Film Review: Chopping Mall (1986)
Roger Corman, the self-styled king of B-movies, earned his status as a cinema legend not just through the sheer volume of films he produced but through his role as a mentor to countless talents who would later dominate mainstream Hollywood. From the 1950s to the 1980s, Corman’s influence stretched across both front and back ends of the film industry, nurturing directors, writers, and actors who would go on to shape the modern cinematic landscape. Yet, while some of his proteges rose to prominence in the mainstream, others remained rooted in the world of low-budget exploitation cinema. One such figure is Jim Wynorski, whose career began under Corman’s guidance in the late 1970s and has continued to this day. While Wynorski’s filmography is numerically impressive, his most enduring work remains Chopping Mall (1986), a science fiction horror film that, despite its lack of mainstream appeal, has carved out a niche as a cult classic.
The plot of Chopping Mall is relatively simple, but its execution is a masterclass in exploitation cinema. The film opens with a public demonstration of a new security system: high-tech robots equipped with tasers and tranquilizer darts, designed to prevent theft in large stores. These robots are later deployed to Park Plaza Mall to guard shops overnight. The story then follows a group of partygoers who decide to stay in the mall for a night of revelry. The characters include Allison Parks (Kelli Maroney), a reserved and somewhat aloof woman who is the object of affection for her date, Ferdy Meisel (Tony O’Dell). Suzie Lynn (Barbara Crampton), a sex-obsessed woman, is with her date Greg Williams (Nick Segal), while another couple, Rick (Russell Todd) and Linda Stanton (Karrie Emerson), and a pair of sexually insatiable lovers, Mike (John Terlesky) and his girlfriend Leslie (Suzee Slater), also make the trip. The party is held in a furniture store owned by Ferdy’s uncle, and it quickly becomes a chaotic, drunken affair. However, the group is unaware that a freak lightning strike has disabled the robots’ failsafe mechanisms, causing them to misinterpret their programming as a command to eliminate anyone in the mall. The robots, now devoid of restraint, begin to target the partygoers, killing their human supervisors and a janitor before turning their focus on the group. As the robots escalate their attacks, the survivors must find a way to survive the mall’s deadly confines, with the robots growing more aggressive and seemingly unstoppable.
At first glance, Chopping Mall resembles a typical 1980s slasher film, featuring a group of young, attractive characters who become victims of a relentless killer. However, the film’s twist lies in the identity of the killer: a trio of robots, a detail that nods to The Terminator (1984) but with a more absurd, B-movie flair. This choice transforms the film into a unique hybrid of horror and exploitation, blending the visceral horror of slasher films with the mechanical unpredictability of a sentient, if poorly programmed, machine. The film delivers the expected doses of exploitation content—action, black humor, nudity, and cleverly designed moments of absurdity. One of the most memorable scenes is the explosion of Leslie’s head after she is hit by a laser, a moment that is repeated in the film’s end credits as a nod to the film’s self-aware, campy tone. The film also retains the slasher trope of sex meaning death, with Allison, the “Final Girl,” surviving the ordeal. Her date, Ferdy, is initially uninterested in her, but she remains a good girl who, despite her initial naivety, ultimately survives the massacre and is rewarded with a surprise reunion with her date. This moment underscores the film’s adherence to the slasher genre’s conventions while adding a layer of irony, as the protagonist’s survival is not due to any extraordinary bravery but rather a combination of luck and the film’s own absurd logic.
Chopping Mall was produced by Roger Corman’s Concorde Pictures and co-produced by Corman’s wife, Julie Corman. The film’s production design reflects Corman’s signature style, with the Sherman Oaks Galleria, a location previously used for 1985 action film Commando, serving as the mall’s primary setting. The film also features a number of nods to Corman’s earlier work, including references to his 1950s classic Attack of the Crab People, which is shown by Allison during a party scene. The film also includes cameo appearances by Corman’s old associates, such as Paul Bartel and Mary Woronow, who reprise their roles from Eating Raoul (1973). Dick Miller, who had previously appeared in many Corman's folms, reprises his role as Walter Paisley, this time as ill-fated janitor of the mall. These references, while subtle, delight hardcore cinephiles and highlight Corman’s ability to weave his own legacy into his films, even when the films themselves are not his most ambitious works.
Despite its flaws, Chopping Mall is a film that, for all its simplicity, delivers an entertaining experience. The film is not particularly intelligent or deep, and its plot lacks the narrative complexity of a mainstream horror film. However, its brevity—running just over an hour—means that it does not have the time to develop its shortcomings. Instead, it focuses on the visceral horror of the robots’ rampage, the chaotic party scene, and the film’s own self-deprecating humour. This approach makes it a film that is accessible to fans of exploitation cinema, who may find its lack of depth to be an intentional design choice. The film’s success in the home video market and its minor cult status suggest that it resonates with audiences who appreciate the raw, unpolished energy of B-movies. In fact, the film’s cult following has even led to attempts to remake it in a modern context, a testament to its enduring appeal. While Chopping Mall may not be a film that would win awards or be remembered for its artistic merit, it is a product of its time, a film that, in its own way, captures the spirit of 1980s horror and the B-movie aesthetic that Corman helped define.
RATING: 5/10 (++)
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