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I fast-forwarded through most of this movie searching for something, anything interesting,but never found anything. A bunch of bland morons stalk around in the dark and some guy lies around in a coma,and he's possessed by a tree spirit or something. Moustapha Akkad went from HALLOWEEN to THIS. A complete waste of valuable celluloid.

Horrible, dreadful stuff. You know you're in for a film with little inspiration behind it when a mid-80's dance number in inserted in what could have turned out to be the best scene of the whole flick-the sex scene!

Sad and insipid; it makes other horror films of the 1980's look great in comparison.

This movie is indeed an incoherent mess, but it's so weird in its very concept that I can't believe it is merely an exercise in incompetence (despite the bad reviews and the "Alan Smithee" directorial credit). But neither is it one of those annoying, would-be "cult" films that tries very self-consciously to be "weird". It is UNIQUELY weird, which is the mark of a TRUE cult film, even if it obviously doesn't have any kind of a cult following.

It starts with a strange detective following an escaped mental patient who is driving a white van (shades of producer Mustapha Akkad's most famous movie). The mental patient stops to bloodlessly stab his ex-wife to death while she's sitting on someone's porch with their infant son. The dying women gives the infant to a ditsy teenager, who has just been performing a mime routine at the birthday party of a cranky old man next door. The ditsy teen gets a ride home with her very cute friend (Michelle Little), who doesn't seem to notice she is now carrying an infant. The friend is pretty weird herself--she constantly eavesdrops on people with a directional microphone and she has a pet hobo named "Norman" sleeping in the back of her flat-bed pickup truck (a "Crazy Ralph" type given to strange, philosophical soliloquies). Rounding out the cast is the cute girl's would-be boyfriend, who rides around on a motorcycle with a female mannequin in the sidecar, and a couple--a guy named "Cowboy" and a blonde girl--who are frequently playing cards and having sex, sometimes doing both at the same time. Eventually this kinda turns into a slasher movie as the killer comes after his newborn son, but a very bizarre one featuring astral projection and the Egyptian god of nature. . .

The most recognizable actor here might be the busty Debbisue Vorhees who played "Jason's" most gratuitously naked murder victim in "Friday the 13th Part V". She has a similarly perfunctory role in this as a casual friend of lead, who, while waiting for her friend to come home, strips down to her panties for a quick dip in the pool for no apparent reason, and is subsequently murdered. (It's not a much of a part, but I doubt anyone will complain). It's also nice to see Brioni Ferrell, who was memorable in Roger Corman's "Student Nurses", but never did much after that. She plays the mother of the ditsy girl, and is usually clad in a skimpy bikini for reasons that have nothing really to do with the plot. There are more boobs than blood in this one (but not really enough of either), and the action comes to a dead halt several times for a synchronized New Wave dance routine or some other weirdness. It probably won't appeal much to hardcore slasher fans, but I actually kinda liked it for some reason. . .

Don't get too excited... this isn't an obscure movie by director John Carpenter, but rather a supernatural slasher from producer Moustapha Akkad, who fails to repeat the success he had with Michael Myers. This movie is such a mess that original director Ramsey Thomas was fired, with Akkad re-shooting and re-editing the film, slapping the resultant cinematic turd with the shameful pseudonym Alan Smithee. When a horror film gets the Alan Smithee treatment, you know it must be bad.

The film opens with a man staking out a house; he leaves his car to place a tracking device on a station-wagon. A woman emerges from a house carrying a baby; she drives off in the station-wagon, the man following in his car. They are followed by another man in a van.

Next we are introduced to Carol (Michele Little), who is using a parabolic microphone to record her ditzy friend Heather (Kerry Remsen), who is across the street, putting on an interpretive dance/mime performance for some old age pensioners (senior citizens love interpretive dance - who knew?). While this is going on, the woman with the baby pulls up at a nearby house; she gets out of the car, and hides her baby in a bush; soon after, the man in the van arrives. He wants to know where the baby is, and when the woman won't tell him, he sticks her in the side with a big knife and skedaddles.

Having finished her dance routine, Heather goes to see what is wrong with the woman, who has slumped on some steps. Barely alive, she tells Heather, 'Don't let him harm my baby', and hands the nipper over. Now, at this point, any rational person would call the police and give the baby to the authorities, but Heather is ditzy, remember? She keeps the kid, taking it to a party where she, Carol, and some other friends are celebrating their graduation. This makes the girls targets for the man in the van, who is actually the physical manifestation of the spirit of Attis (Garrick Dowhen), a patient in an asylum who has mastered the art of astral projection; he is the father of the baby and believes that he must kill it in order to remain being the God of Nature. Are you still with me?

Now this might not seem all that strange to those who actively seek out bizarre horror films, but there's more weirdness - so much more - guaranteed to have you scratching your head in bewilderment. There's Norman the philosophical bum (Danny Dayton), who sleeps in the back of Carol's pick-up truck; Bobby (Michael Wyle), Carol's love interest, who rides around on his motorcycle with a female mannequin in his sidecar, and who likes to play hide and seek before sex; and Cowboy (Vincent Barbour), boyfriend of Carol's pal Samantha (Pamela Bach-Hasselhoff), who, in the film's most oddball moment, appears outside the house where the girls are partying and joins a dance troupe in gyrating to some bad '80s music.

When Attis shows up for the finalé, the dancers vanish as mysteriously as they appeared, but Carol isn't helpless: she has her handy microphone to help locate the villain, and an even handier AK-47 which she uses to shoot the place up. She eventually destroys Attis by impaling him with a very pointy may-pole, the killer disappearing in a cloud of leaves. During all of this, the man with the tracking device, who we learn earlier on to be police sergeant Kowalski (Douglas Rowe), turns up to take the baby into care - but why are the child's eyes glowing green?

All of this nonsense is told in such a disjointed, eccentric manner, with wooden performances and lousy dialogue, that the film might possibly be the worst horror ever; either that or it's a surreal work of misunderstood genius. I'm torn between giving it 1/10 for being totally crap, or 6/10 for being a one-of-a-kind oddity. The only fair thing for me to do average these scores out to 3.5/10, although I am forced to round this down to 3 for only delivering brief side boob from the well-endowed Deborah Voorhees, who happily went nude for Friday the 13th: A New Beginning.

I was looking through the "Videos For Sale" bin at a local Blockbuster and came across this title. I saw that it was produced by Moustapha Akkad and it sparked my interest. I'm a huge fan of the Halloween series, to which Akkad has contributed greatly. On that basis I decided to buy it. The most exciting part of this movie is the ending credits. Only then do you know that the torture session is over. That's also when the true horror of the film set in for me..........I actually paid money for this garbage. Avoid this title at ALL cost. Moustapha Akkad should be ashamed to have his name associated with this title.