The director of DON'T GO IN THE WOODS gives us "pure unadulterated Renee Harmon" with a double feature of JUNGLE TRAP and RUN COYOTE RUN.

With the museum in danger of being shut down if they do not secure a grant, anthropologist Josh Carpenter (Frank Neuhaus, HELL RIDERS) and his estranged journalist wife Chris (Renee Harmon, FROZEN SCREAM) bicker over who is to lead a return expedition to the territory of the headhunting Mali tribe, the last expedition Chris lead having ended in disaster when one of her assistants Jean died supposedly of a snake bite. The country's government had attempted to move the Mali off their sacred land to build a resort and then invaded and murdered the tribe when they refused. The Palace Hotel which was supposed to have been a "rich man's paradise" closed, however, when the surviving Mali (or their spirits) murdered the staff and guests. Believing the tribe's golden skull idol to still be hidden in the tribe's burial ground, Josh and Chris lead the expedition, accompanied by Josh's younger lover Betsy (Heidi Ahn), photographer Mark (Glen Sarabian), his Hollywood-hopeful lab tech girlfriend Rita (Rhonda Collier, NIGHT OF TERROR), and lab tech Janice (Valerie Smith) who is convinced that Jean was murdered by someone on the expedition. Upon arrival, they discover that the hotel cannot be reached by the roads which have fallen into neglect and been washed out by floods, so they must depend on alcoholic pilot John (Bill Luce) and mysterious guide Jobe (Timothy De Haas). When they finally make it to the hotel, they discover that it is still being run by mysterious porter Obie (Jan Vanderberg) and psychically-sensitive manager Madame Trudea (Betty Bena) who warn them that the Mali are still seeking vengeance and must collect the heads of their enemies.

Shot in 1990 but unfinished until 2016 through the efforts of Bleeding Skull and American Genre Film Archive, JUNGLE TRAP is less of an Italian cannibal film ripoff than a moderately gory version of the Hollywood low budget jungle pictures of the forties with the characters wandering through a small patch of backyard with low-hanging branches with cutaways to video-transferred film stock footage of nature, and a cramped resort hotel of headless torsos and SHINING-lite apparitions. The execution feels more amateur than director James Bryan and writer/producer Renee Harmon's other films because of the camcorder photography but the enthusiasm and resourcefulness of their filmed projects is still there, and the end result might make an okay double feature with Fred Olen Ray's more resourceful and far gorier SCALPS.

The disc's co-feature RUN COYOTE RUN is Bryan's and Harmon's sequel to their earlier action film LADY STREET FIGHTER (1981). Shot in 1987, the film was no more successful finding a home video distributor than Bryan's other sequel REVENGE OF LADY STREET FIGHTER (1990), both of which mixed a significant amount footage from the first film with newly-shot footage in the style of the BOOGEYMAN sequels; very much so, in that REVENGE's new footage was shot on 35mm film while the new footage for RUN COYOTE RUN was shot on U-Matic 3/4" videotape. Whereas REVENGE introduced a niece of Harmon's character who is kidnapped and interrogated about her aunt's flashback exploits, RUN COYOTE RUN casts Harmon herself as her LADY STREET FIGHTER character's twin sister Ann Welmington, an Interpol agent who has psychic visions of her photojournalist sister's murder even though her psychiatrist brother-in-law Mark (Bill Whitmire) insists that Linda died accidentally in a fire. The police commissioner (Bill Luce) allows Ann to retrace her sister's steps in hopes of identifying mob gun runners even though he does not believe in her psychic powers, assigning an undisclosed party to trail her. The trail leads her to various shady characters including Linda's editor, a priest, a drug pusher, and a go-go cocktail waitress who are all murdered before they can tell her anything. Meanwhile, hitman Josh (Timothy de Haas) hires additional muscle in biker/preacher "Father" (Frank Neuhaus) to rub Ann out before she discovers a tape that can expose the entire criminal network.

Although there certainly is a textural mismatch between the film footage from the first movie and the newer video footage, it is slight because of the generally proficient videography and the quality degradation of the video-transferred LADY STREET FIGHTER footage. The psychic vision device is actually works in terms of cutting back and forth between the two Harmons, but viewers steeped in the James Bryan and Renee Harmon filmographies will recognize not only footage from the aforementioned film but also excerpts from HELL RIDERS and FROZEN SCREAM (although the murder of the priest in the confessional feels like a callback to that film). The film is fairly dull, but fans of LADY STREET FIGHTER and it other sequel will probably get something out of it.

Upscaled from the 3/4" master tapes and finished in HD, JUNGLE TRAP comes to Blu-ray in a 1080i60 MPEG-4 AVC 1.33:1 pillarboxed fullscreen presentation that is less interesting for its aged and intermittently-damaged video so much as the Bleeding Skull's expert aping of the era's shot-on-video aesthetics from the plain video-generated titles to the retro synthesizer score and conservative sound editing on the DTS-HD Master Audio 2.0 stereo track in which the score does at times compete with the dialogue and original live audio. Optional English SDH subtitles are included.

RUN COYOTE RUN's 1080i60 MPEG-4 AVC 1.33:1 pillarboxed fullscreen presentation looks better because it is less worn overall with more stable colors and slightly crisper resolution. The DTS-HD Master Audio 2.0 mono audio does reveal the weaknesses of the mix with uneven levels in the recording of live dialogue and dubbed in lines with the mixers hoping the music tracks would smooth things over. Optional English SDH subtitles are also included.

JUNGLE TRAP is accompanied by an audio commentary with director James Bryan and actress Heidi Ahn, moderated by Bleeding Skull's Zack Carlson, Annie Choi, and Joseph Ziemba which was presumably recorded at the time of the film's completion in 2016 and early screenings since Bryan mentions the existence REVENGE OF LADY STREET FIGHTER without noting that AGFA put it out on Blu-ray in 2018 as co-feature to the original LADY STREET FIGHTER. Bryan and Ahn recall Harmon and her acting students, how the concept came about when Harmon's mother died and left her some money along with her house which served as the hotel, and their memories of the lesser-known cast members (the Mali were played by lawn mowers and tree cutters who brought the jungle with them from their trimmings). The story of how the film was found originates with the discovery in a used car trunk of a tape of RUN COYOTE RUN which Ziemba and Choi thought was a retitling of REVENGE OF LADY STREET FIGHTER until they saw the tape (the transfer on the disc came from Bryan's archived master tapes rather than the aforementioned tape). Choi and Ziemba discuss the scoring of the film, taking inspiration from the score for DON’T GO IN THE WOODS and their use of a vintage KORG keyboard and drum machines, as well as Ziemba's sound editing.

Also included is "It Wasn't My Fault: The Making of JUNGLE TRAP" (17:37) featuring a tour of Bryan's film barn, a reunion with Ahn (who looks virtually the same minus the godawful perm), and Neuhaus recorded separately. Bryan recalls turning RUN COYOTE RUN over to Harmon after he could not find a video deal, and her efforts to market it, as well as the other sequel, and his realization that he should stop trying to work around Harmon's vision and with it instead, noting that RUN COYOTE RUN and JUNGLE TRAP are "pure unadulterated Renee Harmon." The selection of outtakes (4:14) reveal not only scene extensions establishing the tension in the relationship with Josh and Betsy but also how the film sounded before Ziemba's sound edit.