's she never fails to entertain me. Her dialogue that she is always given is so hilarious. She's a great comedian. Anyway, I give this movie a 9! Great cheesy fun! Though a bit confusing at times.

the most interesting thing about this awful piece of trash is that there are three people in the credits with the last name "Squatpump". taking into consideration that "Betty Flinstone" and "Wilma Rubble" are also listed, i looked on the trusty imdb to see if these "Squatpumps" were real, and it does indeed seem that yolanda (the matriarch of the clan?) has a few more credits under her belt, including "The Usual Suspects", and may therefore actually exist. but back to the film: the wordless, pointless 10-minute intro actually made me wonder if the filmmakers couldn't afford sound equipment. the next scene, an agonizingly long dialogue scene between linnea quigley and her shrink, proved that yes, they did have sound equipment, but that they had apparently lost their sets, as the scene apparently takes place in a black hole. so i actually continued watching this crap. and about an hour later i was treated to a downright hilarious sledgehammer-(mannequin)-head-beating and an even better shotgun-to-the-(mannequin)-head death. ultimately one of the frizzy-haired psycho girls killed everybody, apparently. i don't know. i actually was more entertained picturing david decoteau, who directed under the odd alias "Ellen Cabot", showing up to the set every day in a smart grey skirt suit and sensible shoes (as, in my mind, someone named Ellen Cabot would).