This “Limited Edition” Blu-ray box set is currently available from Arrow Video.
If you’re familiar with the catalogs of Arrow Video and other cult movie distributors, then you probably know who Nico Mastorakis is. This independent B-movie filmmaker from Greece worked steadily in the 1980s and 90s creating a variety of genre pictures (more often than not, you’d find them on your local VHS rental store). Just some of his titles that have already been released by Arrow Video include Death Has Blue Eyes (1976), Bloodtide (1982), The Zero Boys (1986) and Nightmare at Noon (1988) aka Death Street USA.
For years now, this distributor has been presenting the Mastorakis’ new 4K picture restorations of his films, accompanied by the filmmaker’s self-produced pieces in which he provides background details about the productions. Now, the distributor has gone all in with The Nico Mastorakis Collection. It contains six films from the director with the best transfers possible. One title is a fairly serious science-fiction drama, while the others fall into the action/comedy genres. All of his pictures have been produced outside the major studio system. Many are clumsy and are obvious snapshots of the era they were made, but they do possess a certain charm that will appeal to fans of low-budget cinema.
The first title on the disc is The Time Traveler (1984) aka The Next One and it boasts an impressive cast. Andrea (Adrienne Barbeau) is the widow of an astronaut and takes refuge with her son Tim (Jeremy Licht) on a Greek island. The boy discovers a man on the shore with amnesia. They eventually give him the name Glenn (Keir Dullea) and try to help him recover his memory. As it turns out, he is a time traveler. Tim is quick to believe his recollections, but others are far more suspicious of the mysterious figure and his motives.
The film isn’t perfect, but it aspires to be something special. The main characters are all well-cast and the seaside island photography is very pretty. Mastorakis gives Glenn Christ-like characteristics and abilities and the cast generally manage to sell the dramatic material. The main extra on this title is a conversation with the writer/director, who explains that he was simply excited by the concept, even though it was a more serious tale. He states that Dullea was wonderful to work with, but complains that Barbeau was more dismissive of the script and final product. Mastorakis amusingly states that her husband at the time, filmmaker John Carpenter, may have paid “homage” to this movie in his own, Oscar-nominated production Starman. The claim seems like a big stretch, but he explains his reasoning.
The next film on the set is Sky High (1985), a cheeseball adventure about three American college students in Greece. Bobby (Clayton Norcross) and Mick (Frank Schultz) are typical frat boys, while Les (Daniel Hirsch) is a nerd. When the young heroes discover a mind control weapon that uses sound to manipulate the actions of others, they are recruited by the FBI to recover the technology. Essentially made for teenage boys, it features its leads on a cruise ship getting into James Bond-like shenanigans and cavorting with beautiful women onboard as well as at some scenic ports.
The movie is notable for its very 80s pop tunes, including an original number by Chris de Burgh. It’s ridiculous, but reasonably well made for a low-budget picture and does feature a few inventive moments. The most impressive involves the men visiting the Acropolis of Athens and witnessing a murder. As Mastorakis points out in his bonus interview, they did not secure a shooting permit. Instead, everyone was told what to do and they quickly and quietly filmed while surrounded by real tourists.
The filmmaker also explains that he shot promo footage for this title in order to raise completion funds. It ultimately worked, although one can see that early scenes shot by the crew aren’t quite as sharp as others that were presumably filmed later. Still, the picture quality is solid overall. The other notable extra is an interview with star Hirsch. He notes that this was his first role and that it was a great experience, allowing him to travel to Greece. The actor said it was fun and more interesting to play a nebbish character than the other leads, and he tells a couple of amusing stories about the production. This is a fun little bonus
Terminal Exposure (1987) is the next film on the set, and it falls squarely into the action/comedy mold. Although he would surely deny it, this seems to be the point at which Mastorakis appears to be taking his cues from fellow independent movie-makers like Andy Sidaris. Sidaris is famous for his cheesy 1980s pictures featuring buxom, big-haired heroines (and heroes, too) doing battle with criminal organizations in an exaggerated manner.
This project was actually shot in Los Angeles and Las Vegas, and involves photographer Lenny (Mark Hennessey) and his best pal Bruce (Scott King) getting themselves embroiled in an elaborate plot involving a drug cartel (John Vernon) after taking pictures of a murder on the beach. They hunt for the beautiful woman (Hope Marie Carlton) in the photographs and end up working with a beach bum (Ted Lange) who may be more than what he appears to be.
This movie screams 1980s. In fact, based on the look of the movie, it shouts 1983 more than 1987 (the actual release date). The male leads are capable but not particularly memorable and there are plenty of attempts at humor that fall flat. One element that does succeed is the stunts. There are a great many chases and the action bits are well put together. The gags actually look dangerous. John Vernon also makes for an entertaining villain and Lange is fun in a supporting role.
Mastorakis notes in his interview that the scenes featuring Vernon in a Hollywood mansion were shot in his home at the time. He describes his move from Greece to Los Angeles and how he found this impressive property.
Next up is Glitch! (1988), which is a straightforward comedy. While none of the movies on this set are classics, for this reviewer this was actually the worst. It follows two unlikable burglars (Will Egan and Steve Donmyer) who raid the home of a movie producer. There is a mix-up and one of them impersonates the homeowner. He throws a wild party that draws the attention of various bikini-clad babes, the police, as well as intimidating individuals whom the producer owes money to.
There isn’t much tension here and the majority of jokes fall flat. Lange appears briefly and briefly jolts things to life, as does Julia Nickson, but very little else in this picture works. It may have been fun to make, but the single location, less-than-dynamic story and lack of charismatic heroes makes it something of a slog to endure. At least the picture looks nice and sharp. As far as visual quality is concerned, it is certainly a dramatic uptick from older editions.
Director Mastorakis still likes this picture and the interview makes the reasons for it obvious. He made a really good friend in cast member Nickson and apparently was permitted to live in the mansion for the month that he was making the picture.
The filmmaker is less enthused about Ninja Academy (1989), the next movie included in the set. He notes that he was only the producer on this effort, but that the dailies on the first day were so poor that he was forced to step in and direct the movie himself. He’s so unexcited about the production that his interview cuts away to co-star Gerald Okamura who recounts his experiences. The actor also delivers a bonus interview in which he talks about his time on the film. Amusingly, the actor notes that he was one of the few performers allowed to improvise on set. Okamura wonders if that, because he was so intense in his audition, Mastorakis was a bit intimidated and let him do what he wanted.
Truth be told, the movie isn’t as much of a mess as the previous film. Josh (Will Egan), is a spoiled rich kid sent to a ninja academy by his father to be a better man. There are other characters at the school, including two young ladies looking to pick up men, a nerdy klutz, a mime, a Jame Bond-esque spy and many more trying to develop their martial arts abilities. When the owner of the establishment (Gerald Okamura) is attacked by an old foe, the students try to save him.
The humor and characters are as broad as can be, but there is some physical comedy that works reasonably well. This is true during a cooking scene, as well as some of the spy material. Of course, the mime is always in full costume and make-up (even though he’s not working) and the fact that one of the young women, for no discernable reason at all, is attracted to him, is strangely funny. Additionally, when the mime is bullied on a street corner early in the picture, the tough-guys doing so walk away into the background and high-five each other. The characters miss each other entirely, which is amusing because it doesn’t look like that was the intention. In the end, it doesn’t matter why I laughed, only that I did experience a handful of chuckles in this picture.
The Naked Truth (1992) is the final picture on the disc, and it is by far the craziest on the set. It appears to boast slightly higher production value, with a major stunt sequence. And the humor of Zucker Brothers was definitely an inspiration, meaning more gags are crammed into the story. The crisp 4K image quality is also a big plus.
The story involves young pals Frank (Robert Caso) and Frank (Kevin Schon) as two men on a flight, hoping to make their break in Hollywood. Seated next to them is Garcia (M. Emmet Walsh), who plants a notebook in one of the men’s carry-on bags. The details inside incriminate a ketchup tycoon (Herb Edelman), whose condiment empire is a front for major drug operation. The protagonists are hunted down by thugs and try to escape them by dressing in drag. Along the way, they encounter an FBI agent (Courtney Gibbs) who demands that one of them seduce the villain so that they can get more evidence and take down the operation.
This isn’t a great picture, but something bizarre occurs in just about every scene. There’s an unexpected musical number with dancers at the airport, a boatload of cameo appearances and a big fight scene that features characters plunging out of a plane towards the ground.
Once again, the action is well-handled. The jokes are blunt and one or two are borrowed from other pictures, but many of the familiar celebrities manage to deliver their lines with gusto. A foul-mouthed Zsa Zsa Gabor insults passengers on a plane, and there are decent bits with Eric Estrada, Norman Fell and Little Richard (screaming from one helicopter to another). It’s a surreal and weirdly fascinating comedy.
The bonus for this title is, again, Mastorakis describing how he cast and put the picture together. It’s another informative tak. Oddly enough, this is the picture that I would be most likely to watch again (just to make sure I didn’t hallucinate it).
Nico Mastorakis isn’t for everyone, but those who like his other films, or similar types of B-films like Malibu Express, Deadly Prey or Raw Justice, this set is definitely worth your while. There’s enough silliness in The Nico Mastorakis Collection to keep you entertained for hours.