O Pelotão Perdido

"The Lost Platoon" is a peculiar but fairly ambitious and admirable blend between war-drama and horror from David A. Prior; a writer/director of whom I actually thought he only makes vile and nonsensical stuff, like "Deadly Prey" and "Killer Workout". This is a substantially lacking but nevertheless atmospheric film. There's not a lot of blood and gore, but the narration is spirited and the plot is compelling enough to keep you interested. The acting performances are weak, but at least the wholesome is well-paced and there are a few interesting plot twists near the end. Actually, the best plot description I can give is by comparing the film to the (famous) Stan Ridgway song "Camouflage". The lost platoon consists of soldiers, one from each great war, who were strangely resurrected at a point of certain dead on the battlefield. Now they're doomed – although most of them really enjoy it – to fight wars for all eternity. In Vietnam, a photographer and WWII veteran thinks he recognizes one of the soldier as the one who saved his life in the frontline and then miraculously disappeared. He begins to dig a little deeper and discovers stories and photographs of this exact same platoon in several great wars, yet they never aged. This definitely isn't a bad concept for a supernatural war movie. Immortal vampire soldiers are at least something different than haunted bunkers and obscure Nazi-experiments. It's really too bad "The Lost Platoon" didn't benefice from professional cast and crew members, because there's a lot of potential in the basic premise. Fans of the horror genre will appreciate the opening sequences, which are a straightforward homage toward "The Evil Dead", as well as the tense WWII flashback.

This very cheap, no frills action-horror hybrid is something in the vein of "Platoon (1986)" crossed "The Lost Boys (1987)". Also a touch of "Near Dark (1987)". Now that's got to be something… hey? Ah, no. It's inferior film-making, but despite its shortcomings (being plenty) on the technical side. The unusual concept (of vampiric soldiers moving from war to war) might be slight, but it's rather inventive, sincere and downright ambitious. I was only thinking about this film a couple weeks ago, and was hoping to come by it again. I've got fond memories of watching it when I was young. Lucky enough I found a shop selling their ex-rentals with it being one. Watching it again, it wasn't as fun (why did I have to spoil my memories), however it stays interesting and of course is unintentionally humorous. Not to say it doesn't chip in with its own sense of laconic humour.

War correspondent David Hollander heads to Nicaragua to cover the Civil war, and while there encounters four soldiers who he has in photographs going back through the last century of warfare. The thing is they haven't aged, and he believes these immortals to be vampires.

Sounds good, but it's limitations do hold it back. It opens up with kinetic camera-work straight out of "The Evil Dead (1981)", and sets the mood early on with a vivid music score and WW2 flashback sequence. Now here comes the good stuff. Director David Prior has his heart in it, despite the static and sloppy feel of his clammy direction. Action set- pieces are ridiculously goofy, as it's got that sense of; "You stand there, while you go over there. Now stop posing with the guns… shoot… and hide behind whatever is in front of you! When you are shot go out in a blaze of glory ". Well, it goes something like that, as he tries to do too much with very little. At least they're lively, and fruitful. Nearly everything takes place in a humid looking woodland backdrop, but towards the end the climax is wrapped around a Gothic castle. On a whole it gives the atmosphere a raw, gritty and claustrophobic strangle hold.

The performances range from outrageously hammy to plain stiff. David Parry's enigmatic performance is perfectly understated as the vampire leader Jonathan Hancock, donning a civil war coat, hat and sword. A bland William Knight is lousy as David Hollander, and truly living his part with aplomb is Stephen Quadros' as a wild-solider boy Walker lifted off Bill Paxton's turn in "Near Dark (1987)". Roger Bayless' cheesy bad guy impression reeks of lethal politeness, and screwed-up facials. At his right hand is the seductive, but deadly Tara played with utter coldness by Michiko. The screenplay does have some glaring holes of bafflement and an obvious ideology undercurrent to the text, and the script is generically macho with many bad lines. The vampire folklore, has one exception that they aren't effected by the sunlight, but a wooden stake does go a long way here.

In the end it's the unique idea of this supernatural hybrid that holds the shoddy production together.

The last time I watched a horror flick about undead soldiers, it was a no-budget indie production that was effectively filmed in the woods behind someone's house, standing in for another country, and for that matter, pretty much on video. Sights unseen that's what I expected of this, too - so imagine my surprise when I see 'The lost platoon' apparently benefited from actual resources and financial backing! Some, anyway! I'm not saying this 1990 release is any prime exemplar, but I recognize the (modest) time, money, and care that went into the suitably flavorful production design and art direction, the capably evocative costume design, hair, and makeup, and the gratifying, appreciable practical effects, stunts, and action sequences. Real thought went into the editing, the cinematography, and certainly the filming locations. And I really like the somber, moody energy of the music, too, arguably melodramatic though it may be.

On the other hand, whether it was a matter of skill, experience, limitations of the production, or creative choices, other facets of the picture don't come off quite so well. Take for one example - and hardly the only one - an early scene where a group of extras seemingly had difficulty following rudimentary instructions, and it comes across that either director David A. Prior lacked the know-how to try another take, and/or the production lacked the film stock. The acting is highly variable, such that while some select individuals give fairly good or at least earnest performances (I'd argue William Frederick Knight, David Parry, and Michiko), others (Stephen Quadros, Tim Lutz, Roger Bayliss) come off a lot more poorly, and even those trying their hardest have notable weak spots.

In fairness, it's not necessarily their fault. In general the direction is soft and unpracticed, distinctly dampening what vitality the proceedings might have carried; sometimes the execution is gawkily forthright. Just as troublesome, the dialogue tends to be oafish, blunt, and hokey, if not downright awful; the scene writing commonly bears good ideas but is fleshed out much more questionably. The concept of the feature is rather fantastic as an aging war correspondent discovers that four young soldiers have fought in numerous conflicts spanning several decades and haven't aged one bit - a swell blend of the horror and war genres, with the core narrative set in Nicaragua against a foe of a similar dark nature. Yet 'The lost platoon' is a straightforward action piece, and doesn't delve as much into the horror that would help the movie to stand out, and the writing isn't smart enough to tackle the themes, ideas, and questions that would make such characters especially interesting.

It's not that this title is bad. It's somewhat enjoyable, if ultimately middling and less than particularly memorable. It's surprisingly firm with regards to the craftsmanship of the contributions from behind the scenes; again, the effects and action scenes are unexpectedly sharp, and I really do like the music of Tim James, Mark Mancini, and Steve McClintock. The problem is that the sum total feels too much like a rendition of the concept that has been reduced and simplified - the most ordinary and unremarkable iteration of an idea that begins with "these soldiers are extraordinary and remarkable." At its worst the writing is all but boneheaded, and the direction has points that are sadly unconvincing, or gauche. No, 'The lost platoon' isn't bad, but it's a so-so representation of splendid notions, and maybe it never had much of a chance of being any better than that. It's duly entertaining if you happen to come across it on a quiet night. Just don't go out of your way for it, and keep your expectations in check, and maybe that's the best way to get the most out of this.

Low-budget production values and some ludicrously over-the-top acting, but there's still a good little vampire flick in here, The idea of an immortal platoon that has been following the course of human war for a century definitely gives it points, as does the showboat performance of Stephen Quadros as hotshot soldier Walker and the understated, authoritative calm of David Parry as the troop's Civil-War-veteran leader, But I especially like the casting of vampire soldiers as a tireless force *against* oppressive evil, the low-key humor, and the mythic air that the film gives "los mejores" as the spooked peasants call the lethal, fast-travelling revenants. A nice little surprise; I'm glad we saw it.

An American reporter covering a civil war in Nicaragua discovers that four soldiers also fought in the Civil War and World War II and are actual vampires fighting their own personal war.

Late director David A. Prior's The Lost Platoon offers B-movie thrills, it's arguably better made, but not as cult status as B-favourite Deadly Prey, which borrowed from Rambo and Commando. In this must watch (VHS rental in the day) both David and Ted Prior's screenplay offers an on the nose mix of The Lost Boys and Platoon. It shines with its great suck you in concept, with group of soldiers that have fought battles through time reminiscent of Highlander. Granted it's a low budget production, don't expect quality sound design or locations; but Prior uses every trick in the book to bring the story to life.

Actor William Knight features and Stephen Quadros does his best Bill Paxton, Billy Drago lookalike David Parry is memorable as the vampire leader. The supporting cast appear to be having a good time - just being in a film.

Overall, on a personal note I miss Prior. The intriguing hook idea gives the viewer exactly what's on the tin, without the blockbuster budget.