Ellis Moore

Ellis Moore’s filmography is a wild little ride, honestly. You’ve got “Guyver: Dark Hero,” this cult-favorite sci-fi flick from ‘94 where mutant monsters are duking it out with a guy in biomechanical armor—totally bonkers, practical effects everywhere, and not even a hint of subtlety. Moore’s name pops up in the credits and you just know you’re in for a time capsule of rubber suits, over-the-top action, and that deliciously cheesy ‘90s vibe. Then, “Killers” (1996) swings in, and things get all gritty and weird. It’s one of those movies that tries to get under your skin, with a plot about a pair of psycho siblings on a killing spree. Nothing about it feels sanitized or glossy—just raw, jagged edges everywhere, which, let’s be real, is kind of the charm. Moore’s work here? It’s got this undercurrent of madness, like he’s channeling every late-night cable flick you watched when you were probably way too young. And let’s not forget “Femme Fontaine: Killer Babe for the C.I.A.” (also ‘94, because apparently Moore was on a roll). This one’s got espionage, killer babes, and that tongue-in-cheek, wink-at-the-camera energy you only get from low-budget ‘90s action. It’s campy, a bit absurd, and honestly, that’s what makes it so watchable. Moore’s projects don’t exactly scream “Oscar bait,” but man, they deliver on entertainment—like finding a forgotten VHS at a thrift store and realizing you’ve struck gold.