Trans-Gen, los genes de la muerte

The era of the VHS spawned a lot of flicks that are still not released on DVD or Blu Ray. Synapse announced this one years ago and up to this writing it is still not available on that format. So if you want it, it's still a VHS hunt, go figure that!

Is it worth a hunt? Well, it's made just before the end of the horror era. It doesn't show luckily but it's cheesy as hell. But the effects are on-camera and done with the classic latex as seen in the classics so be happy that those are used and not some stupid CGI from that era.

Low budget as hell is shown if you look sharp, a few times the microphone is seen in shots. But if you like them cheesy and messy and with mediocre acting or even over acting try to find it. Be honest, no good storyline you only watch this for the effects.

It has been a while i've seen a 4:3 format on VHS, a trip down memory lane.

Gore 2/5 Nudity 0/5 Effects 3/5 Story 1,5/5 Comedy 0/5

Okay, first and foremost, let me take my pants off. Just kidding... No, First and foremost, this film will delight you ONLY if you are a real fan of films described in my summary above. It is ULTRA low budget, but you really have to admire how well they did with what they had. I thought for very low cost creature effects, the creators / directors of the film did an excellent job in making them as believable as possible and actually truly scary at times. You could tell that the directors had a nice natural sense of how to visualize what they wanted; for example, without giving too much away, just the simple scene with the little guy in the jar was really quite good. When compared to MANY other similar scenes in Horror or even Goofy, NOT-Serious Horror (A La 'GREMLINS', for example) where you would use similar effects, I really felt that they made it very believable and lifelike, which went a LONG way in involving and truly immersing you more in the film.

Sure, as some others have stated here, there are some pretty Cheeeeeeezy moments, but even compared to MOST of the Horror crap that has come out during that time and even within, say, ten years of this being made, I think this one very much holds it's own in drawing the audience in and creating a decent level of tension. There are also a nice twist or two that adds to the entertainment value of the movie. One transformation scene, which I WON'T go into because I do not want to enter Spoiler territory, was honestly quite effective and well done, despite some of the scornful comments from a couple of other reviewers here.

The acting is nothing to get too excited about; we don't see very much from the veterans here, except the usual Rod Steiger getting worked up to either an orgasm or heart attack, take your choice... I personally liked Brad though; he had a rather entertaining personality. Everyone else was adequate; the British girl was decent, of course the accent (to us easily impressed Americans) always helps.

I'm NOT trying to say that this is by ANY reach of the imagination an 'ALIEN', 'SESSION 9', or 'EVENT HORIZON', believe me; but for the modest intent of the film and for PRECISELY what it is, it comes across surprisingly well. So, like I mentioned before, IF you are indeed a fan of these kinds of films, then you should have a lot of fun watching it...

I really enjoyed this movie. It has some really original special effects, i.e. "fish-woman". It has remained one of my favourites. The cast made up of mostly little known actors are all likeable, (even when being obnoxious) and the setting is not your usual sci-fi horror laboratory deal.

If you like a scare, I recommend it and if you do see it and like it you might want to try "From Beyond".

The Kindred is just a monster movie-no more, no less. While not being Rod Steiger's finest moment (or wig), it does offer up a slim bit of originality. Steiger plays a mad scientist (what other kind are there?) who is searching for a genetically altered monster, Anthony. Also searching for Anthony are a group of 20-something medical students and one of them could be related him; Hence the title. Then it becomes a formulaic slasher movie with the kids being attacked one by one. It's pretty much downhill from there. The scenes in Steiger's lab are the eeriest and the movie should have spent more time there. The climax stands out and the acting is not bad considering two Academy Award winning "screen legends" were conned into starring in it.

After three years in a coma, Amanda Hollins awakens and tells her son, John. To destroy her life experiments and any information found in her secluded old house. He heads there with his girlfriend, some work colleagues and one of his mother's admirers. They eventually discover more then what they bargain for, as some of his mother's genetic engineered creations run amok.

I thought I've seen this one before, but I was wrong. This modest combination of 50's sci-fi / horror goes onto deliver a undervalued oddity, with a tip-top ensemble cast and sure-handling from dual directors Jeffrey Obrow and Stephen Carpenter. Suspense is lacking because the minimal story is just too typical and shredded with loopholes, but it's the surprisingly efficient make-up effects, which are over-the-top and horrifically creative that makes for a pleasurable treat. The excessive use of this icky business in some wicked (and at times silly) set pieces is the film's only real imaginative bone. A quick tempo, builds up after a slow opening and the shocks are well placed for maximum effect. Be it a laugh or a gasp. The material mostly plays it with a straight face, with slight slabs of humour and Rod Steiger's small meaty turn. The composed performances (with Steiger being the exception) are reasonably good from the cast. David Allen Brooks is likable in his steadfast delivery and the ravishing Amanda Pays shines in her shifty portrayal. Talia Balsam gives hearty support and Peter Frechette diverts. The classy Kim Hunter also gets some minor scenes as Amanda Hollins. Obrow and Carpenter's directorial style is systematically sturdy without an ounce of any visual flourishes. The look of the film generates a gloomy air, mainly due to Steven Carpenter's murky photography and dim lighting. David Newman's moody, understated music score is fairly unnoticeable.