We’ve covered quite a few post-apocalyptic films in previous editions of Horror Adjacent, and I think there’s a simple reason for that. No matter how light-hearted the rest of the movie is, death and destruction on a global scale will always be a frightening concept – especially when you consider that our species is actually […]
We’ve covered quite a few post-apocalyptic films in previous editions of Horror Adjacent, and I think there’s a simple reason for that. No matter how light-hearted the rest of the movie is, death and destruction on a global scale will always be a frightening concept – especially when you consider that our species is actually capable of initiating a nuclear holocaust at any moment.
However, some movies are better at masking these darker elements than others, and today I’d like to discuss a particularly odd picture that’s been referred to as both a criminally underrated cult classic and a perfect example of so-bad-it’s-good cinema in equal measure. Naturally, I’m referring to Donald G. Jackson and R.J. Kizer’s 1989 Roddy Piper vehicle, Hell Comes to Frogtown, a post-apocalyptic thriller that somehow blends classic monster movies, raunchy sex comedies and Mad Max into a single ridiculous package.
The story of Hell Comes to Frogtown begins in the mid-80s, when co-director Donald G. Jackson found himself enjoying the modest success of his direct-to-video sci-fi flick Roller Blade. Impressed by how a $70,000 production managed to stand out in such a competitive market, New World Pictures approached the filmmaker and asked if he had ideas for more genre movies that could be produced on the cheap. Jackson replied with a pitch that he later described as The Road Warrior meets Planet of the Apes, and the rest was history.
While this post-apocalyptic romp was originally meant to be produced for a meager $150,000, union regulations and an increasingly complex script soon multiplied the actual budget to something closer to $1 million. This led to New World forcing Jackson to co-direct the feature alongside their frequent collaborator R.J. Kizer due to his experience shooting the American segments of Godzilla ’85. And while the production team couldn’t secure heavy hitters like Sybil Danning and Pam Grier for the supporting cast, they succeeded in hiring wrestling legend “Rowdy” Roddy Piper in his first starring role.
In the finished film, which was released in January of ’88, we follow Piper as the titular Sam Hell, a troublemaking nomad with a heart of gold who roams a post-nuclear wasteland. After being captured by the local government, Hell is reluctantly placed into a fertility program meant to repopulate the radioactively-sterilized America. When a mutant warlord takes a group of fertile human women hostage, the patriotic Nurse Spangle (Sandahl Bergman) and Corporal Centinella (Cec Verrell) force Hell to accompany them into the infamous Frogtown in order to rescue the women from their amphibious captors.
SO WHY IS IT WORTH WATCHING?
Even back in the ’80s, it was hard to find earnest fun among genre rip-offs. While films like The New Barbarians and even Stryker had their merits, most of these Mad Max wannabees were more interested in capitalizing off of their familiar premise than actually playing around in a post-apocalyptic sandbox. Thankfully, this is far from the case with Hell Comes to Frogtown. While the film wasn’t exactly a critical darling, B-movie fans quickly warmed up to this oddball adventure and its idiosyncratic characters.
I have a soft spot for movies that try to reach further than their resources can grasp, and I think that’s why I couldn’t help but fall in love with the reproduction-obsessed world of Frogtown. From the flick’s genius use of real industrial ruins to the hastily customized vehicles, you get the feeling that the production team was trying to extract every last drop of value from whatever scrap they could scavenge. It’s even rumored that effects supervisor Steve Wang agreed to create all of the Frog effects for less than $12,000 in order to save money for the rest of the grueling 19-day shoot, a decision that almost certainly saved the production.
That being said, we all know that the real reason to watch this often uncomfortably horny experience is Roddy Piper himself. While the rushed script and haphazard direction mean that his character isn’t quite as relatable as the working man protagonist of John Carpenter’s They Live, Piper’s natural born charisma and rugged good looks make Hell an action hero for the ages – especially when he gets bothered about being objectified due to his functional sperm count. The directing duo may have had to hire an acting coach in order to help Piper tone down his wrestling persona for the big screen, but I think his over-the-top line delivery is precisely what makes the film so damn quotable.
While some of the jokes have aged badly and the film’s obsession with sexuality can be downright offensive at times, the playful tone and Roddy’s undeniable charm mostly make up for these quirks. The end result may not be 100% original, but there’s plenty to love about this movie if you can ignore the obviously sub-par production value. Hell, I’d even recommend the film to fans of the post-apocalyptic satire of the Fallout franchise!
AND WHAT MAKES IT HORROR ADJACENT?
Hell Comes to Frogtown is a deeply unserious film, with most of its intense action and disturbing sexual undertones being balanced out by ridiculous backstories and exaggerated characters. That being said, the heart of the story is still technically a Lovecraftian monster movie about frog-people kidnapping human women and offering them up to their mutant cult leader.
In fact, this is one of the more brutal depictions of a post-apocalyptic society in all of the films we’ve covered so far, it just so happens that these darker elements are usually lampshaded by humorous delivery. I mean, ideas like mutants engaging in human trafficking would be downright disturbing in other films, and don’t even get me started on the Dance of the Three Snakes!
Of course, genre fans are here for the mutated frogs, and the special effects that bring them to life are definitely worth the wait. While I appreciate the restraint shown by the filmmakers as they hide the amphibians from us throughout the first half of the movie, the experience really comes alive once we finally enter Frogtown and the movie turns into an all-out creature feature. The latex masks and occasional use of motorized animatronics may not be of the highest quality, but the consistently slimy textures and badass designs serve as proof that Steve Wang took his job seriously – and that’s not even mentioning nerdy little details like how the final battle between Hell and Commander Toty was shot in the very same Vasquez Rocks where Star Trek’s Captain Kirk famously battled the reptilian Gorn.
Hell Comes to Frogtown may not come close to matching the quality of the George Miller endeavors that inspired it, but the filmmakers approach this familiar setup with such a creative outlook that you can’t help but root for this energetic little midnight movie. As I mentioned before, some of its more sexual elements may not have aged all that well, but if you’re in the mood for low-budget monsters and a memorable performance by the late, great Roddy Piper, I’d recommend revisiting the slimy thrills of Frogtown.
There’s no understating the importance of a balanced media diet, and since bloody and disgusting entertainment isn’t exclusive to the horror genre, we’ve come up with Horror Adjacent – a recurring column where we recommend non-horror movies that horror fans might enjoy.
