‘ … they must be stopped!’
Breeders is a 1986 American science fiction horror film written and directed by Tim Kincaid [aka Joe Gage] (Robot Holocaust; Mutant Hunt; She’s Back aka Dead & Married).
The film was shot in ten days for approximately $80,000, utilising the same tunnels under the Brooklyn Bridge seen in C.H.U.D. (1984). Ed French (Necropolis) provided the special effects. Breeders should not be confused with the 1995 British film of the same name.
Manhattan: When five young women are accosted under mysterious circumstances, the police think they have got a twisted serial male molester on their hands. But as Detective Dale Androtti (Lance Lewman) and Dr. Gamble Pace (Teresa Farley) soon discover, the reality is much worse.
Tracing the source of the attacks underground, they find an unstoppable alien presence that has infested an abandoned subway system and begun to reproduce itself – by impregnating human women…
‘If you have a low tolerance for low-grade filmmaking packed with tasteless scenes, an overabundance of female nudity (most of it pointless, like when the nurse character strips down in her kitchen!), and dumb plotting then you might want to avoid Breeders. However, if you have a soft spot for campy cinema then you might want to give this one a go.’ TheVideoGraveyard.com
“Breeders is far from a good movie. Actually, it’s pretty awful. There’s almost no plot to speak of, the dialogue is often howling bad and most of the acting is wooden (some of the actors even trip over their lines). There are, however, plenty of highly variable make-up effects courtesy of Emmy-winning and Oscar-nominated effects artist Ed French…” Bloody Pit of Horror
“… there is never an ounce of passion from our stoic actors. I guess I shouldn’t be too surprised, though. After all, this is a film in which basically the entire female cast disrobes to full frontal nudity. You won’t find Shakespeare by holding your casting calls in strip clubs.” John Leavengood, Movies, Films and Flix
“Breeders benefits greatly from having blood and glopola liberally thrown towards the camera at every plot turn, particularly during the underground nest climax, which sees all our previous female victims pseudo-erotically cavorting together in what appears to be an oversized space meringue.” Empire of the ‘B’s