‘Date. Mate. Re-animate.’
Bride of Re-Animator is a 1990 American science fiction horror film produced and directed by Brian Yuzna (Society; Return of the Living Dead III; Necronomicon; The Dentist and sequel) from a screenplay co-written with Rick Fry and Woody Keith.
The film is a sequel to Stuart Gordon’s Re-Animator (1985) and was belatedly followed by Beyond Re-Animator (2003). Richard Band supplied a playful soundtrack score that was a slight variation on his previous Re-Animator soundtrack.
Eight months after the events of Re-Animator, doctors Herbert West and Dan Cain are working as medics in the middle of a bloody Peruvian civil war. In the chaos of battle and with plenty of casualties to work on, they are free to experiment with West’s re-animation reagent. However, when their medical tent is stormed by the enemy troops, West and Cain return home to Arkham, Massachusetts.
The pair resume their former jobs as doctors at Miskatonic University Hospital and West returns to the basement laboratory of Cain’s house to continue his research…
“The black humor is a bit cloying this time (”I don’t want to gamble with Meg’s heart” is meant all too literally), and the gore feels like bloody business as usual. Where the first film’s script was cut to the bone, Bride is overstuffed with silly tangents, like an awkward subplot involving a zombie cop.” Entertainment Weekly
“While Bride of Re-Animator may not hit all the right notes all the time, Yuzna’s Freaks-inspired climactic set-piece, boasting wonderfully warped SFX creations, is a batshit crazy horror ride that’s worth repeated viewing. And let’s not forget the scenery chewing turns of Combs and Gale, who come off like the bastard acid-tripping offspring of Colin Clive’s Henry Frankenstein and Ernest Thesiger’s Dr Pretorius.” Kultguy’s Keep
“Bride of Re-Animator is a silly film that is fun solely for the fevered performance of Jeffrey Combs. Unlike the original Re-Animator, Bride ’s script really suffers from a lack of cohesiveness and undeterminable character motivation.” Andrew Migliore and John Strysik, Lurker in the Lobby: A Guide to the Cinema of H. P. Lovecraft
“The over-the-top acting that Gordon encouraged in Re-Animator is continued here with Combs particularly adept at the darkly comic throwaway line. Over abundance of gore … will turn off mainstream viewers, however. Tall actress Kathleen Kinmont is a good choice for the monster, with her stitched together, see-through torso.” Variety
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