![]() But guess what? Kids actually preferred "you-know-what" over the former. Several months after Jurassic Park was released, Spielberg's animation company Amblimation released We're Back! A Dinosaur's Story, hopefully to be the alternative for kids, while teens and adults had "you-know-what". Well, just as the popularity of these beasts started to rise, Steven Spielberg was not only the first to begin this fad, but was the first one to exploit his magnum opus of the 90's. Why did we all of a sudden start to worship these reptilian creatures during the 90's? What was the main inspiration to create so many dinosaur toys, cartoons, video games, and half-ass direct-to-video movies? Starring: John Goodman, Felicity Kendal, Charles Fleischer, René Le Vant, Kenneth Mars, Yeardley Smith, Joey Shea, Martin Short, Jay Leno, Julia Child, Blaze Berdahl, Rhea Perlmanĭinosaurs, dinosaurs, dinosaurs. Tammy and the T-Rex is available now (in its fully restored “Gore Cut”) on Blu-ray from 101 Films on their Black Label.For more pictures by yours truly, check out my Cartoonlover16's account on .ĭirected By: Dick Zondag, Ralph Zondag, Simon Wells, Phil Nibbelink It might not quite have achieved immortality, but we are still talking about Raffilll’s horny low-budget campfest a quarter of a century later. “Going to screw your brains,” says Tammy at the film’s end – and that is exactly what this mind-messing movie does. ![]() But there is an oddness, an in-your-face inconsistency, to the tone and texture here that is all Raffill’s own, making this one of the ’90s weirder UFOs. Ultimately Tammy & the T-Rex comes closest to the gonzo style of John Hughes’ Weird Science or Savage Steve Holland’s Better Off Dead. There are ‘testicular standoffs’, interspecies romance, comedy cops, and other wild excursions, and it all climaxes in a seductive striptease that is strictly ‘no touching’. Now in control of the robot dinosaur, Michael goes on a destructive rampage against Billy and his gang, while Tammy and her gay black sidekick Byron (Theo Forsett) search graves and the morgue for a more human body to accommodate Michael’s consciousness. After Michael is left for dead in a wildlife reserve (don’t ask) by Tammy’s controlling ex Billy (George Pilgrim), Gunther does not hesitate to abduct the comatose jock, sawing open his skull for a brain transplant. ![]() Tammy is played by a pre-Starship Troopers, pre-Wild Things, pre-Bond Denise Richards, while her boyfriend Michael is played by a pre-Fast & Furious Paul Walker. In 2019, Vinegar Syndrome restored the unexpurgated version – the so-called ‘Gore Cut’ – whose heroine is credited as ‘Tanny’ and whose title is Tanny & The Teenage T-Rex. Stitching together elements from ’60s B-movie sci-fi, the high-school movie, the revenge flick, gross-out comedy and the previous year’s Jurassic Park, it comes with a confused identity – confused even more by the surgical excision of some six minutes of blood, guts, gore and profanity for its original US theatrical and home release in a bid to make it appeal more to the family market. This is the paradox of Tammy and the T-Rex: it is utterly dumb, but smart enough to know just that and while no gag is too low for its brand of anything-goes screwball, it really does bring a lumbering kind of life to its hybrid collection of ill-fitting ideas. Maybe – although Raffill also had enough self-awareness to make Wachenstein’s computer-savvy technician Bobby (John Franklin) quietly dismiss his boss’ grand ambitions with the comment: “What a crock of shit.” ![]() For Stewart Raffill (The Ice Pirates, The Philadelphia Experiment, Mac and Me) was offered, out of the blue, the use of an animatronic tyrannosaur for a specific two-week period, and while the writer/director could sniff opportunity, he had very little time in which to throw together a screenplay that would flesh out this giant moving prop with a plot, with brains, and maybe with the kind of immortality that box office success can bring. Yet Gunther’s words here come with a metacinematic resonance. A Frankenstein-like mad scientist par excellence, if somewhat out of place and time in mid-’90s California, Gunther hopes to create a lucrative franchise of cybernetic body frames that will house the brains of the otherwise dead, whether humans or pets, and this T-Rex is his improbable prototype. The speaker is the priapic, chain-smoking Dr Gunther Wachenstein (Terry Kiser), addressing the robotic dinosaur that he keeps in a warehouse and hopes to animate with a human brain transplant. “All you need is mobility and life beyond this boring room and the limitations of this stupid computer.
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