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IAC Reviews #016: Captives / Mama’s Home (1988)

It’s almost funny how things happen sometimes. You’re just going about your day, and something will just pop up in your thoughts or memory that you forgot about a long time ago. When you decide to follow it to see where it takes you, and when it finally decides to turn up, it completely chucks all your original plans out the window and you have to see it to believe it. If you have no idea what I’m talking about, we need to finally, after so long, get around to talking about Captives aka Mama’s Home. And, oh boy, we have a lot to cover here.

As a side note to make this easier, I’ll be referring to the film as Captives for the duration of the review when discussing Gary P Cohen’s original film. However, when I’m discussing the release by the original production company, Majestic Home Video, I’ll refer to it as Mama’s Home to help clear up any confusion since I can’t even call them the same movie. _______________________________________

Captives is 1988 horror-drama revenge SOV film directed by Gary P Cohen, who is best known for his Video Violence films that were made just before and after this. To quote VHS Meltdown on the plot, it goes as such;

“Three weirdos invade the home of a well-to-do family while the husband is at work. They aren’t there to steal anything; they have a video they want to show the wife. On it is the past life of her husband, something much more violent and drug-fueled than she ever could have expected. When things go wrong for the invaders and blood gets shed, the wife must reconcile what she has seen and what she knows, and her new knowledge of the past makes her future unthinkable.”

According to Cohen, this was intended to be a serious commentary about violence, which was tonally different from the sort of black comedy nature of the Video Violence films. He originally pitched the film to Camp Video, who turned down Captives, but took in Video Violence 2 after distributing Video Violence the year before. So, Cohen turned to Majestic Home Video for help, and they took the film in for release.

Well, what happened to the film was beyond a travesty and feels criminal.

If you want to learn more about that, I highly recommend seeing Paul (Analog Archivist/VHS Collector)’s review of the tape because he goes more into the history of the film and included Cohen’s interview where he discusses the treatment of Captives; which included large chunks of dialogue being manipulated, bad amateurish editing, and loud music being played over the dialogue scenes. It’s just a shameful butchering of the film, but this does sort of have a happy ending because Camp Motion Picture picked the film up in 2011 to be showcased on The Basement: Retro 80s Horror Collection; which included Timothy O’Rawe’s The Basement (1989), another SOV horror film that was widely considered lost for nearly 20 years. Copies of Mama’s Home are considered extremely rare, with one user saying they saw a copy of it go for over $335USD.

The film stars many of the actors from the first Video Violence film, including Cohen himself. So, if you’re a fan of the film, then you’re in for a bit of a treat. But, if you’re in the other category that hated the film, then, well, you’re in for something. Plus, I don’t think the notoriety of Mama’s Home helps much either as far as what you think you can do with your expectations. It’s going to be a rough ride for some of you, I’m sure.

VHS Collector | Mama’s Home Review:

So, now we’ve been finally given the opportunity to see Captives and all it’s glory without the cloud of shame that Majestic put over us. It’s been a long, long time coming to see Cohen’s true vision unearthed - even if I’m about ten years too late for the viewing part.

Captives (1988) in One Gif:

Oh. Okay, then. So, let’s really dig into this one. _______________________________________

First, I think I should comment on what VHS Meltdown said as the plot summary since there’s a bit more to it than that. The primary thing is who our “three weirdos” are, which are that of Nikki, Chick, and Paulie whom we learn have a personal vendetta to some degree with Ellen and her family - more specifically her husband, Barry. So, I don’t know, the vague descriptor can make the invasion seem a bit less personal.

Speaking of which, let’s talk about our guests of honor more.

The ringleader of the group is Nikki, who has more stake in the home invasion and a motivation for revenge due to her treatment and abuse by Barry and former mother in-law, Estelle. She’s accompanied by her brothers, Chick and Paulie. Chick is the arms of the group, having a hot temper and seems to take the most pleasure in the violence and madness. Paulie is, for a lack of better terms, the slow “idiot” brother of the group and he’s a trope you’ve probably seen in other slasher films of the time like Mother’s Day, Redneck Zombies, and Cannibal Campout. He’s the docile one of the team and only tagged along because he cares about his sister and was pressured into it, not because he’s out for blood or vengeance.

If you’re a fan of Video Violence, then you probably already recognize Art and Jackie Neill right off the bat who are playing polar opposites of their other characters. It makes for an interesting watch to see them relish in the violence they cause, rather than be repulsed by it. On the opposite side of things, we have Ellen, Estelle, Barry, and little Zach.

There isn’t a whole lot to really say about them. Ellen is the unsuspecting housewife, Estelle is the loaded mother in-law that would do anything for her son, Barry is a two-faced, mama’s boy husband with a secret double life, and Zach is, well, a baby that links them together in a few ways. Much like their co-stars, some of them were also in Video Violence with a similar take on things. Seeing as how this (or Video Violence) was their first acting role, and one of their only ones point blank, you can expect something mostly amateurish and nothing too special. If I had to name any specifics, I’d say the trio is the best in their own right; Chick being a great sleazy dirtbag, Paulie being sympathetic, and Nikki being almost justifiably unhinged with the lengths she’d go to for revenge.

Plot wise, it’s not all that bad and it’s not to see something that isn’t like Blood Lake where the motive isn’t sloppy or feels like a complete after thought. It’s a bit shocking to say the least to see a topic relating to child death or murder done this way, something I don’t think I’ve really seen in some time since Las Vegas Bloodbath or Beware! Children at Play. It’s a bit of a slow burn after the trio makes their motives known to Ellen, with the occasional burst of violent mayhem and the trio trying to figure out an exit plan when things don’t go as they planned. We also get some occasional cut scenes with what Barry’s doing with his time, but they’re brief and only add to what kind of a picture Nikki paints for us of him.

As far as the violence goes, it’s not all that bad. However, some of it was a bit hard to make out what was going on because the quality was on the low end. But, that’s kind of how it is with SOV some times, so it is what it is. There’s also not a whole ton of blood either, so don’t expect a total massacre. What we do get isn’t too shabby or rough around the edges either, which is a really nice surprise. There’s some general torture, humiliation, and sleaze scenes too, and those are also nice when it comes to adding a bit more grime to the mix; including a really bizarre moment where a drunken Chick is groping and coming onto Nikki (and she may or may not be into it) and we see what Barry is doing when he’s not at work.

If I had to say something that really hinders this, it’s the sound and music aspect.

Just like with Mama’s Home, there’s moments where the sound mixing doesn’t feel right, so the dialogue is a bit drowned out by the music. On the bright side, it’s a bit better here with Captives than Mama’s Home since you can at least make out most of the conversation that’s going on and I had to do a side by side comparison with this and the clips Paul included as a reference to be sure I wasn’t hearing things. If it’s not that, it’s how the music robs the tone and mood of the film.

As I said earlier, Cohen intended for this to be a serious film about violence, and having this audio track in the background for so much of it kills the mood for me and it unintentionally brings it back to Video Violence with it being a dark comedy. On the flip side, the tracks on their own aren’t that bad and are exactly what you could expect for a low budget SOV trash flick from the time period. So, if you’re like me and you have a guilty pleasure for this type of thing, you might have some fun with it. I’d like to hope that Cohen still has the masters for these somewhere and would be open to releasing them if they weren’t included on The Basement: Retro 80s Horror Collection.

The film ends on a weird open ended note and since there’s no post credit scene, we’re largely left to wonder if Ellen is able to follow through with her choice given what she’s seen and learned and she’s able to escape. I think it was probably for the best as well since it plays into this being a revenge flick as well, but I’d like to hear Cohen’s thoughts and what he thinks happened after the final scene.

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So, where are we at now with this?

I’m a bit disappointed that it took me so many years to finally get around to seeing this, and I was initially nervous going into this given all the things I heard about Mama’s Home. As excited as I was, I wasn’t sure if I was going to waste my time with this and I was prepared for the let down early on thinking I was just getting a hybrid of Captives and Mama’s Home.

In a lot of ways, it was worth the wait to see what I was missing all these years, because if I found out it got taken down yesterday, then I knew it would be a long time until I would have this chance again since the box set from Camp Motion Pictures is currently out of print. If you told me that it would stay online and it wasn’t going anywhere any time soon, then I’d say I wouldn’t really rush to seeing it or writing this mock up with what I know now and shift my focus onto the other really obscure SOV material that I wouldn’t know about if it wasn’t for SOVHorror, A Slash Above, or SRS Cinema having bits and pieces of them up. In this case, I could probably go a few more months or so before I’d get an itch to hunker down for it.

Is it worth a watch? Sure.

If you’re a sucker for SOV films, then you should consider crossing it off your list since it feels like not everybody has seen it, let alone is aware of it. If you liked the Video Violence films, then I think you’ll have an alright time with this one. It’s probably the ToeTag fanboy in me saying this, but I’d like to think that this is another one of those proto August Underground movies with how it wanted to push the envelope with the brutality and humiliation, something I still feel would have been better if the incidental music was toned down way more. Nonetheless, if you find this type of thing boring and uninteresting, then you aren’t going to feel like you missed out on something amazing or mindblowing. It’s another run-of-the-mill horror-esque low-budget tier SOV flick from the time, just with an emphasis on revenge. Don’t be too dismissive, but don’t expect anything too impressive.

Rating: 4.5/10