Next up in on our Don Dohler radar screen is 1982′s Nightbeast, considered by many aficionados of his work to be the pinnacle of his cinematic career, and not entirely without good reason. From the flashier (relatively speaking, mind you) opening credits to the downright acceptable prosthetic work on the titular beast itself to the numerous laser-beam “special” effects to the generous helpings of gore and inconsequential (and completely untitillating, unless you’ve got a thing for bog-standard average-looking women — honestly even ugly would’ve been more interesting) nudity, it’s obvious that this is our guy Don going for the commercial gusto to whatever extent that he’s even physically capable of doing so. Dohler came into a little money for this one — the total budget was $42,00, a king’s ransom by his standards — and the result is the nearest thing to a genuinely polished cinematic effort he ever came up with. Which, admittedly, isn’t saying a whole lot, because this is still very much a DIY effort — and that’s a good thing, because the DIY nature of these films is the best thing about them, by far.
Apparently Dohler was going for a straight-up reworking of his first film, The Alien Factor, with Nightbeast, albeit with a bit more money to play with this time, and smartly deciding to simplify the intergalactic menace from three creatures down to one. Apart from that, the story remains exactly the same, with many of the same actors even playing the same parts (and yes, since he’s the only Dohler “star” with anything like a fan base, I’ll drop a mention at this point that George Stover turns up in this one, as well). So anyway at this point you know the drill —space monster crash-lands in the suburban Maryland woods, goes on a killing spree, the local sheriff rounds up a posse to try to bring the creature in, and the closest thing Dohler could approximate to “chaos” given his limited financial resources ensues.
There are a few subplots of absolutely no consequence going on here, such as the aforementioned sheriff bedding down every female in sight and some interpersonal conflict(ish) dynamics within a biker gang, but if you want to truly enjoy this flick, it’s best to just push all that aside since little things like dialogue between characters aren’t exactly a Dohler strong suit. Just focus your attention on the main story, which shouldn’t be too difficult since it’s a straight line from A to Z, and you’ll be fine.
Yup, this is more standard, turn-off-the-brain-and-enjoy-the-dime-store-ride stuff. To be sure, the fact that a lot of it was shot at night — hence the name — sometimes makes the “action,” as it were, a bit difficult to follow given the grainy, half-assed 16mm film stock Dohler used, but as I’ve mentioned in previous Dohler reviews, if you’re on the guy’s wavelength, technical imperfections like that just add to the charm.
Anyway, the main twist spice added into the Dohler stew here is the gore and the nudity, and when the monster from the stars starts tearing shit up, it actually looks pretty good. I mean, these ain’t Tom Savini effects or anything, but they’re not an embarrassment by any means. Our guy Don, as always, delivers more than by any rights he should be able to, and the difference between a $10,000 Dohler production and a $42,000 Dohler production is pretty amazingly apparent — not in terms of plot, dialogue, or acting, mind you, but in every other respect, particularly on the technical side, it’s stark and obvious.
Nightbeast is available on DVD from Troma, which is appropriate enough, either as a stand-alone release or in a two-disc set that finds it paired up with the fine documentary on Dohler’s life and work, Blood, Boobs And Beast. It’s presented full-frame, the picture has been remastered a bit (although the quality is still iffy in numerous spots), the sound is remastered mono, and the extras are the usual Lloyd Kaufman ego-fest crap. It’s not my personal favorite Dohler film by any stretch, I like ‘em a bit more raw and unpolished (again, relatively speaking) myself, but it’s still a perfectly enjoyable diversion and a terrific example of how a guy can achieve an awful lot on willpower, “Junkyard Wars”-style technical ingenuity, and a little bit of money. Definitely worth the measly 80 minutes of your life that it takes to watch.