Quantcast
Channel: The Moviefone Blog
Viewing all 2191 articles
Browse latest View live

Killer B's on DVD: Drainiac

$
0
0



On Drainiac's audio commentary, writer/director Brett Piper explains that the original 2000 DVD release of this film was essentially unfinished. This new version, which arrives on DVD from Shock-o-Rama on June 24, is newly derived from the original negatives (yes, this baby was shot on 16 millimeter film) with sound and special effects enhancement. Since so much effort went into making this nearly unwatchable revised version, I have to suspect that viewing original imperfect release might very well be lethal.

One of the first clues to the disaster that is Drainiac is the box cover. It's a pretty cool illustration of a slimy creature crawling out of a sink drain and reaching for the viewer, though it's obviously not a photo and doesn't represent anything actually seen in the film. Furthermore if you've ever seen any other movie from the Shock-o-Rama catalog (like Piper's other flick Bacterium, which I reviewed here), you know darn well they could never afford to do this kind of creature effectively.

The film opens with two homeless men taking refuge in a seemingly abandoned house only to meet death by liquification at the hands of something that appears to be living in the plumbing. It's pretty obvious that this scene has very little to do with the rest of the film, and Piper confirms on the audio commentary that this part was shot after the fact to pad the running time. As we get into the film proper, young Julie (Georgia Hatzis) has been in rough shape since her mother's suicide. She's stuck living with her Dad -- the reason her mother killed herself -- whose characterization switch is stuck halfway between a-hole and douche bag. The character is infuriatingly without motivation, treating his daughter like garbage for no more discernible reason than the script calling for it.

Julie's Dad has started buying up dilapidated houses in hopes of repairing them and turning a profit. He's just acquired a new fixer upper out on Old Miskatonik Road, and after leaving Julie to clean the place up by herself he's off to down a few beers. Weird things start to happen, like water flowing along the floor as of it has a mind of its own and Julie has visions of tentacles coming out of the drain and pulling her down. A group of her friends drop by to help with the cleaning, but when she can't convince them of what she's been seeing, her sanity comes into question. When the ground swallows Julie's friends' car they start to believe her, but by then it may be too late.

Hatzis is quite effective as Julia, and the fact that she's since made several appearances in episodic television shows that Drainiac may not have spelled the end of her acting career. Alexandra Boylan who plays Julie's friend Lisa is also credible in her role, though the rest of the cast left me unimpressed.

Piper has a bad habit of leaving thoughts uncompleted. Julie finds a picture of a woman in the abandoned house that resembles her mother, but nothing ever comes of this. There is a scene in which Julie can't sleep because of an unintelligible racket from upstairs, but we never find out what it is. Julie's visions are similarly aggravating. They serve to add horror elements and action, but since they aren't real they do little to move the story forward. And frankly I'm not sure what to make of a scene in which Julie's friend Jake is rescued from drowning in a flooded cellar only to find that there isn't a drop of water to be found once they get the basement door open. Worst of all, Drainiac commits the cardinal sin of being boring, using poorly developed characters to fill in the spaces between the alleged scares.

Killer B's on DVD: The Queen of Black Magic

$
0
0


Once again, Mondo Macabro gives us a taste of what they call "the wild side of world cinema" with this Indonesian scare-fest from 1979 that streets on May 27.

The wedding of a town leader's son in Indonesia is marred by what is believed to be black magic. The bride is overcome by nightmarish visions of skeletons, snakes and walking corpses and falls into a fevered state of dementia. Kohar, the groom, suspects that a woman named Murny is responsible, claiming that she loved him but he had no interest in her. What Kohar does not tell the angry mob is that he had seduced Murny, taking her virginity and promising to marry her, only to wed another. While Murny certainly has motive, she knows nothing of black magic -- but Kohar and the mob burn her house down and throw her off a cliff just the same. Her life is saved by an old hermit who encourages her to take revenge on those who tried to murder her. Since they accused her of black magic, the hermit figures "let's be all ironic and stuff" and trains Murny in the dark arts.

Murny embarks upon a path of vengeance. Whenever she feels the need for revenge waning, the hermit urges her to continue, indicating that he has a hidden agenda of his own. Meanwhile, a devout Muslim man arrives in the village, senses the evil there and counters it with prayer. His faith soon proves to be a threat to the hermit's plans, and the dark magician sets out to destroy him.

Visually, the film has its moments. There are a lot of wire effects, making objects and people levitate, and the gore can get pretty extreme. Murny's vengeance upon one villager takes the form of gigantic exploding boils (all together now: "ICK!") and her black magic training is inexplicably depicted in part by her bouncing nude on a trampoline while silhouetted against the full moon. Freaky, but striking. Easily the film's most memorable scene features one of Murny's victims who manages to rip his own head off, and the severed noggin floats around biting people.

Ultimately, though, the film becomes a bore. The characters are flat with the story following a generic revenge plot with little to make it stand out. Admittedly, my lukewarm feeling towards The Queen of Black Magic may be the result of a cultural difference, at least in part. To my best recollection the only other Indonesian film I've seen is the Terminator knock-off Lady Terminator, so I'm not familiar with conventions of Indonesian cinema. I'm not clear on when the story takes place. There are no cars or signs of modern technology, so I can't tell if this is a modern impoverished region or maybe a period piece. Maybe I'm not seeing the film in its proper context, or then again maybe it's just bad.

Extras include the original trailer, a look at the studios of Indonesian effect artist El Badrun, an essay on horror and exploitation cinema in Indonesia and previews of more Mondo Macabro DVD's.

Killer B's on DVD: The Car

$
0
0


When people talk about killer vehicle movies (and they do), John Carpenter's 1983 adaptation of Stephen King's Christine usually heads the list, with Maximum Overdrive and maybe even Killdozer making their way into the discussion at some point. Plus I've always suspected there was some kind of demonic motivation behind Herbie in The Love Bug. Personally, I remember seeing The Car before any of these. The TV spots tantalized me during the film's 1977 release, and I eventually caught the movie on television in the early '80s. Now we've got a brand new DVD from Universal to fill the void left by the out of print version from Anchor Bay.

James Brolin stars as Wade Parent, a single father who works as a cop in a small southwestern town where the only type of criminal you usually find is a jay walker. He's been romancing a local school teacher named Lauren (Kathleen Lloyd), and he's just about got his two cute-as-a-button daughters (one of whom is played by Kyle Richards, who played Lindsey Wallace in the original Halloween) convinced that it's about time Dad got hitched again. Now, however, we've got bodies piling up, thanks to a mysterious black car of indeterminate design (although one poster over at IMDB reports that it's a modified 1971 Lincoln) with no license plates and opaque windows. The first victims are a pair of bicyclists and a hippie with a French horn who's so annoying that, despite being run over four times, could easily have done with a few more swipes.


The members of the police department are rattled by these violent crimes, particularly Wade's friend Luke (Ronny Cox) whose two-year ride on the sobriety wagon comes to an abrupt halt. Things go from bad to worse when the sheriff is run down in the middle of the street, and an eye witness swears there was no driver in the car. Wade is now in charge, and the conflict becomes even more personal for him when a group from the local school, including Wade's daughters and Lauren are attacked by the car. They take refuge in a nearby cemetery, and the evil car shows its true nature when it is unable to trespass on hallowed ground.

The Car has all the hallmarks of '70s TV, including day for night shooting, under cranking for high speed chases, cars that explode if you just look at them funny, and dialog that is skull-crushingly awful. In fact, if it weren't for a few curse words, you could almost believe this was made for the small screen. When I saw The Car years ago I remember liking the fact that nothing is ever explained. We're never told where this demonic car comes from or what its motivation might be, and I liked the mystery. Now I find myself wishing the details were better fleshed out to keep the movie from being so... well, boring. When a horror flick doesn't bother to give its characters any depth I'm the first to complain, but The Car goes too far in the opposite direction, bogging down the story with Wade's relationship with his kids, long stretches of the officers looking defeated, or the goings on at Lauren's school. Do we really need to know that some kid is drawing naked pictures of Wade's girlfriend? Luke has just started drinking again, and that fact is trotted out a number of times, but nothing ever comes of it. The concept is pretty sound, but the execution is deeply flawed. Horror remakes get a bad rap these days, but The Car is ripe for reinterpretation.

Killer B's on DVD: Boarding House

$
0
0


Now here's a dubious distinction: 1982's Boarding House ("Where the rent won't kill you, but something else will"), just out from Code Red DVD claims to be the first horror film to be shot on video, and this little oddity actually played theaters for a time. If you've never seen old school video tape blown up to 35 millimeter and projected on the big screen, you would be surprised at just how hideous the final product is. I saw the Rolling Stones documentary/concert film Gimme Shelter which was transferred this way, and I was amazed how grainy and washed out the image was. Code Red has made a smart decision going back to the original video materials rather than using the version that had been transferred to film, as was done with the old Paragon Video VHS tape (a release that the filmmakers insist was done illegally). The video version isn't perfect either, but this is probably the best this film will ever look.

Boarding House was promoted as being presented in "Horror Vision", a William Castle-esque gimmick that is explained at the opening of the film. Whenever the viewer hears a specific sound effect or sees a shot of a black-gloved hand with a Dr. Who-level video effect accompanying it, that means something scary is about to happen. This, along with the film's disjointed nature, are explained by Director/star John Wintergate and his co-star Kalassu, when they point out on the commentary track that the movie had been shot as a horror spoof, but the distributor insisted on cuts to focus on the horror. The final result doesn't really work as horror or comedy, but it is an occasionally interesting exercise in ultra low budget filmmaking that doesn't skimp on the gore or T & A, often looking like a period porn film without the hardcore sex.

The Hoffman house has a history of evil. The original residents, experts on telekinesis and the occult, were mysteriously killed and mutilated and their child who witnessed the incident was committed to a mental institution. Over the years the house changed hands several times, before coming into the possession of Jim Royce (director Wintergate). Jim is a student of meta-physics who spends much of his time trying to make objects move with his mind while simultaneously looking like he's trying to pass a kidney stone (see image above). He runs an ad for several roommates (hot babes only please) and the house is soon filled with voluptuous young vixens, most of whom are played by actresses that were never heard from again. Around this same time we see the Hoffman's demented progeny departing the sanitarium and leaving a trail of bodies in his or her wake.

What follows is a lot of hot tubbing, showering and general nudity, accompanied by much death and dismemberment. One girl gets an ice pick through the hand, the shower walls start bleeding, a cat gets its skull crushed, and there's a creepy gardener who should be wearing a t-shirt that reads "obvious red herring." Meanwhile Victoria (Kalassu) takes an interest in Jim's hobby, teaches herself telekinesis, and starts using it to push around the other girls when they get between her and Jim.

Boardinghouse is nothing original, but I don't think it was intended to be. It's exploitation for exploitation's sake, which is fine I suppose, but the rock bottom budget (Victoria has a nightmare sequence in which she is assaulted by props from a haunted house) and the fact that it's neither scary or funny will turn most people off. Personally, I found it marginally interesting as a historical curio (the video was everywhere in the heyday of VHS), but unless you're a hardcore horror completest this probably isn't for you. The disk has an interview with Wintergate and Kalassu and the two also participate in an audio commentary that discusses, among other things, their plans for Boarding House 2.


Killer B's on DVD: Delirium

$
0
0


As they say (or at least they should), there's always room for giallo. No, it's not a gelatinous dessert, but an Italian film genre generally identified by its use of gory murders, mystery/police procedural elements and strong sexuality. "Giallo" is Italian for yellow, and the genre draws its name from a series of lurid murder mystery novels that sported yellow covers. Delirium (Delirio caldo), which was recently released by Blue Underground, is a modestly interesting example of the form made downright fascinating by presenting the drastically different Italian and U.S. cuts on the same disk.

Starting with the Italian version, this 1972 film stars Mickey Hargitay, former Mr. Universe, ex-husband of Jayne Mansfield and father of actress Mariska Hargitay. Hargitay plays Professor Herbert Lyutak, a psychologist aiding the police in their investigation of a serial killer who has strangled several women, or that's what Lyutak wants people to think. In reality he is the killer, with his violence against women serving as an outlet for his rage and frustration over his sexual impotence. His wife Marcia is played by the stunning Rita Calderoni, an actress I've seen in a handful of films, though I'm just now noticing a striking resemblance to a slightly older Anne Hathaway. Marcia still loves her husband despite his sexual inadequacies. She offers to let him strangle her as a form of gratification and she is given to graphic sexual dreams/fantasies involving other women, her husband and a dungeon. Meanwhile, there's a copycat killer on the loose, murdering women in the same fashion as Lyutak.

The story tosses us the usual red herrings, but by the time we learn who the other killer is it's really no surprise. The soundtrack features some trippy Euro-pop tunes, and holy jeez you need to see some of these fashions. Police Inspector Edwards wears one highly memorable shirt that is louder than a Slip Knot concert. The acting is really over the top, and Hargitay makes good use of the crazed wild-eyed look he perfected in Bloody Pit of Horror. Overall it's an enjoyable bit of sleaze that runs out of steam towards the end as Marcia's histrionics become quite unbearable.

The U.S. cut of the film opens in Vietnam, showing Lyutak being injured in battle and being carried to safety by Edwards (revealing that the two characters have a history) with Marcia present as a nurse tending to his wounds. The idea is that Lyutak's wartime experiences serve as a basis for his psychosis. This cut even goes so far as to imply that the film takes place in the U.S., which it clearly does not. Nearly all the scenes are cut together differently. The sex scenes, while still quite graphic, are noticeably toned down and an implied lesbian relationship between Marcia and her niece Joaquine is absent. One victim who escaped in the Italian version dies here, and an entirely new character named Bonita appears only in this cut and figures heavily in the climax of the film, which is also drastically different. I would have said this film swiped the ending of Jacob's Ladder, if Delirium hadn't been made 18 years earlier.

I have to wonder if there might be other cuts of the film that shed some light on the Joaquine character. She shows up briefly at the beginning of the film and appears in Marcia's fevered sex dreams, then turns up in the third act as if we're supposed to know who she is. We learn that she is Lyutak and Marcia's niece, though it's never said what side of the family she is related to. I wouldn't be surprised if there was another International version in which she gets more screen time.

The disk's only extra is an interesting featurette built around interviews with Hargitay (who has since passed away) and director Renato Polselli. Among other things, they explain how the Vietnam scenes were added to make the film more playable in the States. The disk makes for an impressive package and giallo and Euro-sleaze aficionados are going to want to check this out.

Killer B's on DVD: The Skull

$
0
0


I'm not certain that this DVD's release was intentionally planned to come so quickly on the heels of the latest Indiana Jones film, but this horror flick from 1965 (just out from Legend Films) does deal with skulls and stars not one, but two future denizens of the Star Wars universe (anyone recognize Grand Moff Tarkin and Count Dooku in the picture above?). I suspect it's more coincidence than anything, but there are enough elements present to make fans of classic horror utter "why, what have we here?" The Skull was directed by Freddie Francis and stars Peter Cushing and Christopher Lee, with a brief appearance by Michael Gough (Alfred from the Tim Burton Batman movies), all of whom were veterans of Britain's Hammer Films, the studio that set the standard for gothic horror from the mid 1950s through the early 70s. This is not a Hammer film, but is in fact a product of Amicus Productions, another British studio that is best known today for its anthology horror films like Tales From the Crypt and The House That Dripped Blood.

The film opens in the early 1800s with a scene worthy of any Hammer film. A phrenologist named Pierre has hired two unsavory types to unearth a coffin in the dead of night. He removes the head of the long dead corpse and takes it home where he uses acid to remove the remaining flesh. Pierre seems pleased with his smiley new acquisition, but he soon meets an unpleasant (though unseen) end at the hands (or rather, teeth) of the newly disinterred noggin.

I had hoped this was going to be a period piece, so I was disappointed when the setting shifted to modern times. We meet Christopher Maitland (Cushing) and Sir Matthew Phillips (Lee), rival collectors of occult antiquities. A set of demonic statues raises both their interests, but Phillips outbids Maitland with a ridiculously high sum, though when asked he doesn't know why he wanted them so badly. Both men have had dealings with a man named Marco (Patrick Wymark), a disreputable dealer in items both men find of interest. Marco sells Maitland a book by the Marquis de Sade, a volume that is bound in human skin and offers to sell him the skull unearthed at the beginning of the film, which we now learn belonged to the Marquis.

Maitland discusses the offer with Phillips, from whom it turns out Marco stole the skull. Phillips doesn't want the skull back and he advises Maitland to stay away from it too. The Marquis de Sade was not just insane, it seems, but possessed by an evil spirit which lives on in the disembodied skull. It's the skull's influence that caused Phillips to buy the demonic statues. Maitland is soon feeling the effects of the skull and he experiences some bizarre hallucinations. Marco soon turns up murdered, his throat bitten out by something. Phillips offers Maitland a crucifix to keep the skull's evil at bay, but it may already be too late.

Lee and Cushing always had great chemistry, and it's nice to see them together. Lee is especially fun to watch as he just radiates the sinister, even when he's playing a non-villain role like he is here. Sadly, even though this film contains many of the ingredients that made for successful Hammer films (the stars, the graverobbing, the cemetery set built on what is obviously an indoor studio) this film doesn't compare favorably even to Hammer's minor efforts. The fact that the script is based on a short story by prolific horror writer Robert Bloch, who also wrote the novel upon which Psycho was based, gave me hope, but the film just doesn't work. While I can enjoy a film that employs an old school spookiness, skulls and floating books just seem silly by today's standards. The skull influences those it possesses to kill, but it's apparently an indiscriminate urge, and frankly I like my evil forces to have some kind of motivation other than "kill anything with a pulse."

Killer B's on DVD: Mystery Science Theater 3000 -- The Movie

$
0
0


For a movie that's taken this long to make its bow on DVD way back onto DVD after being out of print for years, 1996's Mystery Science Theater 3000: The Movie is a disappointingly barebones disk without so much as a trailer for an extra. MST3K without extras, however, is still MST3K, and for this B-movie junkie that's something pretty special. The film was, of course, based on the then current TV show running on Comedy Central which eventually jumped over to the Sci Fi Channel where it ended its 10 season run (11 if you count "Season 0" which ran in Minneapolis only) in 1999. Basically, you take a guy, strand him in space and stick him in a movie theater with two robots to make fun of cheezy old movies. More often than not, hilarity would ensue.

The film opens with Dr. Clayton Forrester (Trace Beaulieu) explaining his plan for world domination by driving Mike Nelson and his robot pals Tom Servo (Kevin Murphy) and Crow T. Robot (also Beaulieu) mad by showing them crappy films. He's sure this latest experiment -- the presentation of the 1955 science fiction epic This Island Earth -- will be his crowning achievement, reducing Mike and friends to drooling lunatics.

Dr. Forrester refers to This Island Earth as a "stinky cinematic suppository," but by MST3K standards this was one of slickest films they ever riffed on. The film's only crime is being dated, often hilariously so, but it had strong production values to begin with, and the big scale effects scenes made it a good choice for a theatrical MST3K. As with most fifties science fiction flicks, this one has a square-jawed hero and he goes by the name Cal Meacham (Rex Reason). He's a hotshot scientist in the field of atomic energy, but as a square-jawed hero he also has a winning smile and can fly jets. One day while Cal is showing off his flying skills he's saved from crashing by a mysterious green light. Shortly thereafter Cal and his assistant Joe (often referred to as "that wormy guy" by Mike and the 'bots) are sent equipment and instructions for building an interossiter, which appears to be a 50s sci-fi version of a web-cam. A white haired alien named Exeter (Jeff Morrow), sporting a forehead big enough to shame any Klingon, appears on the interossiter and expresses an interest in Cal working with him on some mysterious project.

The next day a remote control plane transports our hero to a secluded mansion in Georgia where some of the top minds in the world have been gathered to unearth the secrets of atomic energy for the greater good. Cal doesn't believe Exeter is on the up and up and neither do Dr. Ruth Adams (Faith Domergue) and Steve Carlson (Russell Johnson) whose status as a future resident of Gilligan's Island earns him a merciless pummeling from Mike and company. The three attempt to escape, but Steve is killed and Cal and Ruth are taken aboard a flying saucer piloted by Exeter and his people who are from the planet Metaluna. A war is raging on their home planet and they need Cal and Ruth's expertise to save them from extinction. The jokes fly fast and furious, touching on subjects as far ranging as the bankruptcy of Orion Pictures, William Shatner and cannibalistic soccer teams.

This foray into big-screen territory allowed Best Brains, producers of the TV show, to pour a bit more money into the production. I'm a little ambivalent about this since one of the show's biggest charms was its ultra cheap local TV feel, but I suppose if you're going to turn a current TV show into a feature you have to increase the stakes. We get more extravagant sets, with Dr. Forrester's lab and the main stage of the Satellite of Love shown in greater detail than ever before. We also get to see below decks as well as Tom Servo's room (where Mike discovers Tom's underpants collection). As with the TV show, the film will occasionally stop for some quick sketch comedy. Here we see Mike putting his Microsoft Flight Simulator skills to work piloting the satellite which causes the ship to collide with the Hubble Telescope.

I remember waiting in vain for this to play near me back in '96, but it never showed. The film pulled in just over a million dollars during its theatrical run, which saw it released to a whopping 26 theaters. Much as I love this movie and the show, I can see where Gramercy might have had trouble marketing it. Fans of the show will love it, but getting a mainstream audience to figure out exactly what MST3K is must have been a tricky proposition. I've read how studio interference made for an unpleasant shoot. Given the fact that the show had been in production for several years, I can see how suddenly having to answer to a higher power could be a pain, but MST3K: The Movie still ranks with the best the series had to offer.

Killer B's on DVD: Blood and Sex Nightmare

$
0
0


There's a lot to be said for truth in advertising, and few people could come away from a film called Blood and Sex Nightmare (due for release on August 5 from Bloody Earth Films) with the outraged cry: "I was expecting a carefree romp with Sandra Bullock!" Yes, this one delivers on its promise of blood and sex (often at the same time), but is that enough?

Amy (Julia Morizawa) has just returned to her boyfriend Nick (Andy McGuinness) after traveling to Japan for her father's funeral. Despite having been together for some time, the two have not had sex yet because Amy doesn't feel ready. Nick suggests they spend some time at Pleasure Mountain Adult Retreat, a getaway resort for couples (or any number of people) looking to spice things up. The retreat is a simple affair consisting of small cottages, but the other guests are an entertaining bunch with one couple doing bondage photography and a threesome acting out a bizarre sitcom fantasy complete with canned laughter.

There's also a creepy caretaker on hand who we soon learn is not on staff and is just hanging around to give people the willies. There's also a killer on the loose, a vengeful spirit who uses jarringly terrestrial implements like knives and chainsaws to dispatch his victims. That old chestnut of the sexually active characters being offed is trotted out, though it should be noted that a token virgin is messily done in as well. Amy begins having bloody visions of the killer ghost who speaks to her in Japanese with English subtitles.

While I'm not sure all of the similarities are intentional, there appear to be some obscure but interesting references here. The demon that keeps appearing to Amy is a rotting corpse with an eyeball dangling from its socket, which was a common sight in comics from Eerie Publications, an obscure horror comic publisher from the early 70s. Also the basic plot reminds me of 1964's The Monster of Camp Sunshine, in which a mutated grounds keeper attacks the residents of a nudist colony. There are also some more obvious influences from the likes of The Texas Chainsaw Massacre and pretty much any slasher movie you could name.

On one level director Joseph R. Kolbek should be commended on his willingness to push the limits of good taste. Push? Hell, he ignores them entirely. The sex and gore work more closely in tandem here than in most exploitation films. Sadly, the rest of the film has nothing new or interesting to offer, and when a movie's only claim to fame is its graphic depiction of mutilated genitalia, I have to say "no thank you." Several women in the cast are here because of their willingness to take off their clothes, and it must be said that they do it well, but most of the actors are wooden and uninspired. The opening scene in which a bound and gagged woman is fondled then gorily murdered -- a segment obviously designed to shock -- moves from point A to point B without even a hint of suspense or style, and the rest of the film stumbles along in a similar fashion. The story is on the thin side, and with the end credits starting to roll before we hit the one hour mark, the plot doesn't have a chance to build any momentum, though I doubt padding out the story by another thirty or so minutes would have been doing anyone a favor.

Among the extras are some 16 millimeter student films from director Kolbek. Chef Boyardemon is an Eraserhead inspired effort with a clever title being its sole asset, though Roaring 20's has a bizarre dreamlike quality and manages to entertain.

Killer B's on DVD: Student Bodies

$
0
0


I first discovered this slasher satire (recently released to DVD by Legend Films) during one of its many runs on cable in the early '80s. I recall liking it at the time, but I was a college kid with a fondness for beer, so I probably watched it through a hop and barley flavored filter. There's an obvious Airplane influence, though the laughs never flow as freely and the premise runs out of steam early on. The film's nostalgia appeal is probably its biggest selling point these days, and viewers watching it for the first time will probably wonder what all the fuss was about. Still, I'm glad I had a chance to reacquaint myself.

Since it was released in 1981, it's interesting to see how many of the sub-genre's cliches were already in place. The horror begins on Jaime Lee Curtis's birthday, as a randy young babysitter named Judy receives threatening phone calls from an asthmatic-sounding character who calls himself The Breather (voiced by Richard Belzer). Soon her boyfriend arrives and both of their fates are sealed when they decide to have sex (this IS a slasher film after all). The two are done in by the clever and deadly application of a paper clip and a garbage bag. Like all good slashers, The Breather has a trademarked look, though the green rubber gloves and galoshes just don't have the same impact as a goalie mask.

We soon have a murder spree on our hands with the prom queen candidates being picked off one by one. Toby (Kristen Riter) is the obligatory virgin in frumpy attire with a large button that says simply "no," who finds herself the target of suspicion and has to clear her name. Suspects and red herrings are easy to spot, as are important plot elements like doors being left unlocked thanks to handy on-screen captions.

Oddly, there's almost no nudity, gore or profanity. One cast member is partially unclothed in the first sex scene, but bucking the tradition, it's a dude. To remedy this, there is a randomly inserted scene in which a learned man behind a desk explains that a film must have at least one instance of skin, violence or foul language to gain an R rating, so he gives the audience a hearty "f--k you." The film doesn't really work as a whole, but there are a handful of memorable bits like the sexually frustrated boy who says to his girlfriend "Judy, you're not responding to my maleness," the man who reassembles a piece of fried chicken with a rubber band, and the sign on the shop classroom wall that says "Let's Get Lathed."

Apparently not everyone was proud of the film as the producer's credit is given to that time honored pseudonym, Alan Smithee. Writer/director Mickey Rose co-wrote some of Woody Allen's earliest and funniest films including What's Up Tiger Lilly?, Take the Money and Run and Bananas. Production values are strong, better than some of the non-comedic slasher flicks of the period, though the vast majority of the cast have no other film credits. Most notable in the "whatever the hell happened to him" department is the actor who played Malvert, the brain damaged janitor. Billed as The Stick, this guy was double jointed to the point where his arms swung like tentacles when he walked. You really have to see it for yourself. IMDB lists him as appearing in a 1984 show called Out of Control, but he seems to have disappeared after that.

Killer B's on DVD: T.V. The Movie

$
0
0


I've always felt there was something oddly compelling about public access television. Essentially, the FCC requires cable companies to provide training, equipment and air time for pretty much anyone (Wikipedia has an in-depth explanation of the practice here). I guess I just like the idea of a medium that has practically no standards. With everyones expectations set at zero, things can only improve, right?

T.V. The Movie is a low budget indie that appears to have grown out of The Adam Bomb Show -- a public access program inspired by The Tom Green Show featuring interviews, comedy sketches and local bands -- which broadcasts on Comcast Channel 25 in Santa Maria, CA. The film is so below the radar that, as of this writing, it doesn't even have an entry on IMDB. I'm unclear on what Rapscallion Films hopes to do with this movie, whether they're looking for a distributor or perhaps hoping to market the film themselves. I think the former might be a bit difficult as they use a guy dressed like Sesame Street's Elmo throughout the film, and at one point he brandishes a gun during a drug store robbery. I can see where that might turn distributors off. Further complicating matters is the fact that T.V. The Movie is also the name of a completely different 2006 movie starring Steve-O from Jackass.


Two roommates, Oscar and Brett, are having trouble paying the bills. When they suddenly realize they are three months behind on the mortgage and the bank is about to foreclose, panic sets in. They need to earn some scratch fast or our heroes will be out on the street. With the premise efficiently established within the first few minutes, it is largely ignored for long stretches. Oscar and Brett work behind the scenes on The Adam Bomb Show, and the rest of the cast and crew all live together and we are given a ringside seat to the shenanigans that comprise their daily lives. We meet their cohorts including Shanti the gun nut, Adam Bomb himself, and the aforementioned Elmo. Most importantly we meet Saul, Brett's twin brother who is played by the same actor as Saul only with sunglasses and a dopey accent. "We don't have a Cain and Abel thing going on," says Brett. "He's just a dick." Brett also has that magical facial hair unique to low budget films, its length varying widely from scene to scene and occasionally disappearing altogether.

Documentary style footage is combined with scenes of the same people performing scripted dialog, and I thought it was an interesting approach. The final result isn't what I would call a success, but the production values are reasonably high, with the exception of muddy audio that had me repeatedly rewinding to see what I had missed. T.V The Movie is a directionless jumble, which I wouldn't mind so much if the attempts at humor worked, most of which do not. After long stretches of character exposition and behind the scenes stuff at The Adam Bomb Show, the film periodically jumps back to the foreclosure issue. An onscreen countdown of days until our heroes lose their house consistently misspells the word "foreclosure," and Brett and Oscar jump from one money making scheme to another; including betting on the races, armed robbery and borrowing from the mob, all in a consistently unfunny manner.

The film strives to keep things clean as, besides some profanity and a gun-toting Muppet, there's nothing very racy here, though perhaps a little sleaze would have spiced things up. As it is, we've got an interesting concept that fails badly upon execution.

Killer B's on DVD: Rat Pfink A Boo Boo

$
0
0


With The Dark Knight making its debut this Friday, I thought the time was right to take a look back at this jaw-dropping Batman parody from 1966. Rat Pfink A Boo Boo was the brainchild of Ray Dennis Steckler, the B-movie auteur behind The Thrill Killers, The Lemon Grove Kids Meet the Monsters and The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies (the latter of which would have me muttering "cha-ching" right about now if I was paid by the word). Released in 1966, the same year the Batman TV series debuted, the film actually doesn't focus on costumed hero buffoonery until nearly the half-way mark. Apparently Steckler decided that the earnest but incompetent crime thriller he had been making wasn't working out, so he decided to do his own take on Batman, a character he had long admired. The resulting film is a disjointed mess unlike anything you've ever seen before, making this the Plan 9 From Outer Space of super hero films, and if you're the type who can find enjoyment in amazingly bad cinema then you just have to see this.
Three hoodlums, one wielding a claw hammer, one with a chain and third cackling like an imbecile, assault and rob a woman one night on a lonely Hollywood street. The next day they're looking for more illicit kicks and randomly pull the name Cee Bee Beaumont (Steckler's wife Carolyn Brandt) out of the phone book. Cee Bee, it turns out, is the girlfriend of rock and roll sensation Lonnie Lord (Ron Haydock, billed here as Vin Saxon). His fans are legion, the narrator tells us -- though Steckler can only afford to show three of them -- and he always carries his guitar with him in case he should be called upon to perform his Elvis-inspired brand of music. And be warned, he does play and it isn't pretty. Lonnie apparently refused to surrender to the British Invasion, and I have to think this kind of music was already outdated by the time Rat Pfink came out.

The three thugs set out to terrorize Cee Bee. In one of the films most memorable scenes the guy with the chain named Linc (such subtle nomenclature) stalks our heroine for ten minutes of film time, attempting to build tension the whole time until ultimately ABSOLUTELY NOTHING HAPPENS. Cee Bee is eventually kidnapped and her gardener Titus Twimbley takes a hammer to the head in her defense. As Lonnie and Titus wait to hear from the kidnappers, we're treated to a wondrously idiotic bit in which Lonnie croons a sad song for his abducted girl while we watch Titus refill the ice pack for his head three times. Steckler may not be a great film maker, but he's the master of filler.

When the call comes in demanding $50,000 for Cee Bee's return, money which Lonnie can't possibly pull together before the deadline, the film suddenly takes a sharp left turn into bad movie history. Lonnie and Titus walk into the hall closet and emerge dressed like a pair of brain damaged Justice League wannabes, sporting long underwear, capes, a ski mask, and I don't know what the hell you would call that thing on Boo Boo's head. At this point we also get the film's single best slice of dialog:

Rat Pfink: "Remember, Boo Boo, we only have one weakness."
Boo Boo: "What's that, Rat Fink?"
Rat Pfink: "Bullets."

Genius. The second half of the film is a good natured if inept free for all that still manages to please four decades later. From here on we have chase scenes, fight scenes, and general tomfoolery until Cee Bee is kidnapped by Kogar the Gorilla and, well you really need to see it yourself. The humor never rises above grade school level (the Rat Cycle makes the sound of a toilet flushing when it starts) but the whole thing is oddly fascinating.

The title Rat Pfink A Boo Boo has long been accredited to a typo on the title card with the "nd" being left out, but Steckler refutes this in his audio commentary claiming he just liked the sound of "A Boo Boo." The disk from Media Blasters' Guilty Pleasures label allows for watching the film either in black and white or with scenes tinted in various colors, though I don't see what value this feature adds. The disk also features a lengthy interview with Steckler, though it's really just him talking directly to the camera, recounting at length what a great time he had making the film. The presence of an interviewer and some judicious editing would have made this bit more watchable. Steckler's commentary is a bit disappointing as well, since more often than not he seems to be describing the onscreen action rather than offering behind the scenes info.
Viewing all 2191 articles
Browse latest View live