Ghoulies IV (1994)

After the gleefully juvenile fun of Ghoulies III, it’s genuinely disappointing to see the series stumble so badly with its fourth instalment. Ghoulies IV feels like a regression, closer in quality to the original film, but somehow saddled with an even lower budget and a far less coherent plot. With Jim Wynorski called the shots, anything could happen.

From the outset, there’s a lingering suspicion that this was a retitled project awkwardly folded into the franchise. That feeling only grows stronger when the Ghoulies themselves appear, no longer puppets, but portrayed by actors in static, rubbery masks due to budget constraints. It’s a baffling compromise, and one that undermines the film almost immediately. A Ghoulies film without convincing Ghoulies is a difficult sell, and the execution here does nothing to help. Adding to this quite a bit of footage from the first movie and a car chase showhorned in, to give any sembelance of production value. A car chase borrowed (this being Wynorski) from 976-Evil II.

To its credit, the film opens surprisingly well, with a catchy musical intro over a “special” effect works accompanying the titles. Unfortunately, this early promise fades quickly. Returning character Jonathan Graves (played by Peter Liapis) reappears, now reimagined as a burnt-out cop, though it takes a moment to even recognise him. The film expects the audience to accept that, in the years since the original, Graves has undergone a drastic and largely unexplained transformation, complete with a tangled web of failed relationships that awkwardly drive the plot forward.

What follows is an unfocused blend of supernatural horror and inept cop comedy, filled with inconsistent tones, clumsy humour, and largely ineffective gags. There are fleeting moments of charm, but they’re buried beneath a muddled narrative that borrows elements from earlier entries while awkwardly grafting on a Dirty Harry’s-lesser brother-style police angle. The central story, Graves being pursued by both his asylum-escaped former lover Alexandra and a pair of mischievous Ghoulies over a mysterious magical amulet, feels underdeveloped and riddled with gaps. Key details, such as the amulet’s origin or Alexandra’s backstory, are either glossed over or entirely absent, leaving the film feeling like a sequel to something we never actually saw.

One of the film’s few saving graces is Staci Randall, who brings both presence and a commendable level of commitment to an otherwise thankless role. I was happy enough to watch Staci run around in the tight PVC outfit for 90 minutes. Peter Liapis, meanwhile, seems to relish the chance to inject some personality into Graves, offering a lighter, more playful performance than in the original. Their efforts, while appreciated, can only do so much.

Then there are the Ghoulies themselves, now portrayed by Tony Cox and Arturo Gil, and bizarrely reimagined as less deadly pests and even helpful creatures. This tonal shift strips them of any menace they once had, reducing them to awkward comic relief. Combined with the immobile masks, the result is more distracting than entertaining.

Ultimately, Ghoulies IV is a confused entry that struggles to justify its place in the series. It’s arguably on par with the original in terms of overall quality, though that’s hardly high praise, and a far cry from the chaotic fun of the third film. If there’s any lasting takeaway, it’s a renewed appreciation for Staci Randall, and perhaps a reason to seek out the few other films in her catalogue.

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