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Gary Frank, an ordinary, blue collared John Doe insurance salesman, is about to learn the hard way that there're certain areas that are off-limits to all outsiders. One specific tower block Lincon, is just such a place; as it belongs to a hostile small army known as *the vampires*, who basically own it and oversee that no one who does not occupy a dwelling there, will live thought the night. He's not fully aware of how much he shouldn't be on their turf, that he doesn't belong on their *property*. But it's a simple tap on Decon a child gang member's shoulder, that seals his fate as this act prompt's The Count, their leader to come looking for reprisals from Gary. When a security guard tries to defuse the situation, he ends up dead and so does Decon, who Gary *violated* with his touch. Blamed for the Decon's death by The Count, he's now marked for death, along with anyone else who dares aid him. Stuck on the top floor, with no way down, he's only means to escape or survive is telephone repair man, Jackson (who heard the fatal shots and Gary's cries for help), wheel-chair bound paranoid Vietnam vet, Parker and elderly (but far from helpless) resident Elva Briggs and her teenage granddaughter, Toni, along with a kid in her care who can use a baseball bat better than any weapon. Stranded at their mercy in a place where even the cops won't go, Gary must do what he can, before the *vampires* catch up to him...it's going to be along hard night
An insurance salesman inadvertently gets trapped after dark in an apartment building that is terrorized by a street gang called "The Vampires."
You really don't see a movie like this for the performances. It's all for the action. Yes this movie is somewhat racist, but it also says a lot about life along the way, how we treat people according to race and environment, how we view that 'Nam-rattled vet in a wheelchair down the hall who resembles a drugged out Jan-Michael Vincent. Seriously, this film could've been a minor classic with a stronger cast, sort of one of those uncompromising horror epics as LAST HOUSE ON THE LEFT and HILLS HAVE EYES. Why, if Wes Craven had made this instead of HILLS HAVE EYES 2, DEADLY FRIEND, SHOCKER, PEOPLE UNDER THE STAIRS, and VAMPIRE IN BROOKLYN, he wouldn't have had to wait 12 years between the original NIGHTMARE ON ELM ST and SCREAM to once again be heralded a genius of the thinking man's horror cinema. A person with his wit, intelligence and genuine talent behind the camera could've made this one something that transcended the action/horror/ASSAULT ON PRECINCT 13-type genre. As it stands though, it's a decent night out in exploitation cinema as long as you give the themes some good thought afterwards.
Barry (Frank), a New York City-based insurance salesman, has been down on his luck lately. But when his boss offers him a policy with a potentially large commission, he jumps at the chance. The only problem is, he must go into the Lincoln Towers, a frightening, dilapidated housing project not exactly friendly and welcoming to his kind (i.e., White outsiders). However, feeling he has nothing really to fear, and needing the money, he goes into the towers. But it's not long until Barry discovers that the buildings are controlled by a street gang known as The Vampires, led by an intimidating psycho known as The Count (Todd). His gang members are extremely loyal to him, and when he sends out the order to kill "The White Ghost", as well as a kind Vietnam vet helping him survive, Will Jackson (Parker Jr.), who the gang calls "The Blood Traitor", all hell breaks loose. With the assistance of Toni Briggs (Dash) and another Vietnam vet, Parker (JMV), the frazzled Barry is going to learn, over the course of one hellish night, that there are some things in life more valuable than money. Will he ever escape ENEMY TERRITORY? Enemy Territory is an under-appreciated gem that seemingly got lost in the video store shuffle. More people need to seek this movie out: it's engaging, intense, and completely worth seeing. Sadly, it was one of Ray Parker Jr.'s only major film acting roles. He probably found it to be an easy transition from serenading us about ghosts to fighting Vampires. He even predates John McClane in being a barefoot hero in a high-rise. But the movie as a whole isn't a knockoff of Die Hard (1988), like so many others were at this time. Try to imagine a cross between The Warriors (1979), Chains (1989), Dead End City (1988), Assault on Precinct 13 (1976), Tenement (1985) and The Raid (2011). And coincidentally, Tony Todd would return to the projects with Candyman (1992). So while the movie suffers from the common problem of slowing down a bit and getting a tad repetitive pre-climax, on the whole it's a solid, absorbing winner.
Plus, this was to mark the first and only time RPJ met JMV. Vincent puts in what is honestly one of his best performances of his that we've seen to date. He seems angry and focused, and not at all drunk. His role is cool, that of an embittered, wheelchair-bound Vietnam vet who is heavily armed (even his wheelchair is tricked out with weaponry, which, needless to say, is awesome). He even calls Barry "jerk meat", which must be a distant cousin to Judd Nelson's immortal "Jerk Beef" of a few years later. JMV is always the trendsetter. Speaking of Barry, Frank did an excellent job in the role, but we also feel Judge Reinhold could have played that part. But then again, Hostage Train proves that the man can do literally anything.
Featuring some great, un-PC dialogue and box art that features the WTC towers prominently, Enemy Territory is from another time in history. A time when movies were actually good. The film has a lot to offer and should be more widely seen. We recommend it.
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