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ACTOR
Robin ClarkeJennifer AshleyStephanie BeachamSteven Grives
DIRECTOR
Norman J. Warren
SYNOPSICS
Inseminoid (1981) is a English movie. Norman J. Warren has directed this movie. Robin Clarke,Jennifer Ashley,Stephanie Beacham,Steven Grives are the starring of this movie. It was released in 1981. Inseminoid (1981) is considered one of the best Horror,Sci-Fi movie in India and around the world.
A group of scientists are working in a lab located on a distant planet. One of them, Sandy, is attacked, raped and impregnated by a monstrous creature. She then begins to stalk her colleagues one by one, killing them and drinking their blood.
Same Director
Inseminoid (1981) Reviews
Mindless entertainment
The title caught our attention in the same way as Revenge of The Space-Hitlers, it's a title that says "this could be so bad that it would be entertaining". This is what we found. Low production values, low production costs, bad acting, bad dialogue, bad special effects - we found it hilarious (unlike Boggy Creek II, which was just plain awful) After the prologue, the opening line is "Hey wait a minute!" as in "what's this strange thing I've found on this strange alien world" - get the idea? It's a classic demonic possession plot, where a nice girl is turned nasty by an alien intelligence, and then people get 'hurt'. This means that there is plenty of blood and pain, and some cracking screaming from Geeson. If Oscars were awarded for screaming, we're of the opinion she should have got a nomination at the very least. To exemplify the bad dialogue: Woman in peril: "I can't do it!". Man trying to save woman with motivational words: "Can't is a word I don't understand! Come on, you can't give up!" Also "Unknown energy fields are beyond the reach of this team." Overall I'd describe this as a poor vehicle for nasty, bloody violence and a bit of sex, which made little sense. However, there is much entertainment in it's dire naffness.
Dolly-bird goes nuts in space and wipes out all her friends ... I can dig it
Whilst INSEMINOID was never going to win any awards in any film departments you could care to name, it's far from the disaster some people have claimed it to be, and if you approach it with an open mind and take it all in fun, then you'll probably have a good time. I must admit to a certain amount of nostalgia for this kind of film, which could usually be found languishing on the bottom of a late-night horror double bill at a provincial flea-pit cinema here in Blighty, and it's not too difficult to imagine yourself watching INSEMINOID in between visits to the hot dog concession and the toilet as you wait impatiently for something like THE EVIL DEAD or ZOMBIE FLESH EATERS to start. Norman J.Warren, a maverick director who knew a gap in the market (or the opportunity for a quick cash-in on an established craze) when he saw one, is actually a pretty decent director, and he gets ample opportunity to show his tightly-honed skills here, particularly during some of the more competent action sequences. The set design may be no great shakes - the film looks more like a big-screen version of the cult TV series BLAKE'S SEVEN than anything Ridley Scott put his name to - but the caverns that double as the subterranean outer-space dungeons are none too shabby and quite convincingly lit (just forget about the silly red-filtered shots of the planet's surface, so obviously shot in a quarry somewhere), and John Metcalfe's widescreen photography makes the low-budget production look expansive, if not exactly expensive. In short, INSEMINOID is the simple tale of a bunch of incompetent, to say nothing of downright disagreeable cosmonauts who touch down somewhere in the outer reaches of the galaxy and promptly tamper with the ecosystem, including some malevolent crystals and some sinister-looking pods. Before you can say "quatermass!", the crew members start getting bumped off, going crazy, cracking up, sawing their own feet off (a strong contender for the most cringe-inducing scene in the movie) and, in Judy Geeson's case, being forcefully artificially inseminated by a huge, glowering, crustacean life-form whose alien seed resembles lumpy green porridge. If you remember Geeson as the lovable dolly from TO SIR, WITH LOVE, then it will undoubtedly come as a shattering revelation to you that she forgoes the usual pregnancy pangs and cravings for unusual foodstuffs in favour of a bloodthirsty spree of murder and cannibalism, eventually giving birth to a couple of naked Muppets who just can't get enough of that chewy human stuff. To a large extent, it's Geeson's hyper-tense performance, all quivering facial tics, throat-rending screams and popping, twitching eyeballs that holds the film together in its later stages, as the plot contrivances and dumb-as-mud antics of her shipmates get a little too tedious and often to be believable. Still, if you're stupid enough to want to tackle a super-strong loony blonde single-handedly with no blunt instruments to help you, you really deserve a swift, messy death, right? INSEMINOID is truly a mad, crazy, paranoid, shambling mess of a film, but it still exerts a strong kinetic energy that fights off boredom and keeps you watching. There's also a surprisingly atmospheric electronic score, Stephanie Beacham in her underwear (one for the boys!) and quite a lot of the sticky red stuff to keep the gore-hounds salivating. Warren was never going to be another Pete Walker, but he wasn't another Andy Milligan either. If you're still not convinced, check out TERROR or SATAN'S SLAVE. If they whet your appetite, roll out INSEMINOID and enjoy.
Low budget sci-fi/horror features gore galore!!
INSEMINOID Aspect ratio: 2.39:1 (J-D-C Scope) Sound format: Mono Whilst exploring a series of caves beneath the surface of Jupiter's moon Xeno, a scientific research team unleashes a long-buried alien creature which impregnates one of the female members of the crew (Judy Geeson). With the subsequent pregnancy developing at an alarming rate, Geeson is compelled to protect her unborn 'children' from scientific scrutiny and begins to massacre her colleagues, one by one... Responding to the worldwide appetite for overblown space operas established by STAR WARS in 1977, yet remaining true to his roots as a purveyor of exploitation-horror movies (SATAN'S SLAVE, PREY, etc.), British director Norman J. Warren developed the script for INSEMINOID with writers Nick and Gloria Maley, a team of special effects technicians looking for a vehicle in which to showcase their talents. With funding from British and Hong Kong sources, the film went into production at Chislehurst caves (a grim but picturesque location just outside London) shortly after Ridley Scott's ALIEN (1979) wrapped principal photography, though Warren and producer Richard Gordon insist the movie wasn't influenced by Scott's blockbuster in any way. Unfortunately, INSEMINOID's lofty ambitions are somewhat undermined by its modest £1 million budget, yielding a range of sets, costumes and visual effects which are more reminiscent of "Blake's 7" and "Doctor Who" than STAR WARS, and the cheapskate production values often provoke unintentional laughter. Faced with some fairly amateurish dialogue, most of the cast can't help but sink to the occasion, though Geeson is remarkably good in the leading role, transforming herself from terrified victim to monstrous avenger with scene-stealing glee (unfortunately, she later bad-mouthed the film in no uncertain terms, despite recently admitting she'd never actually seen it!). Stephanie Beacham (SCHIZO, TV's "The Colby's") plays the material with earnest conviction, while Victoria Tennant (THE WINDS OF WAR) makes no impression at all as one of the early victims of Geeson's rampage. For all its drawbacks, however, the film is fast-moving and eager to please, and benefits enormously from John Metcalfe's expansive scope photography, which Warren uses to evoke a sense of scale at odds with the movie's financial limitations. There's plenty of gory violence on offer, too, though Warren was forced to make a few cosmetic trims to some of the most explicit sequences for censorship reasons in the UK, and it's that version which has prevailed ever since. Sadly, despite the film's modest success (including America, where a slightly truncated print played theatrically under the title HORROR PLANET), the director was unable to finance another venture for several years afterward, and his final film to date, BLOODY NEW YEAR (1987), went straight to video. His long-cherished ambition to remake FIEND WITHOUT A FACE (1957) has yet to happen, which is particularly regrettable - the genre has always needed talented mavericks like Warren, now more than ever.
With an experienced director, this could have been a good horror film.
Don't expect a high quality sci-fi horror film. With all that was available to them, the cast and crew dished out an average effort. There is a decent amount of gore in this film. The killings are well orchestrated, however in the special effects department this film is really lacking. The film is dull in the beginning. The impregnation sequence leaves a lot to be desired. Just compare how in Alien directed by Ridley Scott, the "face-hugger" sequence is well shot and we see the creature clearly attached to the face of its victim and also as the creature bursts out of the chest. Here the alien creature transfers its genetic material through a clear plastic or glass tube inserted into the vagina of the victim. A sort of artificial insemination. And this is the topic film pokes fun of. Full Plot: On a desolate planet, a team of 12 Xeno project scientists are conducting an archaeological excavation to locate remnants of an ancient civilisation. Soon after an underground tomb network is found to contain crystals and wall inscriptions, photographer Dean White (Dominic Jephcott) is engulfed in a sudden rock blast and left incapacitated. Deciphering the alien language in the caves, xenolinguist Mitch (Trevor Thomas) suggests that the civilisation based itself on dualism: the planet orbits a binary star, and a pair of twins appears to have ruled the race that once inhabited it. Medical assistant Sharon (Heather Wright) announces that an energy field surrounds the crystals and proposes that a "chemical intelligence" ordered life on the planet. A crazed Ricky Williams (David Baxt) is compelled to re-enter the caves when a sample of crystals starts to pulsate and the chemical intelligence exerts its influence through a mark on his arm. Thrown into a grille in a compromised environmental suit, a panicked Gail (Rosalind Lloyd) commits suicide, removing her helmet and freezing to death in the inhospitable atmosphere while attempting to amputate her trapped foot with a chainsaw. Documentation officer Kate Frost (Stephanie Beacham) shoots Ricky with a harpoon gun just as he is about to open both the inner and outer airlock doors and render the air inside the base unbreathable. After the burial of Ricky and Gail, Mitch and Sandy (Judy Geeson) return to the caves to gather more crystals. A monstrous creature appears and dismembers Mitch before proceeding to rape Sandy. Found distraught, she receives treatment from Sharon and the chief medical officer, Karl (Barry Houghton), who determines that the assault has initiated an accelerated pregnancy in defiance of the regular intravenous injections of contraceptives provided to the women in the team. When further explosions in the tomb network scupper chances of deeper investigation, the surviving members of the team await the arrival of a Xeno rescue shuttle. The intelligence assumes control of Sandy through a similar mark on the arm. Unhinged, she demonstrates superhuman strength while murdering Barbra (Victoria Tennant). She then proceeds to mutilate Dean and the remains of Mitch, drinking their blood. The rest of the team seek refuge in the Operations Room as Sandy obliterates important hardware—including the base transmitter—with explosive charges. When the imbalance in her mind appears to correct itself, Karl, Sharon and Commander Holly McKay (Jennifer Ashley) attempt sedation to spare her unborn offspring. However, Sandy returns to an aggressive state. Holly and Karl are killed in an accident with heat-sealing apparatus, whereupon Sandy disembowels the corpses. Senior officer Mark (Robin Clarke) contacts Sandy, who is his romantic interest, from the Operations Room to stall for time as Kate and operations chief Gary (Stephen Grives) leave to commandeer chainsaws. The ruse uncovered, Sandy harpoons Gary outside the airlock, breathing the toxic atmosphere to no ill effect as she mauls his flesh. Preparing for a final confrontation, Mark stumbles across Sandy's newborn mutant twins. He entrusts them to Sharon as their mother blasts through the Operations Room door and smashes all the equipment inside, although she has lost her unnatural strength. Crippled from the blast of an explosive charge, Kate is gored to death. In a last stand, Mark strangles and kills his former lover with a ripped-out cable. He returns to Sharon to find one of the twins biting at her gashed neck, before its sibling launches itself at him. One month later, Xeno Auxiliary Module 047 lands on the planet to investigate the loss of contact with the team. With the base in ruins, the mission records lost and the complement of scientists either murdered or missing, combat marksmen Corin (Kevin O'Shea) and Roy (Robert Pugh) abandon the search for survivors and pilot Jeff (John Segal) radios Xeno control for clearance to return. The final shots reveal that Sandy's children have concealed themselves in a storage compartment onboard the shuttle. Conclusion: rent it(and watch once) and DON'T BUY it. Bottom line: I've seen better films than this (The Thing 1982 and The Fly 1986 for example).
Dumb-violent-cheesy sci-fi horror
An expedition team investigating a planet faces terror as a woman on the team gets raped by an alien (with something that looked like a plastic pipe filled with green ooze) and starts killing her colleagues. The team will have a hard time surviving. After all it's a pregnant woman who's hunting them down! Being an 80s sci-fi movie, there has to be a space bunker full of lights, buttons, monitors and fancy space suits. They did some fine work with the backgrounds, and no fog machines were spared. There's also explosions. Yay! This movie is pretty dumb in many ways but hey, turn your brain down and enjoy the violence and cheese this movie has to offer. It can be entertaining.