Such a frustrating disappointment

Overrated and overhyped

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

A deadly and predatory genetically engineered mutant (James L. Miles in a funky, if hokey rubber suit) made up of the DNA of various donors escapes from a lab so it can hunt down and kill the male donors while attempting to mate with the female ones. Meanwhile, nefarious lab head Donald Brady (token semi-name Christopher Mitchum, who just barely manages to retain his dignity) wants to capture the beast for his own evil reasons. Boy, does this hilariously horrendous honey possess all the right wrong stuff to qualify as a real four-star stinkeroonie: Ham-fisted (mis)direction by Steve Latshaw (who also co-wrote the supremely silly script), terrible acting from a lame no-name cast, tacky gore, cut-rate (far from) special effects, rusty tin-eared dialogue (sample line: "He can smell you boys -- be careful"), a mechanically bouncy synthesizer score, and ineptly staged monster attack scenes. Naturally, we also get a generous serving of yummy (and utterly gratuitous) bare distaff skin. Florida exploitation cinema legend William Grefe has a funny bit as loudmouth drunk Mr. Babb. An absolute schlocky hoot.

Contains a little blood, no boobs n' fluff. An evil corporation (there's no other kind) attempts to capture one of their experiments, which is running around a big city killing men and raping women. Of course, a thoroughly uninteresting hero steps up to put a stop to the violent creature. - - - This is completely DTV material. Latshaw strikes again with this forgettable creature feature that fills the bare minimum requirements of action and stupid nonsense, but is a bit too light on the sleaze to be worth the time. There are some decent moments throughout, but no sign of tension or a well thought out plot. About the only thing that stands out is the fantastic looking creature suit. Compare that with the suit used in Ray's "Biohazard" and you can see where the minuscule funds went... it sure wasn't the actors.*1/2 out of 4

So many questions drifted through my head while watching "Biohazard: The Alien Force". Why is an alien force referenced in the title of the film, yet no aliens appear in this movie? Why does Steve Zurk, playing the protagonist Mike Reardon, look disconcertingly like David Hasslehoff's brother? Who dressed him? Why does the bed of a truck burst into flames after the vehicle bumps into a tree? Why does a rocket not markedly damage a car after a direct hit? Why do none of the characters in the movie seem to have any peripheral vision? Who created the titles and special effects, and why they ever employed to begin with? Lastly, how could this movie's production have concluded without the filmmakers hiding in exile?This is such a sublimely awful movie it's hard to describe. There are far too many moments of unintended hilarity to describe in this short passage. Suffice to say, this film gets more laughs than just about any comedy out there you could find. I heartily recommend this film to any fan of campy cinema.

I never thought that a straight to video, EP format film could be so engrossingly luscious. The sparse, unembellished dialougue would make Hemingway proud, and the Faulkneresque surrealism tops it off. A bold, yet flawless combination results. For example, when the bio-baby's mother uses a basketball under her shirt to simulate pregnancy, the sport's inherent physical violence foreshadows the creature's ultimate nature. Conversely, when the four-door Pontiac, just before being struck by the missile, is replaced by a two-door Buick, it becomes apparent that means of this sort will only reveal the chaos that must ensue whenever anyone employs violence. The only virtue of the car which remains unchanged is its color, red, which needs no explanation. Similarly, when the editor inverts the negative of the crashing helicopter, well, the imagery is readily apparent. This film, while disturbing, will forever change not only the way you look at filmmaking, but your view of life itself.