Space visitors on a burlesque “Death Wish” mission drop in on an innocent human to do a little street cleaning in “Alien Avengers.” Impersonated by George Wendt and Shanna Reed, Charlie and Rhonda stem from some dreadful place where folks bleed green goo and sport fiendish humor; trouble is, the initially funny visitors stay too long in this installment of “Roger Corman Presents.”
Filmed in Los Angeles by Concorde New Horizons and Showtime Inc. Executive producer, Roger Corman; producer, Michael Amato; co-producers, Darin Spillman, Frances Doel; director, Lev L. Spiro; writer, Michael James MacDonald; Poor, artless Joseph Collins (Christopher Brown) inherits an empty, run-down rooming house. Before he can tidy up, flashy Charlie and Rhonda and their attractive teenage daughter, Daphne (Anastasia Sakelaris), secretly from outer space, drop in for a vacation. They like reluctant, broke Joseph, and Charlie hands him a wad of cash for the rent. The out-of-towners settle in.
They do over the old house in no time. But they also commit murder, and sparkling Rhonda takes photos of their grotesqueries with her ever-ready flash camera. She and Charlie are into exploring slums, where they seek out lowlifes whom they antagonize and kill. And bring home portions for meat sandwiches.
Daphne’s dizzying folks encourage Joseph to take their daughter, who seems to be a vegetarian, out to dinner and to romance her, which leads to an encounter with bullying drug dealer Jamaal (Edafe Blackmon), who pays dearly for his manners.
Under Lev L. Spiro’s forced direction, Michael James MacDonald’s teleplay, which strives for originality, depends too much on pre-adolescent gags — and gagging. Representative serving: Rhonda, after decapitating a bum, snaps a pic of the severed head and gleefully proclaims, “Great head shot!”
The humor’s obvious, the lingo crude, the situations mostly lame. While MacDonald has neatly set up his premise and created attention-getting main characters, his script bogs down among the excesses; the windup’s a letdown.
Brown’s harassed Joseph is admirably restrained, and Reed’s glittering version of an imported American housewife succeeds beyond expectations and material. She and Wendt, who performs merrily, make a good goofy couple. Sakelaris does well enough as the peculiar Daphne.
The silliness palls early on, the wit withers. But MacDonald, Spiro and company at least get points for trying something eccentric, even if it plays like a vaude turn.
Jayme Bohn’s costumes are, er, fitting. Tech credits are OK.