User Reviews

Waxworks 2 doesn't pretend to be anything other than what it is. A comic parody of horror movies. If you haven't got that by the time the crawling hand picks up the hammer, then you ain't gonna like this movie.

Not that the movie is great, by any stretch of the imagination. The type of humour is a little too dated to bring much more than smiles. But it does entertain.

Throw in cameo performances from a host of well-known stars (well..they're well-known now, anyway) and you have a pleasant enough way to spend an evening.

In fact, playing spot the jobbing actor is a good way to look at this movie, if you aren't certain it's for you. With the likes of Bruce Campbell, David Carradine and Marina Sirtis all popping up at one point or another, there's no shortage of faces on display that even a non-filmy will recognize.

The highlight of the movie is the final showdown between hero and villain, where they clash swords across a number of "dimensions", all of which are parodies of well-known movies, with a number of obvious, but well-done gags thrown in at the appropriate point.

It's not a movie you'll bring out of the TV cabinet again and again to watch, but it's fun enough for a single viewing.

Often cited as the first self-referential horror movie, 1988's Waxwork had everything that a horror movie fan might love: full of horror film references, over the top gorn, and amazingly accurate & professional looking sets & costumes. Considering the films low budget and campy factor, the movie was a surprising semi-successful movie when it came out. Due to this success, a sequel came out in 1992, call Waxwork 2: Lost in Time. It follows nearly that same escapism formula, but unlike the first film, it didn't take itself, too serious as it play off with the comedy, a lot more. Directed and written by Anthony Hickox, yet again, Waxwork 2 takes place immediately after the first film, Waxworks, with a recap and replay of the last moments of the film with reused footage. Then the movie kinda starts with an reenactment of final scenes with Mark Loftmore (Zack Galligan) and Sarah Brightman (Monika Schnarre) leaving the burning waxwork. Seeking revenge for the fire that cause the destruction to the Waxwork, a disembodied wax hand goes on a murderous rage and kills Sarah's father. Mark and Sarah manage to kill the creature, but the police don't believe them and accuse Sarah for killer her abusive father. Since, Sarah's case looks bad, both seek a way to prove her innocence by searching Sir Wilfred's (Patrick Macnee) place. Instead, of having the couple find another waxwork building, the movie goes a different route, by having the two characters find a magic compass that allows them to travel through another dimension call 'Cartagra' consisting of horror, sci-fi and fantasy stories that have want to become realities. Most of these sequences are pretty clever on how they were able to paid homage to the many horror films without breaking copy-rights laws. The crew of the Waxwork 2 change some of the other film references character's names, location or in many ways, redesigning the look of the creatures to make sure, it looks different, but has the same style as the original film. They all get a new treatment, but you can tell what film references, the movie is showing. Examples are 1931's Frankenstein, 1963's The Haunting, 1922's Nosferatu, 1941's Dr. Jekyll & Mr. Hyde, 1954's Godzilla, 1979's Alien and 1978's Dawn of the Dead. According to the movie exposition, these worlds comprise worlds where God and the devil battle over the fate of the world, each victory being reflected in events occurring in the real world. When Mark or Sarah appear in each reality, they take on the persona of characters in those stories. They often act like their character personalities and memories until they regain their senses. It's weird that plot, only makes one person forget, who they are; while the other, never forgets. Mark always knows that he's Mark when he enter the world, but Sarah always get lost in the sequence character roles. I know, that Sarah does this in the first movie, but gees… its way over killed, here. Mark had to wake her up, like 3 to 4 times, before she rejoin her conscious and her original memories. It's so annoying! Sarah is still the same stupid damsel in distress character with the emo attitude that makes her easily fall in love, with her abusers like the first movie. This movie made me, hate her character, even more, due to the new actress, playing her. Monika Schnarre is worse than the original actress, Deborah Foreman. She looks out of place, most of the time, due to her stunning model like looks, and awkward European accent. Zack Galligan as Mark is a little better than the previous film. I glad, they cut the jerk attitude of his, and made him into a more adventure driven type of a stock character. The supporting characters are pretty fun to have. David Carradine appears out of nowhere and gives absolutely straight and deadly serious, performance. He's a great actor. He brings a lot of weight to the character that he would have lacked otherwise. Alexander Godunov as Scarabus was very scary, and insidious. Well played. Bruce Campbell as John Loftmore had the comedy cuts and gave the movie, some charm by hamming it up. The movie is full of cheesy dialogue and he deliver on it. The movie comedy is a hit or a miss. It breaks a lot of four wall jokes, but none of it, seem that clever. Watching this movie with a group of friends is a real treat, and it was fun to just try and pick out all the references like 1981's Raiders of Lost Ark, 1977's Saturday Night Fever, 1982's Friday the 13th Part III, 1968's 2001: Space Odyssey, 1989's Back to the Future Part 2, and others. I love the action. The swordfight through multi-worlds was fun. As a movie of logic, it really fails in that. First off, why would Sarah's trial allow her to go anywhere, if she's a suspected for a death? I doubt, she was able to get bait. Another thing, why on earth, do they need to find evidence so that they can prove that she didn't do it; if she just going to escape and follow Mark into exploring the Cartagra, in the end. It's pretty pointless. The call for adventure is a pretty weak plot. Another thing, how can she get a package from Mark with the compass, if Cartagra isn't part of the real world!?! It's doesn't make sense. To make it more confusing, Jack the Ripper, a real life killer is in Cartagara. Just think of that. It's yet another Waxwork movie that can't follow its own rules. I know its nit-picky, but it's too jarring even for this silly film. I like how the movie doesn't match the title. There are barely any Wax works figures in this movie, at all. Overall: While the plot is pretty bad. It's a fun movie. Just turn off your brain when watching.

This highly disappointing follow-up to 1989's WAXWORK is more of a slapdash rehash than a sequel. The dumb and inexcusable plot sees Galligan and Schnarre going back through time for more of the same, this time to find a piece of evidence to convince a local court that Schnarre wasn't responsible for the murder of her father. Contrived isn't the right work; downright silly would be a better bet. From the first moment that this film opens, you realise the strictly low budget of the production through the poor picture quality and cheap-looking sets. It's certainly not a patch on the lively and entertaining original movie.

The first episode is a re-run of the Frankenstein story, with the creature here an unscary straggly-haired beast covered in a prosthetic face. How very '90s. Playing the mad "Baron Von Frankenstein" is none other than Martin Kemp, member of Spandau Ballet and more familiar today as a regular on the TV soap EASTENDERS. Kemp is definitely slumming it in this film, as he did for most of the early '90s, and it's highly amusing to watch him embarrass himself here. He just isn't cut out for the part, and fails to be the least bit frenzied or frightening. The only highlight of this otherwise nondescript episode comes at the schlocky end, when Kemp's eyeballs pop out followed by his brain. The ultra-cheap special effects are reviewed through the "bird's-eye view" of the brain flying through the air, as the stand on which it sits is plainly visible.

The second episode is probably the most fun, if only for the presence of comic genius and all-round good guy Bruce Campbell playing Richard Johnson's role in THE HAUNTING. The black and white photography is pleasingly different, if only copied from the first film, and there are some lame-brained yet fun slapstick moments involving Campbell being tortured in a basement. Sadly this is over far too quickly, although eagle-eyed fans may spot Marina Sirtis as the woman playing "Gloria" in the segment.

The third story is a dreadful rip-off of ALIEN, with some really bad special effects in the shape of the lame, rubbery aliens. Whoever designed these should be shot outright. Disorientating camera-work means that it's damn near impossible to see here what's going on, so the sooner its over the better. The fourth instalment is by far the longest, and thus the most boring. This time Galligan and his girlfriend are sent back to Britain in the medieval period, where they become trapped in the castle of the cruel lord Scarabis. While the plot here is passable stuff, and there are fine supporting turns from Alexander Godunov (excellently nasty as the villain, as he was in DIE HARD) and John Ireland (as King Arthur, no less) nothing much really happens aside from a few more disappointing prosthetic attempts at monsters.

It's at the end of this tale that the film suddenly picks up, and copies SHOCKER again by having two characters fighting as they jump from location to location. Thus, we get to see some fun parodies of GODZILLA, DAWN OF THE DEAD (again) and also, by far the best, one of the original NOSFERATU, which is very funny. Drew Barrymore plays a victim in the bed if you can spot her. Events conclude in a boringly unbelievable anti-climax in which it looks simply like they ran out of money.

Linking scenes of Galligan and Schnarre flying through a "time tunnel" look like they've been ripped from EVIL DEAD II, and are quite stupid. The acting from the leads is also below par, with Schnarre just another forgettable 20-something actress who doesn't register at all, and Galligan simply going through the motions of his previous successes. The appearance of many stars in cameo roles (as well as the above people, David Carradine, Patrick Macnee, Joe Don Baker, and George "Buck" Flower also pop up briefly) does give this movie a watchability, as well as some of the brief moments in which the comedy actually works. Otherwise this is a cheap and unnecessary sequel in which even the special effects are pretty bad (ie. splattery and unrealistic-looking). My recommendation is to watch the first and give this one a miss!

"Waxwork II : Lost In Time" is a kickass-entertaining Horror flick with black comedy overtones and plenty of action.

The ending is among the best I've seen on the cheesy-splatter section. The f/x are not that bad but could've been better. Some monsters looked very cheesy but still worked for the movie's purpose. I dig this movie because it does not tries to impress anyone; I mean, it's purpose is only to entertain and spill plenty of blood to satisfy gorehounds.

Bruce Campbell and the gorgeous super sexy Monica Schnarre (from "Boogie's Diner" fame) deliver fine performances.

This movie is a hoot! Watch it with low expectations and you might be impressed. Also, the end credits song is tongue in cheek.

There's a reason why this didn't get a theatrical release in the United States and went straight to video. The sweetness and good intentions of the first film become cumbersome here as the creative team seems more intent on parodying recent hits rather than going back to the original theme which took classical fiction horror and real life shocking events, instead giving the viewer a confusing mess of a return to the waxworks scene.

For some reason the character of Sarah Brightman is now on trial for murder and a character from the original who obviously died appears in a videotaped will, turning everything over to Zach Galligan. He ends up going through the looking glass with Sarah where he ends up with a bunch of rather absurd situations that seem more like recent sci-fi movie situations than anything out of Lewis G. Carroll or any of the classic writers who influenced the first film.

This time we're sent to Camelot where evil concerning a King Arthur lookalike is trying to take the throne and that results in a convoluted visit by two yanks to the king's court. Visuals of other classic tales add to further confusion when all of the characters exit the mirror and cross into other lands and times. Most sequels aren't necessary, but this one can be referred to as a major mistake even though several famous character players show up to bring it some class. "Aliens" rip off references throughout, and that's just one of the many abused here.

The survivors of the wax museum are followed by a dismembered hand, which kills the girl's father.

She must stand trial, so her and her boyfriend go to Sir Wilfred's house for clues, and they find a film he has prepared for them, pointing the way to his secret stash.

They find a dimension hopping, time machine compass and go back in time to look for evidence that the girl is telling the truth and get embroiled in different conflicts along the way....

The first movie didn't really get going until the inspired last ten minutes (where Whedon stole the idea for his finale in Cabin In The Woods), and this remedies the fact by making it really bonkers and amusing from the upstart.

it's like an adult version of Stay Tuned, and each little episode really makes the film a little more exciting than it should be.

The sections with Bruce Campbell and Martin Kemp are easily the best, it's just a shame that the finale with Godunov is pretty bland apart from him and the guy from Power Station who likes white make up.

if they swapped this and had the Frankenstein scene as the finale, this could have been a a classic movie, but the last twenty minutes just seems like a vanity project for the director who plays the predominant Kings Guard and is in almost every other shot come the end.

Thankfully though, the film has enough great cameos and funny moments, to justify the maundering nature of the medieval scene.

a great campy cult classic, with a saggy vanity project finale.