Lemro, a Los Angeles private investigator played by Nicholas Hill, loves flashy clothes, beautiful women, dance music, and martial arts. Unbeknownst to most around him, however, he is also a space alien who blends in almost perfectly with the human world. Lemro's life is thrown into mayhem when he rescues a local woman from muggers and is dragged into an interplanetary conspiracy centered around the most addictive designer drug in the universe.
Who the fuck was this movie for? Like a bad stage play at a rehab clinic. Such a bizarre amalgam of early 90s production values and late 80s insanity. This is for sure a one star movie, at best, but god help me if I didn't enjoy this thing all the way through! The costumes and dialogue are absurd levels of crazy. The plot line oozes along all over the place with an adolescent sci-fi neo noir fan fiction feel to it. The level of commitment to the bit here is just beyond comprehension. At some point you find yourself just giving in and letting the ridiculousness of the whole thing wash over you and carry you away. I had to ask myself over and over, "Holy shit, did I miss something?" Thankfully no, no I did not.
Alien Private Eye hd full movie download
OK, I understand that writing a review of Alien Private Eye is like falling down an abandoned missile silo in north-central Kansas in the middle of a blizzard. Maybe somebody'll spot my mortal remains in the spring, maybe not. I write this in the faint hope that some fellow collector of video trash has found a copy in a bin somewhere, and is wondering whether it's worth $2.00, 3 for $5.00, and is checking out imdb.Fellow wanderer from the 21st century, cop this treasure and you'll never be alone the rest of your life. People will follow you around in public begging to borrow it, and hotties of both sexes will throw pebbles against your windowpane at 3:30AM to try and get you to come out and play, and, oh, please bring THAT TAPE.Maybe the weirdest part about this turd-on-tape is that all concerned didn't drop off the edge of the earth after it was...released? ejected?? The producer/ director/ writer/ honeywagon driver, Vik Rubenfeld (all over the credits simply as--VIKK, just--VIKK) has one other professional credit: executive producer of the syndie Early Edition. Hey, better than what I've got. Aspiring showbiz types, remember this. It IS possible to fall in pigsh*t in the movie bidness and arise ten years later smelling like a tea rose.The protagonist, Nikki Fastinetti, does in fact look like one of the Pini's elves, particularly after gluing on the pointy ears that are the only indication he's an alien. Seriously, there's no other aspect of his being that has anything to do with his being from another world. He has no special powers, no interesting anatomical anomalies, no scene in which he beams up out of danger. His clothes, though. Oh sweet lord his clothes. Mr. Fastinetti is garbed throughout in the most amazing pimp vines imaginable. All I can guess is that these were either left over from some other production, or the director's girlfriend whipped these up in a moment of pure inspiration and wouldn't be denied.But John Alexander's in it (Mikey from MIB). And Robert Axelrod, who's had one of those great careers that show that there is a middle ground in Hollywood between stardom and utter obscurity, a place where nice people buy cars on time and get mortgages and take budget-conscious vacations and build sensible stock portfolios (OK, for all I know Robert Axelrod is a painthuffing derelict who lives in a packing crate, but given his career of steady work and respectable little parts, it COULD happen).Also something called "Nur Nur," one Nur Nur Cummings, who's overcome the stigma of being called Nur Nur and has actually produced another crappy movie. Nur Nur plays the #2 alien, and looks a whole lot like Mark Blankfield (and if that's before your time, a butch Gene Wilder). Nur Nur does the entire movie in a Peter Lorre voice. Not vaguely Peter Lorre, but a full-on Peter Lorre. Why? Only Nur Nur and his father confessor know. Like Lemro's alien-ness, it has absolutely nothing to do with anything else in the movie.Cliff Adduddell hasn't done anything else, though. He doesn't need to. Cliff Adduddell is Kilgore, the bad guy. Kilgore is EVIL. Kilgore has a picture of Adolf Hitler, about the size of a baseball trading card, mounted 'way high up on the wall of his sanctum sanctorum, that he passionately worships. Kilgore snarls, emotes, shoots underlings, and is as much fun to watch as three seven-year-old boys with superhero capes on a backyard trampoline. His double-take near the end of the movie is an American classic. You'll howl, you'll throw things, you'll cop the shot as PC wallpaper.What else? Oh, in the big sunfight between Nikki and the bad guys, watch for the ol' Switched Girlfriends Ploy. It's like Kilgore's Big Take, I won't attempt to describe it-watch it, savor it, rewind over and over again.Do you treasure your multiple copies of Housegeist, each with a different title? Then find Alien Private Eye and store it in your nitrogen-atmosphere, 42º preservation vault, along with all the other great movies in your collection that you're 1000% sure will never, ever, ever see on DVD.
Alien private eye is so hilarious you will not believe your eyes and ears. This movie is a perfect 80's time capsule,it has everything,from bad clothes to hideous decoration. The plot(if it has one) is simple:a guy who looks like a pimp but it's a p.i from another planet (with pointed ears and stuff) helps a girl who has to find a disk that contains a powerful drug ???? The rest is simply amazing:kung fu fights,macho showing off,soft core,"noir" style scenes,posing,some special effects and surrealistically bad dialog.That's it! It is strongly recommended to MST3K fans and fans of bad cinema in particular.It is so charming that you will love every minute of it.That's its only redeeming point:it is a entertaining movie, always moving on. And that's a thing you can't say of the last Spielberg movies,by the way...
The content of alien experience becomes intelligible from Jung's perspective when we come to understand the key to alien visions: they are unintelligible and uncontrollable within the context of modern power systems of government, business and military. They don't even fit into the modern Newtonian system of knowledge, symbolized by the clock. They are, in Jung's terms, a hybrid between the "collective unconscious" of religious sensibility, suppressed by the cogito of modern consciousness, and late modern technologies. But if Jung's perspective is supplemented by that of Lacan and his student Anthony Wilden, the psychoanalysis that emerges reveals a postmodern-ecological unconscious. The primary awareness illuminated from this perspective is well articulated by Tyler in Douglas Coupland's Shampoo Planet: "Wake up - the world is alive" (299). Here personal identity merges with the imago or archetype revealing that, although our individual persona may seem private, it is generated by a subjective functional complex based on collective images.
The combination of terrestrial and extraterrestrial aliens perhaps takes on its most "awesome" form in Tom Graeff's 1959 "thriller," "Teenagers from Outer Space", in which the "generation gap" heralding the 1960's was emblematized in low-budget terror. In this classic, a group of alien teenagers (who appear to be at least in their late 20's) land their saucer in California. "Thrill-crazed space kids blasting the flesh off humans!" reads the movie poster, referring to the ability of the aliens' death rays to turn our species instantly to skeletons. 1 There also seems to be Red Scare paranoia running through the film, as one of the spacemen, Derek (David Love) rebels against the collectivist onslaught of his pals and falls in love with the very terrestrial beauty of Betty Morgan (Dawn Anderson). Is this a rather tame prototype for the invasion of the Borg, and the expectable "human" revulsion for their hive mind, in "Star Trek: The Next Generation"? If so, Middle America is here treated to yet another dimension to the aforementioned deconstruction of humanism: post individualism. The horror of this invasion is perhaps best represented by a scene when the invaders skeletonize a suburban housewife (Sonia Torgeson) as she swims in the sanctum of her private suburban pool. She is rather literally "x-rayed" so that perhaps her most private domain, her pearly bones, are exposed in an attack recalling the intrusive panopticon of medicine. As General Jack Ripper in Dr. Strangelove might say, this is worse than Flouridation! The evil Thor (Brian Grant) leads the inevitable counterattack on Derek's attempt to practice family values. The hominid invaders have brought along a crustacean food supply (offering only temporary relief to Californians who, if they are not immediately on the alien menu, are soon to be repast for their livestock): ominous crawfish called Gorgons who can grow to 1,000 times their current size - picture creatures filling a goldfish bowl who are to become hungry crawdaddys the size of houses. Luckily, Derek manages to blow up his comrades, their superlunerary lobster and, unfortunately for the young couple, himself before this gets out of hand. So, we only get to see the shadow of one full-grown monster before Derek electrocutes it, the budget being what it was, but the sentiment is clear: the upswing of techno-culture in the late 50's, including no doubt the rise of Sputnik, was enough to inspire the vision of American teens, "the next generation," as alien invaders of the traditional culture.
In "Jurassic Park" the exploitative practices of the entrepreneurial research for biological capital in the form of salable creatures (shades of King Kong) loose the terror of what Othello, suggesting Europe's fear of Africa, calls the anthropophagai ("man-eaters," Othello I,ii,96). In "Mimic" as in "Jurassic Park", "monsters" are the result of scientific meddling with the genome. In "Jaws" as in Melville's "Moby Dick", the "sea monsters" (great white shark, white whale) are met at the verge of what a later perceptively titled sci-fi thriller, complete with undersea aliens, called "The Abyss". In the latter film we have benevolent paternalistic extraterrestrials turned submariners and wave-makers, in order to save the planet from nuclear self-destruction (see the Director's Cut for the full wave effect). Regarding the various invaders of the Western imagination, Donna Haraway has argued that monsters, as the etymology of the word from the Latin monstrare "to show" suggests, demonstrate. That Preston's description is very close to the imagery of an alien infestation of the planet is clearly demonstrative: for this is a self-portrait drawn critically from the perspective of Gaia. To paraphrase Pogo, "We have met the aliens and they are us." This realization merges the evolutionary unconscious with the ecological one in a new morphogenic picture of self and other. It is out of this mirror that we hear the alien voice exclaim: "Wake up - the world is alive!" 2ff7e9595c
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