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(***1/2 out of *****) I'm surprised this one isn't talked about more (at least, on a schlocky, cult-classic level). It's awesome! Susan Tyrrell ("Flesh & Blood") plays Cheryl Roberts, a frighteningly unstable woman who has to raise her nephew, Billy (Jimmy McNichol), when his parents are killed in a gruesome car accident in the opening scene. Aunt Cheryl's overaffectionate behavior towards her 17-year-old nephew sets the creepy tone for this movie from the first five minutes, but the main plot starts after she stabs a plumber to death for refusing her sexual advances. She claims that he was trying to rape her, so a police investigation starts up that uncovers dark, past secrets and a homosexual love affair between the plumber, Billy's basketball coach (Steve Eastin), and possibly Billy himself. Bo Svenson, acting a little like a gruff, B-movie Nick Nolte, chews up his scenes as the blindly homophobic Detective Carlson. But, Tyrrell is the real star here -- her progression from disturbing, obsessive aunt to all-out, screaming, homicidal madwoman is something to watch. This would probably be a two-star movie or less without her wonderfully tongue-in-cheek performance. On top of that, you get "Newhart"'s Julia Duffy as Billy's girlfriend (if you ever fantasized about seeing Stephanie Vanderkellen topless, here's your chance) and Bill Paxton (credited as `William'), a year after his scene-stealing role in the otherwise-mediocre slasher "Mortuary," in a couple of fun scenes as an a-hole b-ball teammate. My two big complaints with the film are the director's annoying use of slow motion every time someone's about to deliver a killing blow with one sharp weapon or another and a ridiculous textual epilogue (the kind you usually see at the ends of movies based on true stories) that appears before the end credits roll. Also, the front of the video box seems to be referring to a different movie ... ? Otherwise, hunt this one down and watch it with someone you love.

HIGHLIGHT: Everything that happens after Tyrrell cuts her hair short is a highlight, because that's when she goes completely off the deep end and earns her place in B-movie cinema's Hall of Over-The-Top Performances.

Unbalanced maiden aunt Cheryl (Susan Tyrrell) has cared for her nephew Billy (Jimmy McNichol) since the boy was three and his parents died in a car accident. Now that Billy is turning 18 and looking to move away for college, Cheryl is acting increasingly bizarre, leading to violence.

I was expecting another routine early 80's slasher flick but instead this is an unusual, although not entirely successful, psycho-drama with some hack and'slash flourishes near the end. Tyrrell is as unhinged as usual, and your enjoyment may be tempered by your tolerance for her over-the-top histrionics. I recall McNichol being a teen heartthrob back in the late 70's, but not much else. He's a terrible actor, at least in this, and I'm not too surprised he quickly faded into obscurity. Julia Duffy, later a co-star on Newhart, was nearly 30 when this was filmed, yet believably plays the 20-year-old McNichol's high school sweetheart. I really enjoyed seeing the late lamented Bill Paxton in one of his earliest roles (credited as "William Paxton") as a school bully.

The strangest aspect of this film concerns Bo Svenson as the hard-nosed cop investigating the incidents in the film. He becomes convinced that there's a conspiracy by local gay men, and he won't consider any other explanation. At first I thought it was going to be another instance of throw-away homophobia that was not uncommon in genre films of the time. However, it becomes the driving focus of the Svenson character, with his personal hang-ups about gay men making him irrational. Added to his character being a short-tempered jerk to every other person he encounters, and it's one of the more unsavory acting jobs of his career. In the end I have a feeling that the filmmakers were sympathetic to the gay characters (there are a few, and not just in Svenson's mind), but it's handled in such a way as to make it confused, to say the least. I thought this movie was one of the more unique in a sub-genre that was glutting screens at that time, and would recommend it to fans of off-beat cinema. Others, especially those repelled by screen violence, should probably avoid it.

I'd heard about Night Warning, I was fortunate enough to see it at a weird-film society showing, and I finally found it sitting in a bin in Tulsa, Oklahoma.

There's one problem with the film, and we might as well deal with it up front. Director William Asher tries hard, but he's got a TV sensibility trying to cope with one of the nastiest scripts ever written and two of the wickedest performances ever turned in by SAG members. In the hands of a master, this thing'd still be playing at midnight showings all over the Western Hemisphere.

That aside, Susan Tyrrell's performance alone is worth the price of admission. Bo Svenson's performance alone is worth the price of admission. Julia Duffy's charming, unwrapped little mams together are worth the price of admission. Even Jimmy McNichol doesn't embarrass himself - no, he doesn't, watch it again, he's supposed to be a goofy, horny teenager in suburban/rural Arizona, not a sensitive coffee-house habitue, for godsake.

Let's go back to Susan Tyrrell. She puts on a clinic for actresses who want to know what "over the top" consitutes. When she flips out - lordie. All I'll say is that at approximately 1:15 into the movie, when she reacts to Julia Duffy breaking out a window, she makes a move with her head that's the single scariest thing I've ever seen an actor do on film, ever, anywhere, period. (And I've seen Jim Carrey trying to be sincere, thank you.)

And Bo Svenson is evil on skates. The script doesn't give him that much to work with, but he rolls right over that little obstacle. WHY does he rant, "I want those deviants off the streets!" Who knows, who cares? There's a story out on the Net that he was a royal pain on the set, and I could easily believe that this was a case of him getting to say things he's always wanted to say in public, and get paid for it.

Find this gem at any price. Know it. Live it.

Nightmare Maker achieved cult status through it's inclusion on the DPP 'Video Nasty' list, which has also lead to it becoming a 'lost' film. It's somewhat unfortunate that William Asher's film was included on the infamous list, as aside from a couple of gory scenes; there really isn't anything in this film that warrants it's banning. Nightmare Maker focuses on themes of insanity and incest, and the way that the director portrays these themes is bold and uncompromising…although I find it hard to believe that this film was banned for it's themes by the same set of censors who made such decisions as banning 'The Driller Killer' merely for it's artwork. The plot focuses on Billy Lynch; a young man living with his aunt after his parents were killed in an unfortunate car accident. However, his relationship with his aunt isn't how she would like it; as the aunt has designs of a sexual nature on the boy, and does her best to ruin all of his plans; including his relationship with his girlfriend, and his hopes of winning a scholarship. All in all, making his life a nightmare...

The film features performances from a few well known actors, including Bo Svenson as a bigoted sheriff and Susan Tyrrell as the maniacal aunt. The film also features a small early role for Bill Paxton; who, as he would in the rest of his career, doesn't appear in the film for long enough. The acting performances overall aren't bad considering the type of film; but it would be unwise to go into it expecting anything brilliant. Susan Tyrrell does get to enjoy herself as the central matriarchal figure, however, and seeing her descend into insanity is a lot of fun. The style of the film is very eighties indeed, and through gritty cinematography; director William Asher ensures that the film feels every bit like the 'Video Nasty' that it would become shortly after it's release. The scenes of gore are short and don't show much blood; although scenes involving a machete, as well as the pivotal scene that sees Billy's parents killed in a car crash are rather bloody and deserve mention. The plot never really gets going properly, which is a shame; although the final fifteen minutes are very good indeed and manage to bring closure to all the plot threads. Overall, this certainly isn't the best film on the Video Nasty list; but it's a good one, and well worth tracking down!

If you've seen a million cheap 70's/80's horror movies with bodies in the cellar, 'shocking' revelations, and dreary drama interspersed with a few gory killings then you might consider this a notch above the rest. Not that there's anything original about it, but director Asher (whose claim to fame are directing TV sitcoms and those beach party movies) has a good handle on the demented nature of this material. He deliberately paces it only to finally unleash it all for a very twisted and kinetic climax. He also shoots a very well mounted, realistic looking car accident at the beginning. Basically the story concerns a very possessive aunt (Tyrrell) who goes completely over the edge when her 18 year old Billy decides to move out. Seems hard to believe that a kid could be living with someone for 14 years and only when he's ready to leave does he realize what a nut she is. Then again if you have a part for a good looking kid that is dull, simple, and clueless then Jimmy McNichol (you know Kristi's brother) is the perfect person to fill it. Tyrrell is fantastic, but then she always is with these types of roles. Her performance though is almost equaled to that of Bo Svenson. His brash, gruff, unorthodox investigator character becomes almost as frightening as hers. Great chance to see young Bill Paxton and pre NEWHART Julia Duffy (you even get to see her topless). A real refreshing change of pace here where believe it or not, NONE of the victims are oversexed, screaming teenagers.