Waxwork II: Lost in Time (7/10)


NOTE: Contains spoilers for the first Waxwork movie.

First, the bad news: Deborah Foreman’s character, Sarah, has been recast. The good news: The replacement actress is Monika Schnarre, who looks like Daryl Hannah, but hotter. We’ll go ahead and mark this in the “win” column, even though I have fond memories of Deborah’s scene with the Marquis de Sade in the first movie.

This starts right where the first movie leaves off, with Mark and Sarah escaping the burning waxworks in a handy taxi. Unbeknownst to the pair, the reanimated zombie arm from the first movie’s Night of the Living Dead vignette hitches a ride and ends up back at Sarah’s place, where it kills her abusive step-dad with a hammer and then attacks her with hot dogs and mustard. She is promptly charged with murder when no one believes the killer hand story, and Mark and Sarah are forced to delve into the waxworks mythos to try to find evidence to exhonerate her, and because it’s a great way to throw them into some more homagey vignettes.

The vignettes this time around are much more elaborate, and feature tributes to Frankenstein, Alien, Evil Dead, Excalibur or something, Dawn of the Dead, Nosferatu, and others. And even though the first Waxwork was billed as a horror-comedy, this one goes much broader with the humor, getting quite slapsticky at times. Even outside the Evil Dead segment, the influence of that classic series is quite apparent, going so far as featuring an extended cameo from the man himself, Bruce Campbell. One could argue that they go a bit far with the silliness, but this is still a pretty fun movie, and it’s apparent that the filmmakers had fun making it. Worth a watch, even though there’s still no boobs.

Waxwork (7/10)


A waxworks opens in the middle of a suburban neighborhood for some reason. A group of twenty-something trust-fund losers get invited to visit after hours by the owner, the always excellent David Warner. When the arrive, they are greeted at the door by a midget best described as a white version of Tattoo. Left to explore the disturbingly realistic tableau, they are soon drawn, one by one, into the scenes, and find they are even more real than they appear.

First off, this is not to be confused with Haris Pilton┬áParis Hilton’s House of Wax from 2005. This is, in fact, a fun little film from the Golden Age of Horror, that wonderful decade known as “The 80s”. The bulk of this movie is taken up with the trust fund kiddos exploring, being trapped in, and, for some of them, dying in little vignettes that reference classic horror monsters like the mummy, the wolfman, and even a nice black and white homage to The Night of the Living Dead. By far the most memorable vignette is the super-hot scene with Deborah Foreman’s character falling victim to the Marquis de Sade. While this is certainly far from the best of the 80s, it’s reasonably entertaining and worth a watch. Recommended.