Starring: Andras Jones, Linnea Quigley, Robin Stille, Brinke Stevens, Michelle Bauer, Hal Havins, John Stuart Wildman,
WARNING: POSSIBLE SPOILERS IN THIS REVIEW
Most filmmakers are lucky to have a handful of movies they’ve done in their career. Some are even lucky to at least get one. For example, my favorite director John Carpenter has twenty one film credits to his resume. Another filmmaker I love, Frank Henenlotter has ten. Where am I going with this? I was reading some information about a B movie filmmaker by the name of David DeCoteau. He got his foot in the door in the movie business at age nineteen working for Roger Corman and quickly worked up the ranks to where he was directing movies. According to IMDB, DeCoteau has one hundred and fifty directing credits! The movies he directs ranges from horror to science fiction to even Christmas family movies made exclusively for television. To answer as to how DeCoteau has been able to direct so many films is according to Charles Band, filmmaker and founder of such b movie horror companies as Empire Pictures, Urban Classics and currently Full Moon Features is that DeCoteau is, “hard, fast and stays under budget.” DeCoteau has directed many films for Charles Band throughout the years. His most famous film is Puppet Master III: Tulon’s Revenge which is regarded as the best movie in the Puppet Master franchise (I concur. It’s my favorite). For this edition of “Guilty Pleasure Cinema Review” we’re going to look at another popular movie of his that has had a huge cult following for the last thirty years. That movie is 1988’s Sorority Babes in the Slimeball Bowl-O-Rama (try saying that five times fast)!
I know what you’re thinking about the title and let’s get this out of the way now. This is not a softcore adult film! This could be described as a sexy horror comedy that bounces all over the walls, or in this case bumpers. The story is about three nerds who sneak over to the Tri-Delta Sorority House. They are watching the initiation of two new members getting spanked by the head of the chapter named Babs. The boys enter the house and watching the initiates hose down after getting a whipped cream spraying. Essentially they are caught by Babs. As punishment, they have to go with the two initiates named Lisa and Taffy to steal a bowling trophy from the local bowling alley. If they retrieve a trophy, the boys will not be reported to the police for their voyeurism and Lisa and Taffy will get into the Sorority. Unbeknownst to them, Babs’ father runs the mall where the bowling alley is at so she and the other sisters can watch their every move through the security cameras. Inside the bowling alley they come across a biker looking punk named Spider who is stealing money from the register and the arcades. Spider uses her crowbar to break the chain into the trophy room. From there, the boys and the pledges grab the biggest trophy on the shelf. On accident, the bowling trophy falls to the ground and breaks. Smoke beings to come out from the trophy and out appears an imp. The imp thanks them for releasing him and grants wishes to the group. A couple of them take advantage of this offer. Turns out their wishes would be fake and the imp starts his night of terror among the group by turning two of the sisters into she-demons and electrifying all the doors in the alley to prevent anyone from escaping. Now the survivors must figure out how to either escape or defeat the imp.
This straight to video movie stars Linnea Quigley in her first starring role as Spider. She is another scream queen legend as fans will recognize her from her supporting roles in Return of the Living Dead, Night of the Demons and Silent Night: Deadly Night. The rest of the cast features Andres Jones as Calvin, Hal Havens as Jimmie, John Stuart Wildman as Keith (the three nerds), Robin Rochelle (Stile) as Babs, Kathi O’ Brecht and Carla Barron as Rhonda and Frankie, the other sisters in the sorority, Michelle Bauer as Lisa and Brinke Stevens as Taffy. There is a special appearance from George “Buck” Flower as the janitor of the Bowl-O-Rama. Flower is known for always playing the hobo in such films as the “Back to the Future” movies and in many of John Carpenter’s movies such as The Fog, Escape From New York, and They Live!
Sorority Babes in the Slimeball Bowl-O-Rama is as much of a punk film as Linnea Quigley’s appearance in this. It breaks a lot of rules and lacks consistency. It makes up for it with its sheer delight of goofiness, beautiful looking girls and gore. There’s not much logic in this movie as to why the imp turns two of the girls into demons with one of them a copycat of the bride of Frankenstein and how an imp got stuck in a bowling trophy, although the explanation as to how the imp came to be and its purpose is told through a story by the janitor. If you can ignore all that, you’ll enjoy the movie a little better. DeCoteau made this movie in reportedly nine days which would show why he continues to get directing work.
The imp is a tiny little blue creature with a giant mouth filled with teeth. It reminds me of the donkey from Shrek voiced by Eddie Murphy. Speaking of the voice, the imp does sound a lot like Eddie Murphy. I’ve heard people say he’s sounds like Barry White, but it’s not really a deep of a voice. You don’t see the imp move around. He appears in the same shot for most of the movie with the exception of a few scenes where he is tripping Jimmie or he’s behind the bowling alley taunting Babs. His dialogue and jokes are as stereotypical as they can be.
Speaking of stereotypes, they are in each character. You have two of the nerds (Calvin and Keith) who wear thick glasses and goofy hair and you have Jimmie who reminds me of a mix between Chris Farley and John Candy without the physicality. You have Lisa and Taffy the gorgeous pledges and you have Babs who is the prissy and mean girl of the sorority having her fun at humiliating the pledges. And then you have Spider who you know right away is going to be the heroine of the film. She’s tough and doesn’t have time for games. However, as the movie progresses, Spider shows a sense of vulnerability and confiding with Calvin as to how they are going to get out. That’s a credit to Quigley and the characters she has played previously before this film.
With Quigley being the star, the rest of the cast were decent given the material they were given. You can tell they are playing to the script and the concept of the movie. The dialogue is pure 80s cheese with many one liners and zingers coming from Quigley. Buck Flower also provides comedic relief as he spends much of the film trying to get himself out of a room he locked himself into and when he comes across Spider and Calvin gives the hilarious story of the imp and the person who summoned him.
As I mentioned earlier, the film is not a softcore porn movie, but it does have a lot of sexual overtones. Yes, you have naked women in the beginning and the middle of the movie, but it’s much more than that. First you have Babs spanking Lisa and Taffy and getting a kick out of it. You have the lonely (and presumably virgin) nerds who get a pleasure out of the sheer sight of watching Lisa and Taffy taking a shower. You have the setting of the movie, a bowling alley. There’s so much sexual imagery and thought with the setting. You have bowling balls, bowling pins, gutters……well you get the idea. Finally you have Keith who makes a wish to hook up with Lisa and gets more than what he wished for. What he thought would be exciting in fulfilling a dream becomes a horrible nightmare.
With the exception of the flaws I mentioned earlier the only other gripes I have about this movie is the pacing. It starts to slow down during the third act of the movie. I started to get a little bored and was eagerly waiting for the climax of the movie to be done with. Also, I felt the creative death scenes in the movie could’ve used a little more depth. There’s not much blood and gore in this movie, which is ok. However, you should see the death scene go all the way through. One death scene kicks into another scene just as the victim is screaming for her life.
If you’re looking to watch an 80s horror movie that is out of the ordinary, look no further than Sorority Babes In The Slimeball Bowl-O-Rama. If you’re lucky to find this get a group of friends together along with a few six packs or other preferred drinks of your choice and enjoy this wild and over the top movie. You won’t need to get drunk to understand what is going on in the movie. Don’t be one of those people who tries to use their brain to figure out what David DeCoteau is trying to get out of this movie. You’ll end up giving yourself a headache. Think of it a rule breaking, stereotypical piece of horror comedy that you may end up liking. If you don’t like it, that’s ok. You can blame me. At least I tried to convince you to watch something unconventional.
TRIVIA (Per IMDB):
Director David DeCoteau wanted to work with Linnea Quigley so much that he handed her the script and told her she could play any character she wanted. She eventually decided on Spider.
This was the most popular feature shown on USA Up All Night with Rhonda Shear. The episode was co-hosted by star Linnea Quigley.
Linnea Quigley suggested Hal Havins after having worked with him on Night of the Demons (1988).
In Static-X’s song “I’m With Stupid”, Linnea Quigley’s line from the movie “Yeah, it was…very stupid.” is sampled.
The budget was too low to rent the bowling alley during peak daytime hours, so the cast and crew had to wait till the bowling alley closed at 9pm and shoot all night till 9am.
The script was written in 10 days with only one draft.
John Stuart Wildman (Keith) was originally supposed to have a nude scene in the locker room, but then decided he couldn’t do it. David DeCoteau told him he would at least have to wear tighty whiteys, but then he showed up wearing boxers.
Producer Charles Band held a contest among the employees at Empire Pictures to come up with a new title for the movie, as he felt The Imp was no longer relevant. The title he chose was Bitchin’ Sorority Babes in the Slimeball Bowl-O-Rama, which the entire cast hated (except for Andras Jones, who loved it). Fortunately, the MPAA said they couldn’t use the word “Bitchin'” in a movie title and forced them to drop it.
Shot in twelve days.
The janitor tells a story about a man named Dave McCabe. This was director David DeCoteau’s alternate name when he directed adult films.
Writers: William Porter (as Jay Dee Rock) & Steven Kampmann (as Bobby von Hayes)
Starring: Martin Short, Charles Grodin, Mary Steenburgen, Dabney Colman, Richard Kind
Note: This review is dedicated to the memory of Charles Grodin. Thank you for the laughs.
WARNING: POSSIBLE SPOILERS IN THIS REVIEW
Does anyone remember the move Three Amigos which was the 1986 comedy starring Chevy Chase, Steve Martin and Martin Short? I had watched it recently after not having seen it in over twenty years. It featured three Saturday Night Live alums. While Steve Martin and Chevy Chase went on to be leading comedic stars on film, Martin short was left behind. Sure, he’s been a great supporting actor on film, but I couldn’t quite name a starring movie role for him. That is until I discovered that one of the first movies I saw Short in is available to watch on HBO Max. It’s a movie that would play all the time on Comedy Central just as I was getting home from school. It’s been twenty-five years since this movie’s initial release, and this is one that is truly a “Guilty Pleasure Film” for me. For this review, we’re going back to 1994 with Clifford!
The film starts out in the future as Father Clifford Daniels catches a boy trying to leave the orphanage. He sits down with the boy to discuss his reasons for leaving which then Clifford breaks into a moment in his childhood. The flashback is where the movie picks up. Clifford is a ten-year-old boy (You guessed it. Short, a forty-something man at this time is playing a ten-year-old boy) who has severe ADHD (which is caused by a high sugar intake as you will see in various points of the movie) and carries his recorder and his toy dinosaur named Stefan which he always carried in his pocket. He is in an airplane with his parents going to Hawaii for a convention. After hearing that the plane is flying over Los Angeles, Clifford asks if the plane will be landing there so he can go to Dinosaur World, the theme park of his dreams. After finding out it’s not stopping, Clifford goes into the cockpit of the plane and shut down the engines to which the plane must land in Los Angeles. As a result of this, Clifford is banned from the flight. Worried that he’ll miss the convention, Clifford’s father (Richard Kind) calls up his estranged brother Martin (Charles Grodin) who lives in Los Angeles and asks if he would look at him. Martin, a big named architect who is going through his own problems such as finishing a massive train system for the city and trying to save his relationship with his fiancé Sarah (Mary Steenburgen) who are at a stalemate over wanting children agrees to take Clifford into his home. And that’s when Martin’s world would be even turned more upside down.
Clifford was shot in 1990 but didn’t get released in theaters until 1994. The reason was Orion, who produced the movie was on the verge of bankruptcy and they held off releasing several movies until they got their financials in order. The movie tanked at the box office and was universally panned by everyone, especially Roger Ebert who wrote, “The movie is so odd, it’s almost worth seeing just because we’ll never see anything like it again. I hope.” and gave it a rare ½ star. Despite the overwhelming negative reviews, the movie has developed a cult status.
Clifford is indeed an odd dark comedy. I’m not sure what director Paul Flaherty or the writers were trying to accomplish with making this. It seems like they just told everyone let’s be as silly and weird as we can possibly be. I’m surprised Charles Grodin, a respectable actor stayed as long as he did, or he was completely oblivious to what was going on. The reasons that I do like Clifford not just because of the fact it was a movie that was played a lot during my childhood years. There are some things that I do enjoy about it, but then again, I enjoy obscure macabre comedy.
Martin Short and Charles Grodin carry the weight of the movie. Short portrays Clifford very reminiscent of his most iconic characters on SCTV, which was the pointy hair Ed Grimley. Like a ten-year old, when Clifford doesn’t get his way, he behaves badly. He gets triggered that he pulls out Stefan as a kind of security blanket. Some of his actions are even criminal in today’s society. It’s not until the near end of the movie where he realizes why his family is tormented by him. Grodin is the calm authoritative figure who slowly breaks down when Clifford continues to get to the best of him. He develops his own madness and when he tries to find ways of disciplining him, it makes matters worse. It’s as if both are playing Chess against each other predicting on who will make the next move. The cast of the movie is very small. The only supporting actors to this movie are Mary Steenburgen as Sarah who desperately wants children and when she sees Clifford she becomes in awe of him and Dabney Coleman as Martin’s sleazy womanizing boss Ellis who looks to capture Sarah’s heart for himself.
As for the jokes, it’s a blend physical comedy with insanity due to Short’s actions and reactions. Short makes great use of his facial expressions to crack a laugh or two. One of my favorite scenes in the movie is where Clifford takes Stefan out of his pocket and puts it in the shower just as Steenburgen is in it. They’re other jokes such as Short putting Tabasco sauce in Grodin’s Bloody Mary, Clifford’s dancing skills when he has a house party at his uncle’s after tricking him that he was leaving for San Francisco.
The movie ultimately failed due to its shear psychoticism and emotional issues between the two lead characters. There are moments in the film which could be depicted as negligence, kidnapping, and endangering the well-being of a child. Not to mention that when Clifford gets bad news he goes into this trance where he will do things such as eating everything in sight, demanding chocolate or creating something just out of nowhere to get even. This movie would not be possible to make today.
So, if you’re daring enough to watch Clifford you will be in for a comedic experience like no other. If you like madness mixed in with your comedy, then this movie will be right up your alley. My advice though is to not show this to any young children. They could learn some dastardly things watching Martin Short and his antics.
Although planned for a 1991 release, Clifford became one of many films (including RoboCop 3 (1993)) produced by Orion and filmed years before its release date. The reason it was not released until 1994 was due to company Orion’s pending bankruptcy, and not because of bad press screenings, as some sources claim.
Charles Grodin and Mary Steenburgen were also a couple in the movie It Runs in the Family (1994).
Martin Short’s co-stars are usually standing on boxes and next to slightly oversize props.
Writers: Anders Jacobsson , Göran Lundström, Christer Ohlsson
Starring: Johan Rudebeck, Olof Rhodin, Camela Leierth, Per Lofberg
WARNING: POSSIBLE SPOILERS IN THIS REVIEW
When I think of countries that have produced horror films, the most notable ones that come up besides the United States are Japan and Italy. There are so many notable films in the horror genre that birthed from these countries. Of course, that’s not to say that foreign horror films are limited to these countries. There have been films shot in Spain (1982’s Pieces), Australia (2005’s Wolf Creek) and Romania (Subspecies movies from the 90s) just to name a few. A couple years ago when I was getting back into the world of exploitation films thanks to the hit Shudder series “The Last Drive In” featuring my all-time favorite critic, Joe Bob Briggs I was looking for titles that were lesser known, but had a cult following. One of those movies I discovered through the streaming app Tubi was a 1997 Swedish slasher film which premise caught my attention. Within the first viewing I was hooked on it and ended up buying the Blu-Ray Collector’s Edition which featured three versions of the film. That film which is this week’s “Guilty Pleasure Cinema” review is Evil Ed!
Directed by Anders Jacobsson, who also wrote the script with Göran Lundström and Christer Ohlsson, Evil Ed stars Johan Rudebeck as Edward ‘Eddie’ Tor Swenson, an editor for the film company European Distributors, who gets assigned to the “Splatter & Gore Department,” which is the horror movie line to complete the unfinished edits of the company’s biggest franchise, the Loose Limbs films. The head of the department Sam Campbell (Olof Rhodin) allows Eddie to use his private cottage in the Swedish countryside to complete the films. Alone in the cottage and viewing these films for the first time Eddie is exposed to the blood, gore, violence, and craziness of the series as he has never seen a horror film in his life. Working late hours and watching every entry to edit them due to each European country’s different censor laws, Eddie develops hallucinations and sees anyone checking up on him as a monster to the point where he develops insanity and kills them.
The writers of Evil Ed created this movie as a political statement to the harsh censorship laws of Sweden. At the time, the country did not allow films to feature blood, gore, sex, or excessive violence. Eventually the country eased up on their restrictions which allowed Anders Jacobsson to proceed with making of this film. The film took five years to finish. It’s original intention was to be a short film, but ended up turning into a full length feature. The production went through some troubled times. The film was made using discarded equipment and there were constant re-shoots in order to get it to look the way it ends up on the film. When it was finished, Evil Ed was shown in only four theaters in Sweden. However, the great reviews of the movie created a buzz and ended up selling the distribution to over sixty countries.
There is so much I enjoyed about Evil Ed. The first thing I praise is its originality. I’ve never seen a film up to that point about a film editor who goes completely mad while performing his job. When you think about it, film editing is just a typical job. It can get frustrating, and you must work long hours in order to get the cut that the Director wants. It’s his vision, after all. The character of Eddie reminds us of ourselves as how we would react to something that we see for the first time and don’t know how to compute it. This could be anything from seeing your first horror movie to perhaps seeing a naked body for the first time and not knowing how to process it in your brain or you watch something traumatic that you don’t know how to react, and stays bottled up with you inside. Jacobsson does a great job exploring these feelings throughout the lead character which in turn is performed great by Johan Rudebeck. You see how innocent and mild mannered he is and then you slowly watch as his morality and clean soul is polluted by what he sees on the monitor. Rudebeck’s Eddie goes through the moods like changes of the season. He goes from innocent to scared to humorous in a dark tone to outright madness which doesn’t end well.
There’s not much of a supporting cast other than the principal actors. I found Olof Rhodin’s portrayal of Sam Campbell to be hilarious and he acts just how an executive would act. He doesn’t care about the concerns Eddie brings up to him. All he cares about is the job getting done so his distribution deal can be signed and delivered. That’s the name of the game in the film industry. The art aspect is gone, and films are seen as products being sold to the highest bidder. Before I go any further into the performances I should point out since that the film is Swedesh, the characters were dubbed by English speaking actors. The dubbed actors played it straight. You don’t have to worry about it being too goofy or over the top with the exception of some of the monsters that Eddie sees when he takes his periodic breaks in between his editing jobs.
Evil Ed has the right balance of horror and comedy not to take it too seriously. Each scene fits appropriately to the situation that is unfolding. Many fan reviews compare the humor and horror to that of the Evil Dead movies. That’s a fair statement to make. I found myself laughing at the littlest moments. The ample amount of blood and gore is right on the level of Evil Dead and will keep not only those fans, but gore fans hungry for more. It didn’t occur to me until I started doing research on this movie is that the filmmakers were obviously influenced by Sam Raimi’s classic horror trilogy and the character name of Sam Campbell didn’t resonate in my head until I realized he took Sam Raimi’s first name and Bruce Campbell’s last name. I can be naive to those minute details.
I loved the cinematography of the film. Evil Ed was shot in 16MM and most of the film takes place at night with a cold blue light that surrounds the scenes to give it a very eerie tone. The makeup effects for the characters were top notch with a few frightening moments including a hag looking monster who screams at Eddie, which happens to be my favorite part in the movie (I have an Audio Clip as proof). There’s even a scene where the monster is reminiscent of Tim Curry’s Darkness character from Ridley Scott’s Legend. The short clips shown of the Loose Limbs films are full of blood and slapstick as an homage to the popular slasher films of the 80s.
The only gripe I really have about the movie is the pacing and the third act. Things start to slow down during the third act and get very silly. I won’t go into too many details to avoid spoilers, but I felt that the writers could’ve taken the time to finish the story in a different way. My impressions from the final act was that they were struggling to come up with a satisfactory ending so they decided to rush one through with something common. It tarnishes from the rest of the film’s originality.
Evil Ed is a fun and frightening flick that is great to watch on a Friday or Saturday evening. It falls in the category of my favorite underrated and underappreciated horror films. Evil Ed put Sweden on the horror movie map. I’ll need to I would love to see it get “The Last Drive In” treatment someday. This is the perfect movie to watch with your friends while Joe Bob provides insightful information about the movie and what the actors, writers and filmmakers are doing these days. I’m not sure if it’s available to watch on Tubi, but if it is definitely reserve a night to watch and if you like it, pick up the Collector’s Edition which features the Director’s Cut.
TRIVIA (Per IMDB)
It took five years to make this movie which started as a short film project. All the trailers and “films-in-the-film”-scenes was the first sequences to be filmed.
The title is an obvious play on The Evil Dead (1981). The character name Sam Campbell is another reference to that movie: the director of The Evil Dead (1981) is Sam Raimi, and the star is Bruce Campbell.
Only four theaters in Sweden wanted to see this film. It was later sold to over 60 countries.
All the dubbed voices were performed by American actors at Bandit Radio, an English-speaking radio station in Stockholm.
Although his part is unspecified in the credits, Bill Moseley provides the voice for the killer in the “Loose Limbs” films.
When Ed throws the head of the crackhead out of the window, it bounces off the hood of a car. The man driving the car is Director Anders Jacobsson.
The movie originally ended with Barbara shooting Edward and him being taken away to hospital. Then the camera goes into the house and up the stairs into Edward’s editing room. The shot ends with a zoom into the editing screen as we see the trailer to “Loose Limbs 8”. The filmmakers realized that the movie was too short and wasn’t exciting enough. So a new ending had to be shot.
When it was completed, the filmmakers changed the the camera used in the film was an archived 16mm camera owned by Sveriges Television, the Swedish state TV-station. The producers acquired the camera from an elderly janitor for a bottle of whiskey.
Starring: Matt Laumann, Michael Peake, Jack Burrows, Kayla Clark, Jake Robinson
WARNING: POSSIBLE SPOILERS IN THIS REVIEW
What’s the weirdest horror monster you’ve ever seen in film? I’ve practically seen them all. From a Siamese twin brother who looks like a squashed octopus to a killer condom with teeth and a flushed fetus that turns into a radioactive bloodthirsty killing machine to a crazy gingerbread man. Monster films can be creative by taking some ludicrous idea and making a character out of it. Take the review for this week. It’s a movie involving a giant monster made of human, radioactive substance and ground beef. This next movie in “Guilty Pleasure Cinema Review” came out of nowhere like something falling from the sky. The first thing that caught my attention was the movie title followed by the image of a sloppy joe with teeth. The title of the movie was called Inhumanwich!
Inhumanwich! is a Sci-Fi/Horror/Comedy about an astronaut returning to earth from a space mission. As he prepares to eat a sloppy joe sandwich his wife made him for his trip, he gets caught in an asteroid field damaging the ship’s reactor core. Radiation leaks out which gets on him and the sandwich. When he crash-lands in a wooded area, he slowly turns into a meat monster with tentacles. From there it wrecks having in a small southern Ohio town eating one human to another causing it to grow in size. The scientists at NASA team up with the military to stop this creature before it consumes any more victims.
Written and directed by David Cornelius, Inhumanwich! is a throwback to the silly sci-fi monster movies of the fifties. It’s shot entirely in black and white which gives it that authenticity of being a movie from that era. The look of the film is amateurish in nature complete with a local cast and crew, but they all work well together to create a film that doesn’t take itself seriously which makes it enjoyable.
I love the fact that the movie takes place in Ohio. The crew is from Cincinnati and the entire film is shot there. The filmmakers decided to give Dayton (my hometown) its own NASA Mission Control Center. I’m telling you right now, we don’t have an actual Mission Control Center here, but we do have the National Air Force and Space Museum. Other than that, the film does a good job showcasing the area with its suburban neighborhoods and heavily wooded areas.
Like a cheesy monster movie from the fifties, the performances are filled with familiar characters found in most of those films. You have the stereotypical housewife who shows concerns (or lack thereof) of her husband, scientists who come up with ways of stopping the monster only for it to backfire and the military officers complete with firepower who’s only remedy to the situation is to shower it with bullets. There’s plenty of gags and situations with the characters that it reminds me of something Monty Python would do.
As for the star of the movie, the creature is essentially a giant meatloaf with eyes and tentacles. The first time you see it, he is chasing a hunter using fast motion effects. I was literally chocking on my sandwich as I saw this. The creature essentially eats the meat of its victims leaving the bones behind as shown in various shots of skeletons that looked like they were bought from a Halloween Store. It has the ability to camouflage itself with any ground meat as shown in one particular scene. I have to give the filmmakers props for coming up with an ingenious creation.
The film makes do a good job of limiting the use of special effects in Inhumanwich! There’s a mix of physical effects with ones that were done on a computer. They didn’t lessen my enjoyment as I continued through the structured and easy to follow plot. One thing is for sure is that David Cornelius made sure to throw every fifties sci-fi monster trope out there and many were able to stick.
Inhumanwich! is a great throwback to the monster movies of the era. I give the filmmakers much kudos for creating a funny and entertaining movie. If you’re sick of the big budget monster flicks, this is the total opposite. It makes you want to go back and revisit those style of monster movies.
TRIVIA (Per IMDB)
At about 57 minutes while General Graham is arguing with scientist Ed Farley, the crew can be clearly seen in the reflection on the general’s glasses.
Starring: David Carradine, Michael Moriarty, Richard Roundtree, Candy Clark, James Dixon
WARNING: POSSIBLE SPOILERS IN THIS REVIEW
Larry Cohen is perhaps my second favorite filmmaker only to John Carpenter. He’s truly an auteur in the film industry. He wrote, produced, and directed his own movies taking on different genres with creative themes and concepts. Cohen was best known for being a guerrilla filmmaker where he shot his movies without permits and got away with them. His risk-taking no-nonsense style has earned him the admiration from many peers and fans. Sadly, he passed away in March 2019, but his legacy will continue to live on. For this week’s review, we are going to be looking at one of Larry Cohen’s most popular movies. It’s an homage to the early monster movies such as King Kong. It takes place in New York City (like King Kong), but instead of seeing the monster on top of the Empire State Building, you’re going to be seeing a monster on top of another landmark building, the Chrysler Building. This week we’re going to be reviewing 1982’s Q: The Winged Serpent!
As the title suggests, Q is a flying monster that has made its home on top of the Chrysler Building. It flies through the skies of New York City snatching up people for food. No one knows where this creature came from or how it got here. As the monster roams the skies, two separate stories are going on. The first story you have is Police Detective Shepard (David Carradine) who is assigned the case of finding the monster and killing it. He believes the monster has something to do with a series of ritual killings he’s also been investigating. Along with his partner Powell (Richard Roundtree), they link the killings and the monster to a secret Neo Aztec cult. The second story involves Jimmy Quinn (Michael Moriarty), a cheap two-timing crook who is an excellent piano player who is involved in a botched diamond heist. He makes his escape by hiding inside the Chrysler Building where he discovers the creature’s nest atop complete with a giant egg. Jimmy uses this knowledge of the creature’s location to lure his fellow mob pursuers to their deaths at the hands of the creature and to extort the city of money and immunity from prosecution in exchange for giving up the creature’s hideout.
Larry Cohen wrote and shot this movie in a little over two weeks. He was working on a project called I, The Jury until he was fired by the studio (he is credited for writing the script to the movie). Not wanting to leave his hotel room that was paid up, he assembled a small crew from the aforementioned project and started shooting all around the city. It took Cohen six days to write the script for Q. The cast was not aware of what they were making when they received a short telegram from Cohen to arrive in the city and be prepared to work.
When I first watched Q, I was thoroughly impressed with the look and style of the movie. It reminded me of the Godzilla movies that I used to watch as a kid on television. There was a look and feel to them that stuck in my brain and this movie did the same thing. It had me engaged from the first scene and I was on the edge of my seat to see how it was going to play out. I was familiar with Larry Cohen’s work at the time, but not enough to know how he shot films and how he edited them.
Q has an excellent cast filled with character actors and method actors. I’ve always been a fan of David Carradine and I was ecstatic when I found out he was in this film. He doesn’t disappoint. He plays Shepard as a traditional detective, trying to find all the clues and piece them together. When he comes up with his final report, it is rejected by his superiors. Carradine continues to believe what he has uncovered and is willing to do what it takes to stop the monster and save the city. His partner, played by Richard Roundtree is a little rougher around the edges. If interrogators were playing ‘Good Cop, Bad Cop’ with a suspect, Roundtree would easily be the ‘Bad Cop.’ There’s even a scene where he plays that on Jimmy Quinn. Speaking of Jimmy Quinn, he’s the surprising hero of the movie played brilliantly by Michael Moriarty. When he first appears on screen he is desperate to get back in the game of stealing. When the diamond heist goes bad he starts to get edgy and paranoid. As the movie progresses you see that Jimmy grow a brain and develop a plan to get rid of the people who are looking for him and a way to set himself up for the failed heist. Many critics and fans have hailed Moriarty’s performance as the best piece of method acting they’ve seen and I echo that sentiment. He pours emotions filled with anger, despair and cockiness. This was the first collaboration between Moriarty and Cohen and it wouldn’t be the last as they would work together on five more movies.
Like all of his movies, Larry Cohen shot the film with no permits and used real life police officers, construction workers and window washers which gives the movie an authentic feel. The movie is shot in the streets of New York, over the skies of New York and of course the inside and outside of the Chrysler Building. When you watch the people of New York look above when they are getting splattered with blood falling from the sky or taking cover when bullet cases are raining down, those aren’t paid actors, those are real people who are quickly reacting to the situation that they are in. The only permission he received was from the owners of the Chrysler Building. At the cost of $15,000 Cohen was able to shoot inside the building all the way up to the top where no ordinary citizen has gone before. From there you will be amazed by what the top of the building looks like and becomes the set piece for the climatic showdown between the monster and the police which is this reviewer’s favorite scene in the whole picture.
Now let’s get to the character of the monster itself, Quetzalcoatl! The special effects for Q were done using stop-motion animation by Randall William Cook and David Allen. It is custom for stop motion sequences to be shot as they are happening. This was not the case (nothing is ever coherent in a Larry Cohen movie). When Cohen hired Cook and Allen to do the stop motion animation, he had already finished shooting the movie. His plan was to add the creature into shots already taken. This results in the monster looking like he was pasted onto an existing shot. It brings a sense of unevenness when watching the monster when it appears or has moments of action such as plucking the heads off people. The effects are no different from what you would see in a b movie involving a monster, but don’t let the cheapness distract you. You will easily bypass it as you continue to be engrossed in the movie and enjoy the effects for the sheer fun.
There’s not much more I can say about Q: The Winged Serpent without giving too much away. It’s one of the best B-Movies to come out within the last forty years. It continues to have an impact and has inspired other filmmakers to make their own monster movies using this concept. I rank this as favorite film of everything Larry Cohen has done, even The Stuff! It’s example of a film which proves you can make a crazy concept and can execute it with a great story and characters.
TRIVIA (Per IMDB)
A young Bruce Willis wanted to star in David Carradine’s role but wasn’t a known name at the time that Larry Cohen could depend on to be bankable. Bruce later met Larry again when Moonlighting (1985) was a hit.
Pre-production for the movie lasted just one week. The film was conceived after Larry Cohen was fired from a big budget film shooting in New York. Cohen, determined not to waste the hotel room he had paid for, hired the actors and prepared a shooting script within six days.
In an interview on NPR’s “Fresh Air”, Michael Moriarty described the scene in which he auditions as a piano player. The music he played was a self-composed and unrehearsed improvisation, and the dog’s reaction was genuine.
The building in the opening scene of the movie is the Empire State Building. In this scene, a window cleaner loses his head to the monster. His name is William Pilch, and was the actual window cleaner for the Empire State Building at the time of the movie’s filming.
The French movie poster incorrectly shows the monster covered with feathers, a wavy dinosaur frill along its back, and with large white teeth. This is because it was illustrated and printed up before copies of the film were imported into France.
David Carradine agreed to play Shepard even though he didn’t receive a script to read prior to his first day of working on the film.
The jewel store that the bad guys rob in the early part of the film is called “Neil Diamonds” a pun on the name of Neil Diamond.
Cohen stated about the monsters death at the ending, “It’s the exact same scene as the end of the $150 million Godzilla picture. Gee, if I had that money I could have made 150 movies.”
Shepard’s (Carradine) wife is played by Carradine’s actual wife at the time.
Writers: John Carpenter (Story & Screenplay), Desmond Nakano & William Gray (Screenplay)
Starring: Tommy Lee Jones, Linda Hamilton, Robert Vaughn, Lee Ving, Bubba Smith
WARNING: POSSIBLE SPOILERS IN THIS REVIEW
Hope you enjoyed the batch of movies that have been presented on “Guilty Pleasure Cinema!” I have a handful of movies ready to go and trying to write as many reviews as I can in between working my day job, writing and editing a food blog I’m preparing to launch and pursuing other artistic ventures. But enough of my time management issues, let’s get to the next non-horror movie review which will be the 1987 cult film Black Moon Rising!
Released in 1987 and written by horror auteur John Carpenter (ironic since I said I’m not going to mention horror movies for a while on this page), the film features Tommy Lee Jones in a rare leading role as Sam Quint, who is a former thief that is hired by the FBI to steal a computer disk which contains incriminating evidence against a company called the “Lucky Dollar Corporation.” On his tail is a former acquaintance of his Mavin Ringer (Lee Ving) who works for the company. Quint crosses paths with Earl Windham (Richard Jaeckel) at a gas station. Windom just tested a new prototype vehicle called the Black Moom, which can reach speeds of 325 MPH. Quint hides the disk in the Black Moon which makes its way to Los Angeles. Upon intercepting the Black Moon, a group of auto thieves led by a woman named Nina (Linda Hamilton) steal the car along with some other vehicles at a restaurant. Now Quint needs to retrieve the disk to complete his task.
John Carpenter wrote Black Moon Rising during the time he was working on Escape From New York. The script floated around until it was picked up by New World Pictures, which hired Desmond Nakano and William Gray to re-write parts of it and tasked Harley Cokliss to direct.
The movie is essentially a “got to get back a stolen car” story filled with some great chase sequences, ample amounts of action and solid performances from the cast. It’s too bad Carpenter didn’t direct the movie because it does have a style that is suited to his work. Black Moon Rising reminds me a lot of Knight Rider considering the car looks like if KITT had a son.
As previously mentioned, this is a rare lead role for Jones who doesn’t disappoint as Sam Quint. His charm and witty sense of humor is displayed all throughout the move even in the most dire situations. He is observant of his surroundings and uses his skills as a thief to elude his pursuers. Linda Hamilton does a stellar job as Nina. Her story is developed right as she appears on the screen. Throughout the run time, you understand Nina’s background and why she chose the profession she chose. Any bitterness you have towards her in the movie turns into sympathy. She becomes an intriguing partner to Jones’ Quint whose relationship also moves as quickly as the Black Moon car. Other noteworthy performances include Lee Ving as Marvin and Bubba Smith as FBI Agent Johnson, whom Quint reports to.
Director Harley Cokeliss has been a B-movie filmmaker for most of his career, although he has credits directed numerous action sequences for The Empire Strikes Back. That experience paid off as he creates some thrill-seeking action sequences most notably with the car. I could feel my toes curl and my heart race when Jones gets into the car and presses all the buttons to get it to do certain things kind of like the various cars James Bond has used to get out of sticky situations.
The only thing I didn’t care for in the movie is the love scene between Jones and Hamilton. I don’t think the term ‘Awkward’ cuts it when describing the scene. You could easily list it in a top 10 list for “Worst Lovemaking Scenes!” I understand its part of the movie and trying to fit a romantic dynamic in the movie, but they probably could’ve shown it another way.
Despite some of the predictability, Black Moon Rising is still a fun picture that is a wink and a nod to many classic action movies. I appreciate it for its technicality, style and a cast that works together. It’s a perfect viewing for a rainy Saturday afternoon or if you’re looking for a thrilling low budget affair. It impressed me the first time I watched it and it hasn’t changed my opinion since re-watching it again not too long ago.
TRIVIA (Per IMDB)
This is actually the first screenplay that John Carpenter ever sold. The film had been in development for over 10 years.
Linda Hamilton despised working with Tommy Lee Jones. Jones had been struggling with alcoholism at the time.
Tommy Lee Jones did most of his own stunts.
A lot of Tommy Lee Jones’ wisecracks were improvised by the actor himself.
The stunt driver of the Black Moon had virtually no idea where he was going as he was in a semi-recumbent position whilst driving. His windshield was also made of Plexiglass that reflected every single surface, obscuring his vision even more.
The Black Moon was based on a Canadian car prototype design called the Wingho Concordia II which was first unveiled to the public in 1980. Only one of these were ever actually built so the car seen in the film is a copy cast from molds.
Tommy Lee Jones uses an original H&K P7 9mm pistol in the film. He carries the pistol without a round in the chamber, even though it is widely known to be among the safest handguns ever built and purposely designed to carried with a round in the chamber. He also used an identical P7 in Under Siege (1992).
Writers: Rupert Harvey & Barry Opper (Story), Joseph Lyle & David J. Schow (Screenplay)
Starring: Don Opper, Terrence Mann, Paul Whitmore, Anders Hove, Angela Bassett, Brad Dourif, Eric DaRe
WARNING: POSSIBLE SPOILERS IN THIS REVIEW
The Critters franchise is one of my favorite Horror/Sci-Fi franchises. While the first film is considered a knock off from Gremlins or Ghoulies, it’s a movie that holds up to this date. I loved the story, effects and of course those intergalactic hairballs getting into mischief mayhem with some situations resulting in their deaths. The first Critters movie was a surprise success at the box office and produced a second movie two years later that did as equally as good. The Critters franchise has spawned a total of five movies and a short-lived miniseries on Shudder. The franchise featured great character actors and future leading stars including a sixteen-year-old Leonardo DiCaprio who made his silver screen debut in Critters 3. One of the sequels in the series happens to be a guilty pleasure of mine. While many fans groan over the results, I happened to enjoy it. I remember the Sci-Fi Channel playing this film Saturday afternoons and I would spend those days laying on the couch watching it every time it played. I’m talking of course of Critters 4. Why do I enjoy Critters 4 more than the average fan? I will tell you, but first a quick synopsis.
Critters 4 picks up right at the ending of 3 as bumbling bounty hunter Charlie (Don Opper) does a thorough inspection of the burned down apartment building looking for any remaining Krties. He discovers two eggs in the dryer. Charlie takes them out and gets ready to blast them. He then receives a distress signal from his friend and fellow bounty hunter Ug (Terrence Mann) who tells him it is illegal to destroy those eggs due to a intergalactic mandate. He instructs Charlie to place the eggs in a pod, which crashes down on him to be transported back. Charlie places the eggs as instructed by gets trapped inside the pod when the door closes on him and is gassed. The movie jumps forward to the year 2045. A small group of pirates discover the pod floating in space and acquire it. They are contacted by a galaxy conglomerate called TerraCorp claiming ownership of the pod and instruct the team to head to their station where they will be rewarded. When the team gets to the station, they find that it has been abandoned. As they wait for their payment, the captain of the group, Rick (Anders Hove) decides to rip off the pod after being humiliated by co-pilot Fran (Angela Bassett) in a memorable shower scene. After opening the pod door, Charlie awakens, and the eggs have hatched unleashing the Krites which kill Rick. With the two furballs on the loose it’s up to Charlie and the rest of the team to either stop them or escape the station alive without their reward.
If you’ve managed to check out the Shout Factory release of the entire Blu-Ray collection of the original four movies, they each come with their own little behind the scenes specials. In the documentary for 4 director and producer Rupert Harvey claimed that New Line Cinema gave them a combined budget for 3 and 4. Due to the team on 3 spending the most money out of that budget, there was extraordinarily little left for 4 hence why they had to reuse scenes, lack of Krites and other dollar store sets.
Regardless of the budget, what made this movie was the acting done by the mixed of new and veteran cast. Don Opper and Terrance Mann reprise their roles from the previous films. I was enthralled by Mann’s performance this time around with Ug as he went from being a bounty hunter to a corporate bureaucrat. His promotion into that ranking corrupts his mind as he is only concerned with his mission rather than what happened to his friend. Guess the old saying goes, “Power can corrupt someone!” Brad Dourif once again steals the spotlight as engineer, Al Bert. He is witty and a smart ass but knows his way of computers as evident when he tricks the computer of the abandoned station to give him full security clearance. He essentially becomes the de facto leader as the movie progresses which suits him well as he is the most experienced actor. My other favorite performance in the movie was Anders Hove as the captain Rick. He is a pain in the ass leader when it comes to the crew members always scheming to get more than what he is offered. The other cast members include Angela Bassett in his film debut as co-pilot Fran, Eric DaRe best known for playing Leo Johnson in Twin Peaks as Bernie, who is obsessed with getting access to the station pharmacy and Paul Whitmore as the apprentice, Ethan who sees Al Bert as a friend and mentor and gets the brute of Rick’s temper tantrums. There was a rumor from fans that suggested that Al Bert and Ethan may have had a “more than just friends” relationship. There’s some evidence displayed in the movie, but it’s as big of a mystery as Bigfoot.
The Chiodo Brothers return for one final time (well..not the final time) providing the Critters and the puppetry work. The Critters look just like they’ve always been except they are somewhat bigger in size than what they were in the previous movie. They are still ruthless and won’t let anyone stand in their way of reaching earth. The special effects in the film are mundane compared to its predecessors. They even stole a few shots from Critters 2 and another early 80s Sci-Fi flick starting Opper called Android. Because there are only a few of the intergalactic hairballs to wreak havoc, Harvey uses them like the Xenomorph in Alien where they are running amok around the station and use stealth to sneak up on their prey before they unleash their attack. There’s minimal blood and gore and the death total is the lowest in the series. Again, the performance of the actors keeps the film going at a steady pace.
There’s plenty of flaws that this movie has including the repetitive computer that’s not up to date that gets on the nerves of the crew. I think it’s a failed attempt at adding comedy to a series that has comedic elements to it. Some of the sound design sounds distorted or frazzled like someone is playing on a broken synthesizer and the overall timeline of the story. I don’t think this movie needed to fast forward fifty years to get to where there at considering the advancement of technology and galactic lifeforms other than the Krites that appeared in the first movie.
Personally, I prefer Critters 4 over Critters 3 and the more recent Critters Attacks. While Critters 4 is not the definitive conclusion to the franchise, it does close the chapter on the storyline that was started from the first movie.
TRIVIA (Per IMDB)
All external space scenes and many sets are lifted from one of Don Keith Opper’s earlier films, Android (1982).
First Critters movie where Don Keith Opper is the highest billed actor.
Filmed simultaneously with Critters 3 (1991), from February 1991 until July 1991.
The footage of the cargo retrieval ship, and docking with the spaceship are from Android (1982) but the footage of Ug’s ship at the end are taken from Critters 2 (1988).
Terrence Mann and Don Keith Opper have appeared in all four films in the series.
Critters 4 is the only Critters movie where the Critters are unable to shoot poison darts at their victims.
There are mostly only two Critters in this movie, and the second one gets a haircut from a laser rifle, in order to separate the looks for both Critters. However this is also an obvious reference to Critters 2 (1988) where one Critters gets a similar haircut from a laser rifle held by a bounty hunter.
Disclaimer: The rankings are based on my personal viewings, thoughts and opinions. I have not been influenced by outside parties as to where to place certain movies in these rankings.
Most of you readers may have never heard of Al Adamson. You will be familiar with him after this posting. Al Adamson was the son of early Australian film actors. He joined his father, actor Victor Adamson’s (known professionally as Denver Dixon) production company to learn the business. Eventually, Adamson would go on to make his own movies starting his own independent production company where the only person he answered to was himself. Adamson’s films were based on trending genres in the movie world. His eclectic filmography includes Westerns, Horror, Blaxploitation, Sexploitation, Martial Arts and even two Children’s films that spanned three decades. Adamson was known for making his films fast and cheap with very little money and allowing only two takes per scene. He would have his friends and collaborators play multiple roles from acting to set design, performing their own stunts, etc. While his movies aren’t anything revolutionary, they did find an audience. Adamson saw the Drive-In theater trend as a marketing opportunity and took every advantage of it. He along with his producer pal Sam Sherman would re-release their own movies under different titles based on what was hot at the Drive-In. Adamson’s career would come to an end near the mid 80s. Tragically his life would be cut short as he was murdered in 1995 by a contractor working on his home in Indio, California. While Adamson may not be remembered as a great nor influential filmmaker, his works continue to live on thanks to a devoted fanbase along with a new generation of viewers thanks to a recent box set that was released.
Last April Severin Films released the most comprehensive Blu-Ray box set dedicated to Adamson. Al Adamson: The Masterpiece Collection features all thiry-one of Adamson’s films inlduing the critically acclaimed documentary Blood & Flesh: The Reel Life and Ghastly Death of Al Adamson. Severin released the movies based on the available prints they could find through original negatives, 16mm prints or VHS prints. The box set included Commentary Tracks for each movie, Trailers, Promo Reels and Early Interviews. The Box Set was completed with a one hundred twenty six page booklet chronicling Adamson’s career and information on which version of film you would be watching. The Box Set sold out quickly as it was a limited print.
I acquired the Al Adamson Masterpiece Collection in late January and spent the past month watching all of his films. For this special edition of “Guilty Pleasure Cinema,” I decided to rank all of Al Adamson’s movies based on my viewings and impressions. I started at the bottom listing my least enjoyable viewings all the way to the one film I found to be my favorite. For this list I excluded the Blood & Flesh documentary. This is strictly on Adamson’s films. For those who are familiar with Al Adamson’s filmography, you may be shocked as where I have certain movies listed. So without further rambling, let’s get the rankings started:
30. Hell’s Bloody Devils
The worst movie on this list happens to be a previously released Adamson film with new footage and this will not be the last movie on this list with this cut and paste concept. Hell’s Bloody Devils takes the previously released film The Fakers, which is about a government agent who infiltrates a Neo Nazi organization in California in hopes of retrieving some counterfeit plates from Germany the Nazis plan on using for a counterfeit scheme and adds a biker gang to the mix. There are only a few scenes of these bikers in Nazi garb and they add nothing to the plot of the film. What’s worse is that this film is shorter than The Fakers. The question that I keep asking in my head while watching these films is why didn’t Adamson turn these concepts into stand alone films? I’m sure he would’ve been able to secure the money to do so. Hell’s Bloody Devils is an example of a filmmaker and a studio trying to capitalize on a merging trend and doing it in the laziest way possible.
29. Nurses For Sale
From the opening scene you would think this is another Al Adamson skin flick, but then it goes downhill from there. Nurses For Sale is a culmination of two films smooshed together. The essential plot of the movie deals with a stolen drug cargo that was supposed to arrive in West Germany. The nurses’ involvement is not very clear as they seem to be helping out with the shipments thinking that they’re medical supplies. Nurses For Sale is one hot mess (no pun intended). This was originally a German film made by Rolf Olsen and then Adamson somehow got the rights to it and added some nude scenes to try to pass it off as a Sexploitation movie. The story is incoherent, and the characters are laughably dumb. Thank goodness this movie clocked in at 67 minutes, otherwise I’d be pulling my hair out in frustration until I became bald. Easily the worst movie of Al Adamson’s filmography, if you would even consider crediting this to him. I had to flip a coin to see whether this film or Hell’s Bloody Devils would be placed at #30. Obviously, this squeaked out…barely.
28. Five Bloody Graves
If Social Justice Warriors created a list of Culturally Inappropriate Films, Five Bloody Graves would be on the very top. Of course, you have to remember this was filmed in the sixties and during a period where white actors would be cast as different ethnic characters. You would think that the filmmakers would do some research about Native Americans and their history rather than choosing the default of all of them being savages and if they’re supposed to be performing as savages, they would learn the correct way of scalping someone. Nevertheless, Five Bloody Graves is a pretty bad Western film. The plot goes in various directions, the action is laughably inept, and the editing is poor. There is a shot of John “Bud” Cardos, who plays the tribal leader raising his spear and screaming that is shown several times including one scene where it’s completely misplaced. There’s also back and forth shots that are mismatched with some missing the sound. The acting leaves a lot to be desired with the exception of John Carradine who plays a preacher. Like the veteran professional he is, Carradine makes a consolidated effort and has a few humours moments as well. The only thing I liked about Five Bloody Graves was that it was shot in Utah with its beautiful countryside. I was in awe as to how clean the rivers were, the gorgeous mountains and Marigold blossoming everywhere. Five Bloody Graves is a prime example of how Al Adamson shot movies cheap and on the fly with little to no effort or care as to the art they are making. I wouldn’t watch this movie again even if it did end up on a Banned Movies List. It belongs in that vault never to see the light of day again.
27. Blazing Stewardesses
The Naughty Stewardesses was a surprise success at Drive In Theaters that Adamson rushed a sequel titled Blazing Stewardesses. Taking inspiration from Blazing Saddles, Blazing Stewardesses brings back the characters from its predecessor and puts them in a crazy story where they stay at a resort of their wealthy friend again from the last movie and then mixes in a western heist element to it. Blazing Stewardesses is a skin flick that never gets started There’s really nothing to like about this movie. except for seeing Lilly Munster Yvonne De Carlo appear in the movie. The plot doesn’t make a lick of sense and there’s too many scenes involving the surviving Ritz Brothers doing their schtick that would only make people the same age as them laugh so hard that they collapse a lung. This is a movie that will be collecting dust inside my Al Adamson Collection until I pass it on to someone else and it will be their decision whether to watch this salty garbage.
26. Mean Mother
Mean Mother is Al Adamson’s first foray into the Blaxploitation genre. This is another patch job as Adamson takes a previously released film, this case Leon Klimovsky’s Run For Your Life from 1971 and adds his own footage. The plot of the movie is two US Soldiers who deserted their platoon during the Vietnam War, go their separate ways and both enter the European Criminal Underworld. The film stars Dobie Gray and Luciana Paluzzi of Thunderball fame. The acting is campy which is what you would expect from a sandwiched film. The Vietnam scenes look like they were shot in a Midwestern location with bare trees, hay, and all kinds of weeds. What little action that Adamson injects in this movie is fun is a nice rush of entertainment before it falls back to the dull, messy plot. Mean Mother is unquestionably the worst Blaxploitation film Al Adamson has done, and this is a genre that seems to be his strongest as you will see quite a few of these films rank higher up on the list.
25. Nurse Sherri
Nurse Sherri is another Al Adamson film combing two film genres into one. The film starts with a cult trying to resurrect one of their members who’s dead and then his spirit somehow enters a nurse named Sherri who then proceeds to go on a murderous rampage in the hospital she works at. Nurse Sherri is a film where the story goes nowhere fast. You see the cult in the beginning of the film, and they don’t return. There’s no explanation as to how Sherri gets chosen to be possessed. The hand drawn animation during the possession scene is so bad it would make the guys in Monty Python laugh. Nurse Sherri includes some outrageous characters including a professional football player who goes blind and suddenly becomes an expert in demonic possessions. Only good thing Nurse Sherri has is the traditional sex scenes in Al Adamson movies and some quality kill scenes. The version in the Al Adamson collection is scanned from the original 16mm print so it’s grainy with some fogginess. Nurse Sherri may appeal to those who love cheese and sleaze, otherwise this would be a candidate for assisted film suicide.
The final completed film of Al Adamson’s career, Lost is about a little girl and her dog getting lost in the desert wilderness of Utah and work together to find their way back home. Lost reminds me of a Hallmark Channel film. It’s a story about friendship and how strong the bond is that they can overcome anything. While the title and premise sounds like this is going to be a sad and depressing film, it’s a painfully frustrating ninety minutes of a poorly written script, characters who don’t seem to know their shoelaces are always untied and moments that make you want to sink your teeth into the skin of your hand. The dog is cute but is useless as all it does is follow the little girl around and be her companion. Lost is a forgettable film and in an ironic way is Al Adamson’s filmmaking career coming full circle.
23. Angels’ Wild Women
Just from one look at the cover of Angels’ Wild Women one would assume that Al Adamson wanted to make his own version of Charlie’s Angels. Only problem with that is that the popular television series would not air until four years after this film was released. The lead women in this film have some flashes of being able to handle themselves against their masculine counterparts, but then they abruptly become vulnerable to the situations they get it. Except for the beautiful women which include Adamson regulars Vicki Volante and Regina Carrol Angels’ Wild Women is another film that doesn’t go anywhere quickly. The story is muddled and falls further deep into the rabbit hole with random subplots added and the characters in the movie are stupid including a naïve farmhand who gets raped by the women in the movie that is sequenced like it came from a bad porno flick. It’s the first movie I’ve seen where a man gets raped by a woman. The bad guy in the movie is some zealous cult leader who allows the women to stay at his ranch only for them to be sickened or killed by the cult. Speaking of cults, Angels’ Wild Women is notable for being shot at the Spahn Ranch where Charles Manson and his family were held up before and after their murder spree. The ranch is where most of the film would take place including a hilarious fight sequence where men are holding onto their beers as they wrestle on the dirt road outside. Again, another film that could have had potential but was poorly executed in the end.
22. Half Way To Hell
Released in 1960, Half Way To Hell is technically regarded as Al Adamson’s directorial debut. He took over for his dad, actor/director Victor Adamson who was known professionally as Denver Dixon (Dixon is shown as director in the opening credits). Half Way To Hell is a simple western shot in black and white. The plot regards a woman Maria San Carlos, the daughter of a wealthy landowner who is an arranged marriage with a Mexican revolutionary general named Escobar. Maria believes in marriage for love, escapes and travels to the US border. She is intercepted by some American outlaws hired by Escobar to bring her back. It’s up to an American cowboy who teams up with Maria’s servant boy and protector also looking for her to save her. The film looks like it was made ten years prior to its actual release. The film is notable for featuring Adamson in a key role as one of the cutthroat cowboys. There’s very little in terms of shootouts or action sequences. The dialogue and performances are what you expect in a low budget film from this era. There is an attempted rape scene that was edgy for its time, but would also be a glimpse of what to expect of an Al Adamson film where taboos are broken in the name of art. Again, it’s a simple black and white western that allowed Adamson to dip his toes into directing and set the blueprint as to how he was going to tell stories through the lens of a camera.
21. Blood of Ghastly Horror
Blood of Ghastly Horror is another film that was previously released as one title and then re-released with a newer title and newly filmed footage. In this case it takes clips from the movies Psycho A Go Go and The Fiend With The Electronic Brain and adds a plot about a mad scientist who experiments on dead bodies and creates zombies in order to find a way to revive his son who was perished in a fall. This film was billed as a quasi-sequel to Fiend, but really makes no sense especially given the ending to both films (which is shown for the third time in this feature). The only thing I liked about this movie is the cheap makeup of the zombies and the appearance of Regina Carroll, the buxom blonde who was Al Adamson’s wife in real life and would appear in the majority of his films. I would not be surprised if Blood of Ghastly Horror was the inspiration for the concept and presentation of Silent Night Deadly Night Part 2 as they took a large chunk of the previous movie and added a new story and newly filmed scenes to make it appealing to viewers.
20. Cinderella 2000
Billed as an out of this world musical sex comedy, Cinderella 2000 doesn’t deliver much on the musical or comedy part but has an overabundance of softcore pornography that will get men googly eyed. Al Adamson out weirds himself by taking a loose version of the fabled fairy tale and setting it in a cyber-Orwellian future where sex is outlawed, and Bid Brother decides who are allowed to participate in this adult activity. The story of Cinderella is the same one we all know and love, but this time the woman who is chosen by the “prince” of the film will have the opportunity to join him in consummating the union. The movie is a trip from beginning to end. Adamson throws so many strange characters and ideas into the plot that make you wonder what kind of grass he was smoking when he made this. A form of punishment for a woman who was caught having sexual relations in violation of the law was she was shrunk down into a miniature sized doll. The characters are boisterous, but don’t have much personality other than they’re all as horny as a three-ball cat. Some dialog made me chuckle especially with the stepmother’s two children taking her for help telling the doctor, “She’s got a case of the hornies!” One of the central characters that is supposed to be the comic relief in the movie is a robot who is programmed to uphold the fornication laws and goes berserk if it catches couples in the act. The robot is so annoying in the movie that surpasses the robot from Lost in Space as the most annoying robot ever shown on film or television. There’s very little musical numbers which is a good thing because the singing is cringeworthy. Again, men will find this movie appealing with the plentiful abundance of T&A in the movie. Cinderella2000 features a fourth wall moment with Snow White wishing she were getting lucky only for her wish to come true thanks to the help of the seven dwarfs…. that’s all I’ll say on that matter. Cinderella2000 is a movie that you could watch in a late-night viewing, but for the most part it will appeal to drunken frat boys looking for cheap thrills or prepubescent boys looking to get their rocks off.
19. Sunset Cove
Sunset Cove is Al Adamson’s first and only attempt at a raunchy teen sex comedy. The film is about a group of teenagers who band together to keep their beach from being bulldozed to make way for a developer to build condominiums. Sunset Cove features the stereotypical characters you would see in these type of teen comedies including an overweight character cleverly named “Chubby,” but are likable for the most part thanks in part to the decent performances from the cast of the movie. They’re working together for a common goal not just for themselves but for their community. There’s a surprise cameo from the great John Carradine who plays the town judge at the climax of the movie. This would be Carradine’s seventh and final appearance in an Al Adamson movie. The film features many tropes you’ll find in a beach movie: jocks, girls in bikinis, bumbling law enforcement officers and a corrupt mayor. Sunset Cove features the most lighthearted fun you’ll see in an Al Adamson movie. Of course, it wouldn’t be an Al Adamson movie if there weren’t any sex or topless women. The film does suffer from a listless plot and some of the locations are left to be desired. Sunset Cove may not be a memorable film of this genre but is one of the pleasantly surprising viewings of this filmography.
18. The Naughty Stewardesses
The Naughty Stewardesses is your typical T & A softcore skin flick. Think of Sex and The City on an airplane. The film wastes no time with the hanky panky between a pilot and a stewardess. Eventually the plot starts to form as the veteran stewardess crew show new hire Debbie the ropes and talk about their sexual fantasies. This leads to them staying with a wealthy man who gets to act out his fantasies with the nymphomaniac bunch while Debbie gets romantically involved with an amateur photographer who uses her to take pictures and start an affair that seems to go back and forth all throughout the movie. The Naughty Stewardesses was another attempt by Adamson to make money and exploit a growing trend. The acting doesn’t leave a lot to the imagination and the plot seems to stray away from its heading. The only good thing about the movie is of course the stewardesses although it’s gross that they are getting themselves involved with a man that thirty years older than them. The kinky happy fantasies of the women take a dark turn at the climax of the movie that gets utterly ridiculous. The Naughty Stewardesses doesn’t hold up today considering the volume of sex and pornography that is found today in film, television and of course the internet. Only the hardcore devotees of B Movies and Drive In Culture would be able to bring this film back from its involuntary celibacy.
17. Black Heat
Black Heat was Al Adamson’s first foray into the merging Blaxploitation genre that emerged during the early seventies. It’s a simple story of a Las Vegas cop, played by Timothy Brown in his first, but not last Adamson films who is out to shut down an upscale hotel that is being used a front for numerous illegal activities including loan sharking, gun running and prostitution. He is supported by his partner Tony, played by Geoffrey Land arrive to diffuse the situation and a TV camerawoman named Stephanie, played by Tanya Boyd whom he strikes a romantic relationship with. The film includes Adamson regular Russ Tamblyn as Ziggy who is the middle man for all the criminal activity going on in the hotel and Adamson’s wife Regina Carrol as a musical performer of the said hotel. The storyline is nothing that we haven’t seen before, but it has a decent cast of characters to keep the film moving. There’s a little more effort into the technical side of the film with a good chase scene and some shootouts. The romance element of the film between Brown and Boyd is humorous and playful. Unfortunately, there are some bizarre moments in Black Heat, most notably a horrendous sexual assault scene involving a woman who is a degenerate gambler who loses everything and is forced into a gang-bang to cover her debts. Finally, Black Heat starts to run out of gas during the third act and drags to where you start to lose interest. After watching this film, I felt this was a learning process for Adamson in this genre as he would continue making more Blaxploitation films and correcting the flaws that are in this.
16. Horror of the Blood Monsters
What do you get when you take footage from three separate films and then add your own footage with a different plot, edit them together and then flood them with various color tints? You get Horror of the Blood Monsters. The film opens with a narration sequence from late legendary actor Brother Theodore about a virus that is turning humans into vampires. From there a space crew travels the farthest reaches of the galaxy hoping to find help to stop the virus. They land on a planet that is filled with every kind of danger from dinosaurs to lobster people to a cannibalistic tribe. Not to mention the planet is filled with heavy radiation (the reason for the shades of colors throughout the film). Horror of the Blood Monsters looks like it was made during a bad acid trip. The opening sequence features several crew members including Adamson dressed as vampires biting the necks of unsuspecting victims. From there it morphs into a Sci-Fi film using footage from an untiled unfinished Filipino film, and an unfinished stop motion prehistoric film (One Million B.C.) with some cheap spaceship sequences and a mission control sequence where the screen is in freeze frame during the broadcasts from the spaceship. The cast includes Adamson regulars Robert Dix and Vici Volante with a special appearance from John Carradine as the ship doctor. There is a moment in the movie where Robert Dix explains to Vicki Volante about how the Spectrum Radiation works and how it changes color, followed by them engaging in a long love making sequence. The color of the film changes based on the time of day in the movie and vary from red, yellow, green and blue. It may not be pretty to look at, but that’s the justification Adamson used as cover to the black and white movies he cut and pasted. Horror of the Blood Monsters would’ve been a great film if they stuck with creating a film based on the opening sequence and could’ve used the jumbled movies and release it as a separate title. Then again, what do I know about cheap filmmaking?
15. The Fiend With The Electronic Brain
The Fiend With The Electronic Brain is essentially Psycho A Go Go with a few added scenes explaining why the killer in the movie acts the way he acts to give it a Science Fiction twist. The added scenes feature John Carradine as Dr. Howard Vanard who talks to a detective looking into the murders committed by the killer. Vanard explains that the killer was a soldier who returned from fighting in Vietnam with a traumatic brain injury and Vanard experimented with him by implanting an electronic device for him to recover and live a normal life. Instead, it turned him psychotic. Roy Morton who played the killer in Psycho A Go Go areturns in the added scenes to take care of Vanard from further talking to the police. Carradine’s death scene is hilarious when you watch the performance. While it does give a plausible reasoning for the killer, in the end it wasn’t necessary to make Psycho A Go Go any better than it already was.
14. Carnival Magic
Carnival Magic has the honor of being the only film of Al Adamson’s to be featured on Mystery Science Theater 3000 and found its audience through the hilarious riffs and commentary from Jonah, Tom Servo and Crow. Carnival Magic marked a turn for Al Adamson as his first 80s film would not only be his second to last, but his first attempt at making a children’s family film. The story is about a carnival that is trying to keep from going under. A magician that has been the main attraction of the carnival reveals that he has been keeping a talking chimpanzee under his roof named Alex. Alex becomes a part of the magician’s act and becomes an instant crowd pleaser. His popularity catches the attention of a scientist who wants to take Alex and experiment with him to see if he’s the true missing link of human evolution. Carnival Magic in its original non MST3K version is dated for a children’s film but has enough going on to be entertaining. The antics of Alex are funny including him stealing a car and taking a joyride on it. The power of this movie comes from the bond of the magician and Alex as kind of a father/son relationship. Alex makes friends with some of the other carnival workers who look after his well-being especially when he does go missing. It reminded me of another film I liked in my mouth called Dunston Checks In where a monkey escaped his abusive master and made friends with a lonely boy who looks after him. Carnival Magic is a movie that may get the attention of children under 6 but may not be appealing to the other ages. You’re better off watching the MST3K version for a laugh out loud good time.
13. Death Dimension
Jim Kelly returns in another Al Adamson Martial Arts film that while not a direct sequel to Black Samurai but has a lot of familiar elements. Death Dimension is essentially the same storyline as Black Samurai with Kelly trying to find the daughter of a scientist who has a microchip surgically implanted in her forehead that contains instructions on how to create a destructive freeze bomb. She is being pursued by a world-renowned gangster named “The Pig” who is looking to acquire the plans so he can use it to hold the world at ransom. Death Dimension is an odd title considering there’s extraordinarily little in terms of Science Fiction. The film ratches up the Bond elements by adding Oddjob himself Harold Sakata as “The Pig” and one time James Bond George Lazenby as one of Kelly’s contacts which was great to see. The action scenes are fun to watch most notably a boat chase scene with Kelly fighting and knocking his adversaries into the beautiful blue water. While the story of Death Dimension is nothing new, it’s easy to follow along and doesn’t have any twists or things to turn your brain into a pretzel. The film quality of this version is grainy due to the print that Severin Films was able to acquire, but you can still see what’s going on in the frame. Finally, the music is decent with a laughable track during the final chase scene as it sounds like the composer was mashing on a synthesizer. Death Dimension is another fun Martial Arts film that fits in Al Adamson’s Kung Fu Trilogy along with Black Samurai and The Dynamite Brothers.
12. The Fakers
As previously stated in my review for Hell’s Bloody Devils, The Fakers is about a government agent who infiltrates a Neo Nazi organization in California in hopes of retrieving some counterfeit plates from Germany the Nazis plan on using for a counterfeit scheme. Adamson wanted to seize on the success of the James Bond movies by creating a spy thriller of his own. The Fakers has a nice blend of action, story, characters, and music. In traditional James Bond fashion, The Fakers features a romantic sub plot where the protagonist encounters a beautiful young woman caught in middle of the events that are unfolding. Best scene in the movie is where the main character and his love interest are eating at KFC and Colonel Sanders appears in the flesh asking them, “Isn’t that the most wonderful chicken you ever ate?” He refused to say the original scripted line, “Ain’t that chicken finger lickin’ good?” which caused the crew to shoot several takes, which in an Al Adamson movie is a no-no
11. Blood of Dracula’s Castle
Blood of Dracula’s Castle was one of many good concepts from Adamson that doesn’t quite hit their mark. Starring Alexandar D’Arcy as a fangless mustached Dracula he resides in a castle in the middle of the California desert along with his wife the Coutness played by Paula Raymond and their loyal butler George played by John Carrandine. With the use of a henchman named Mango, they kidnap young women who wonder into their property and hold them in the basement to take their blood. Their lives get turned upside down when the original owner of the property passes away and gives the deed to his nephew. He along with his fiancé travel to the castle and meet the squatters. They soon realize that there is something wrong with their new inheritance. There are many things to like about Blood of Dracula’s Castle. The cinematography was good for being an Adamson film apart from a few cuts and scratches from the film translation itself due to it being old and recovered for the box set. I loved the setting and set decorations of the film. While the castle is in the desert, the inside still has that vintage look of Dracula’s original layer settled in Transylvania. John Carradine is the standout performance as George the Butler. Surrounded by amateurs, Carradine’s veteran professionalism and seriousness of the part sticks out. While the story is cohesive, it could’ve been fleshed out more. The biggest thing I didn’t get was why Dracula and the Countess chose to drink blood from a glass rather than bite the necks of their victims the old-fashioned way. One of those mysteries that may never be solved. Blood of Dracula’s Castle may stack at the bottom as a forgettable Dracula movie, but it has enough going on for it to be a decent late night B movie.
10. Psycho A Go Go
Al Adamson’s second feature film Psycho A Go Go is about a jewel heist that goes wrong with one of the burglars tossing the bag of jewels into the back of a pick-up truck driven by an ordinary pedestrian who’s on his way home to celebrate his daughter’s sixth birthday. The thieves track him down and hold his family hostage until they get their stolen loot back. Psycho A Go Go has plenty of zany moments, most notably one of the henchmen who abruptly becomes the main antagonist near the end of the film. The acting is cheesy which includes a doll that sings like Alvin the Chipmunk. There’s enough going on in the film to keep your attention span, most notably the opening heist and the final act. The climax features a long chase scene that starts with the killer stealing a car and going after the wife and daughter of the innocent man and ends up in a snowy mountainside where the final standoff ensures. The cinematography was done by Vilmos Zsigmond who would go on later in his career to win the Academy Award for Cinematography for his work on Close Encounters of the Third Kind. This was his first Director of Photography job and you could see the talent that he had for lighting and framing as his later works would continue to give him much praise and success.
9. Brain of Blood
Brain of Blood is the story of a dictator from a fictional Middle Eastern country who is dying of cancer and arranges with his aides and future bride for his body to be flown to America where a scientist is preparing to transfer his brain into another human body in order for him to continuing living. What he’s not aware is that the Scientist is planning on putting his brain into the body of his acid scarred servant. This is the most comprehensive film from Al Adamson. While not an original idea, it’s well executed. The story is easy to follow along and has some decent performances, most notable Angelo Rossitto in his first Al Adamson film playing the Scientists’ assistant. You could tell he was having fun with his character especially when checking up on the women who are chained in the Scientists’ basement. There’s also a well-choreographed fight scene and a car chase sequenced to keep the film from being too dialogue heavy. Of course, Brain of Blood couldn’t be a horror film without seeing blood and a brain. The surgical sequence is long, but the effects are gruesome. Kudos to the props and effects department for making a realistic looking brain drowned in blood. Brain of Blood is a movie I would watch again and even draw a little inspiration into writing a script with this subject matter.
8. Jessi’s Girls
Starring Sondra Currie in the eponymous role, Jessi’s Girls is a movie about vengeance and female empowerment. Jessi and her husband, who are devout Mormons are attacked by a group of outlaws. Jessi is raped several times and her husband is killed. With very little strength she finds safe haven in a hut of a hermit who nurses her back to health and teaches her how to use a gun. Jessi then goes out in the world to seek revenge on the outlaws. She frees several female prisoners and starts a gang. Jessi’s Girls is a rare film where it feels Al Adamson took his time on and focuses on character development and emotion rather than fast loose gimmicks. The metamorphism of Sondra Currie is amazing how she went from an innocent devout Mormon woman to a vengeance seeking vigilante with a deep hatred for men. The torture scenes are brutal, and the music heightens the tension and pain being inflicted. There’s enough action and shootouts to keep the film from being too preachy on the morals and ethics of what they are doing. Great supporting cast including Regina Carrol, Jennifer Bishop and Ellyn Stern as Jessi’s partners who slowly infight among themselves in the film and it’s up to Jessi to keep her girls in line. Unfortunately, Jessi’s Girls suffers from having an abrupt ending where the credits roll immediately after the climax. It felt like a slap in the face to what was turning into making Al Adamson a mainstream filmmaker. Jessi’s Girls is still a good film on the merits and worthy of a top ten slot.
7. The Dynamite Brothers
Continuing the trend of making movies featuring trending genres, Al Adamson jumped on the success of Bruce Lee’s final film Enter The Dragon by making a Kung Fu film of his own. Released in 1974, The Dynamite Brothers star Alan Tang as Larry Chin, who arrives in America via Hong Kong searching for his brother. While at a stop in San Francisco, he meets Stud Brown, played by Timothy Brown via being handcuffed to each other by a racist corrupt cop named Burke, played by Aldo Ray. After escaping custody, Larry and Stud head to Los Angeles with the help of a driver by named Betty, played by Clare Torao. I loved this movie. The action starts right at the beginning and doesn’t wear out. The fights are perfectly choreographed and the chemistry between Alan Tang and Timothy Brown remind me of the relationship between Jackie Chan and Chris Tucker in Rush Hour. The Dynamite Brothers also features legendary actor James Hong as the antagonist who is quiet, but brutal as you will see in the film where he kills a henchman using a single acupuncture needle. The story is simple and flows easily with an intriguing twist during the final act of the movie. The flaws are little, but rather noticeable especially during a shootout scene where a car flips over and bursts into flames. Nevertheless R. Michael Stringer does a great job with the cinematography with shots overlooking the San Francisco Bay to the mean streets of Los Angeles. Quentin Tarantino has talked in length about The Dynamite Brothers and I could easily see why. It is truly a fun B movie watch for fans of the Martial Arts genre.
6. Satan’s Sadists
Biker films are known for their honest brutality and Satan’s Sadists pulls no punches. Starring Russ Tamblyn as Anchor who leads his gang the Satan’s Sadists on a venture of rape, murder, and revenge. After terrorizing a group of people at a local diner in the desert, a man fresh out of the Marines fights back to defend the waitress against the gang which leads to a chase in the desert where they attempt to hide from the gang finding them. During the search, the gang comes across a trio of college girls working on a project and slowly being to unravel as the day falls into night. The overall presentation of Satan’s Sadists looks like something Quentin Tarantino would’ve made (I believe he mentioned in an interview about really liking this film, but I can’t find the source). The story is easy to follow. The cinematography is gritty and captures the wastelands of the desert along with the long straight roads where the bikers ride in formation. There’s great sixties music that fits the feel and themes of the movie. The performances are solid with Tamblyn being the standout as the quiet but sociopath Anchor and Bud Cardos as the Native American member of the gang Firewater who gets into a power struggle with Anchor. The rest of the gang act like despicable little children due to their antics throughout. The film also marks the feature debut of Adamson’s wife Regina Carrol who would appear in all his films going forward. She has many notable scenes in this including dancing on top of a diner table. It’s something you would see in a Tarantino film. There are some scenes that are hard to watch, most notably the rape scenes involving two women, one at the beginning of the film and one during the middle. It reminded me of the rape scenes in The Last House on the Left. Finally, a biker film wouldn’t be one if it didn’t have any fights. There’s plenty of fights including a great scene where the protagonist takes a snake and hurls it at a biker who gets bitten on the neck and slowly succumbs to the snake’s venom. Satan’s Sadists is without a doubt one of the best films Al Adamson has made and one that was not afraid of pushing the boundaries. It’s the perfect Drive In B movie.
5. Uncle Tom’s Cabin
We’re now down to the final five in the Al Adamson movie rankings. We start with Adamson’s film adaptation of Harriet Beecher Stowe’s immortal novel Uncle Tom’s Cabin. Released in 1977, the film was originally a German production that ran quite long until Adamson bought the film, trimmed it down and added a few of his touches, most notably nude scenes, and a lovemaking scene between the character of Napoleon and the nurse that heals him after he escapes from a riverboat. It’s been a long time since I’ve read the novel so I can’t testify as to how accurate the film is from the novel. The production and filming of Uncle Tom’s Cabin is quite astounding. While Adamson may have not shot the film in its entirety, he took with great care editing and matching the film to create a cohesive narrative to present a dignified film adaptation about the changing attitudes of slavery which would lead to the Civil War. There’s a real authenticity to this film from the settings to the clothes and the music. The performances are top notch, with German actor Herbert Lom playing Simon Legree. He is shown having half of his face scarred reminiscent of the Batman villain Two-Face. There are violent moments in the film that are hard to watch. I had to close my eyes on a few scenes, but you must remember that Adamson put these scenes as context as to how African American slaves were treated. Not as human beings but property. There are not many film adaptations of Uncle Tom’s Cabin out there, but this was the most driven and emotional version I’ve seen that sticks out among Al Adamson’s filmography.
4. Girls For Rent
Starring Adult Film legend Georgina Spelvin, Girls For Rent starts with Spelvin as the role of Sandra escaping from a prison work detail and rendezvous with a woman named Erica, played by Rosalind Miles. There she meets Chuck, played by Preston Price and gets involved in his prostitution business by managing the girls. One of the newer clients named Donna, played by Susie Ewing freaks out and leaves after her client dies of a heart attack. On the lam, Donna hopes to escape from Sandra and Erica who are ordered to track her down and kill her. Girls For Rent is a surprisingly good cat and mouse film. Spelvin delivers a solid performance as the hard-nosed and sadistic Sandra and Susie Ewing as Donna who seems to find herself in one bad situation after another. There are some shocking moments in the film which show how these girls are not here to mess around and they will not let anyone stand in their way. There is a small romance that blossoms between Donna and a man who invites her to camp with him in the mountains and then take her to where she wants to go the next day, but it does not happen until the third act of the movie. Girls For Rent includes plenty of action, surprises and of course sex to keep you engaged and featured a great ending to wrap things up. Girls For Rent easily makes the top of this list for me.
3. Black Samurai
Al Adamson teams up with iconic Martial Arts champion Jim Kelly of Enter The Dragon fame to create Black Samurai. Kelly plays Robert Sand, who is a secret agent for the group D.R.A.G.O.N (Defense Reserve Agency Guardian of Nations) who is vacationing in Mexico is cut short when his superiors assign him to save the daughter of the ambassador of Hong Kong, who just happens to be Robert’s girlfriend. Black Samurai combines Martial Arts, Blaxploitation and Secret Agent genres to create a fast, fun and thrilling film. This is one of Kelly’s finest performances delivering humor, seriousness and of course his fast fists. Black Samurai has a James Bond feel to it featuring Kelly wearing a jetpack and flying around a perimeter, encountering a beautiful but deadly enchantress and stopping an over-the-top antagonist nicknamed “The Warlock.” Of course, there are traps Kelly must escape from most notably a jail cell filled with rattlesnakes. The fight scenes are furious and fun to watch. Kelly takes on all kinds of bad guys notably dwarven henchmen and a giant vulture looking to tear him to pieces. Kelly demonstrates why he is considered one of the greatest in his discipline, which was Shorin-Ryu Karate. The Martial Arts genre was the greatest strength for Adamson as he seemed to know how to frame an enjoyable action flick. Black Samurai easily makes the top three on this list. It is one long roller coaster from beginning to end.
2. Dracula vs. Frankenstein
Who would’ve thought it would be Al Adamson that would bring two iconic monsters in literature and early days of cinema to duke it out on the big screen? Dracula vs. Frankenstein is perhaps the most notable film of Al Adamson since it’s been played at Drive-Ins and on late night television. The major plot of the movie is Dracula uncovers the remains of the Frankenstein monster and convinces Dr. Durea, the last surviving member of the Frankenstein family to resurrect him. The B story of the movie involves Regina Carol who searches for her missing sister and encounters not only a biker gang, but a carnival where one of the attractions is a cover for Dr. Durea’s lab. The film is notable for many reasons. First, there is a veteran cast including J. Carrol Naish as Dr. Durea, Lon Cheney Jr. as his hulking assistant Groton, Angelo Rossitto as the shorter assistant Grazbo who pretends to be the tour guide of the attraction and Russ Tamblyn as biker gang leader Rico. The performances are good with the highlights being the forementioned actors. Roger Engel (credited as Zandor Vorkov) plays Dracula in a stiff monotonal way. Thanks to the bad editing, he appears at times without makeup and fangs and near the end of the film, he appears with fangs and wearing white clown makeup, which is cheesy but strangely appealing. John Bloom plays the Frankenstein Monster whose lips look like they were swollen due to an allergic reaction to a bee sting plays the monster somewhat clumsily with a few grunts here and there. I liked the cinematography in this as the settings of the movie are a mix a beachside carnival with the final sequence being shot in a church and the final battle taking place in the woods. The fight is more of a tug of war but gets entertaining at the end. I thought the cinematography was good for this type of movie with some funny still frame shots of Dracula using his powers to burn someone. For you gore hounds there’s an ample amount of gore including head rolls and an axe to the face that made me squirm. Dracula vs. Frankenstein is the most impressive film of Adamson’s library from a technical standpoint. It’s not as terrible as some people claim it is. I like to think of it as a good Mystery Science Theater 3000 Movie that you could watch late at night with some friends and riff on it.
1. The Female Bunch
The first film I watched in the Al Adamson Masterpiece Collection turned out to be my overall favorite film of this list. It’s a movie I kept thinking back as I was watching the rest of the films and starting my rankings. Released in 1971, The Female Bunch starts with a woman named Sandy, played by Nesa Renet together with a man named Jim, played by Geoffrey Land who are hiding in the mountains from the female gang looking to apprehend them. The movie then goes into a flashback where Sandy goes into narration of the events leading up to this point. She was working as a waitress struggling to make ends meet. One night she tries to kill herself, but is saved by her Co-worker Libby, played by Adamson’s wife and regular contributor Regina Carrol. Libby takes Sandy to a ranch owned by a female gang. After going through an initiation test, Sandy becomes a member of the group. From there they travel to Mexico to party, get drunk and score drugs. As the film progresses, Sandy becomes unsure if this is the life she wants and questions the motives of its leaders Dennise (Leslie McCray) and strung out sexaholic Sharyn (Sharyn Wyntes).
The Female Bunch features an eclectic cast of newcomers and veterans including frequent Adamson collaborator Russ Tamblyn and Lon Cheney Jr. in his final film appearance. The Female Bunch starts with some great western music and aerial shots from a plan courtesy of Bud Cardos, another Adamson regular who had his own plane. From there it’s a cohesive story of a woman looking for something better in life and finding acceptance within a group which is something we’ve all be involved in at one point in our lives. The middle gets a little dull with the almost never-ending partying in Mexico but makes up with it with some hot sex and dancing. The performances are good. Most of the gang members were amateur actresses who didn’t know how to ride horses until they did this movie. For what its worth they did a valiant effort even though you can tell is some shots they did not look comfortable. There’s plenty to humor to cut through the seriousness of the plot. In Lon Cheney’s role as the Stable Keeper Monti, who gets teased by the women thinking he’s going to get laid by one of them. There’s quite a bit of gruesome violence including a scene where Tamblyn gets a permanent marking on his forehead because of his failed attempt to rape one of the women. There are some hiccups during the third act in which the ADR does not sync up with the actresses’ dialog (this is something you’ll see in most Adamson’s movies). The Female Bunch is a film of female empowerment and they show that they’re playing with the boys on their terms. In the end it was no contest that The Female Bunch was my favorite Al Adamson movie. It’s perhaps my favorite underrated Western film.
So what did you think of the rankings? Agree/Disagree with my list? What is your favorite Al Adamson film? Feel free to leave comments/feedback. I’d love to read your responses.
Starring: Wil Wheaton, Rutger Hauer, Nia Peeples, Ron Perlman, Michael Harris
WARNING: POSSIBLE SPOILERS IN THIS REVIEW
For those that have followed this blog from the beginning, you might recall a review I did for a Sci-Fi Channel original movie entitled Evolver! If you haven’t seen the post before, don’t worry you still can. All my posts are archived 😊 It’s one of my favorite made for television movies. The movie represented a time in the 90s when the Sci-Fi Channel was really coming up in the cable world and its popularity would spawn its own original movies. Another movie I recall seeing when it first came out that I discovered again was a movie called Mr. Stitch! I remember seeing the trailer for it where it was just a man all wrapped up in giant bandages in front of an all-white screen. As an impressionable pre-teen during the day I was overwhelmingly excited to see this. I don’t recall watching it when it premiered, but I remember I was quite fond of the idea, concept and execution. Watching it again not too long ago I double down on my comments. For a movie that is twenty-three years old, it still holds up despite some moments of outdatedness. With that let’s get to the synopsis of Mr. Stitch!
Mr. Stitch stars Wil Wheaton, best known for playing Ensign Wesley Crusher in Star Trek: The Next Generation as an androgynous human made from body parts and skin from various donors and chooses to be a man despite not having the sexual organs of one. He was created by a group of scientists led by Dr. Rue Wakeman (Rutger Hauer). He’s referred to only as ‘Subject 3.’ Later he chooses a name for himself. He is now ‘Lazarus’ after the biblical character. At first, Lazarus is obedient and follows commands and performs his tests. As Lazarus learns more about himself he begins having memories and nightmares from the lives of his donors. They offer clues as to the identities of those who inhabit his body while simultaneously torture him. This creates a rift between his relationship with Wakeman. Wakeman realizes he is losing control over Lazarus as he is developing independent logic and feeling. Lazarus realizes that Wakeman is hiding secrets from him causing him to no longer want to work with him. Psychologist Dr. Elizabeth English (Nia Peeples) is assigned to help Lazarus deal with his tension between Wakeman and deal with his nightmares and with it develop a sense of trust with other humans. They start to get close until Lazarus mentions a phrase that triggers English as it is a phrase that said to her from her deceased science partner and lover Dr. Frederick Texarian (Ron Perlman). Lazarus starts to be overwhelmed by being trapped in the ward and requests to see the outside world which is immediately rejected by Wakeman. He sneaks out and investigates Wakeman’s true intentions with him. Lazarus understands what his purpose is and must find a way to stop Wakeman’s plans as well as make amends with English.
Written and directed by Roger Avary, Mr. Stitch is essentially a modern day retelling of Frankenstein. You have the Scientist who is looking to create a human being from dead (in this case created by tissue and organs of deceased humans) and you have the monster, which in this case is aware, functional and intelligent compared to the monster of the classic tale. It has the same elements in terms of the scientist creating this new life and teaching it how to interact with others and how to function with the purpose that is only known to them. You have the monster that is trying to learn, but starts to become resilient and unbalanced. The two will clash into this tug of war over power and control.
About ninety percent of the film takes place in this ward where everything is white. The scientists wear white suits and Lazarus is bandaged in all white. To me it represents both the first light we see when we are born as well as a state of purgatory where we are trapped in this area and are waiting to get to the outside of what lies ahead (for Lazarus this would be the outside world). We don’t see the outside of the ward until the near climax of the movie and several flashback scenes that Lazarus experiences as nightmares. Only other color we see in the movie is a black couch similar to a top hat that acts as Lazarus’ bed and the snot colored goo that comes out from a giant eyeball called the Observation Eye that watches Lazarus’ every move and from a device that measures and records his brain wave pattern when he is asleep (both are destroyed by Lazarus in a fit of anger).
The look of Lazarus is comprised of numerous pieces of skin from all different colors of humans (Black, White, and Brown). His eyes have different pigments of color. His hair is long and frazzled, almost like a witch. Although he is androgynous, he identifies himself as man due to his strength and anger that is to be more in common with a man than a woman. I give the makeup department credit for creating a creature like this to represent that we are all human begins regardless of race, color, sex and creed. I think that was Avary’s intention as well.
Mr. Stitch has some unique shots and visuals. What stood out to me are the choice of lenses that were used in certain scenes. For example, the “think tank” office of the scientists is shot like they are working inside a bubble. To me, the bubble represents the inner circle of those who are in it as to their research and their plans as to what to do with the research they are developing. The climax scene is deep underground and has a glossy watery effect that surrounds the confronting characters. Based on your impressions it gives you either a dream like effect or an effect if someone where high on drugs.
The pacing is a little uneven, but it doesn’t take away from the plot. Music is incorporated in practically every scene and it’s appropriate for what is happening in the scene. There is heavy metal during Lazarus’ bouts of anger or paranoia. There is a dreamy soft guitar sound during a hypnosis scene. Each piece of music sets the tone for what is happening.
The movie contains a very small cast with the majority of screen time belonging to Wil Wheaton and Rutger Hauer. Both of them I felt did a good job with their performances despite some flaws in the script. Wheaton starts out as very calm and compliant as he performs the tests that Hauer has him do. He’s quite intelligent by quickly developing his self-awareness and heightened sensibility. He is hostile to the scientists, but finds a soft and calming nature when he is around Dr. English. He develops a deep sense of trust and in some cases, love when they are together. Wheaton is able to channel his emotions of the character in the appropriate scenes throughout the film. Hauer portrays Dr. Wakeman as a teacher and somewhat of a father figure to Lazarus. He is cautious with his responses to Lazarus’ questions and steers him away from anything he sees as a threat to his control of him. Hauer was very unhappy with the writing of the movie that he disregarded the script and began to improvise his scenes to match what he felt was more logical of his character and the story. I honestly can’t tell you that I was able to pick out which scenes he improvised, but that’s what makes him a great established actor was that he knew more about the character than what Avary had on paper.
The rest of the cast includes Nia Peeples as Dr. Elizabeth English who is brought in to help Lazarus deal with his dreams and nightmares. She builds a rapport with Lazarus during their sessions together. As they get to know each other, she becomes slightly distraught at what she discovers about him. Her feelings for him come full circle in the climax of the film. Peeples is very attractive and gives a soft touch to the films constant hostility between the two main characters. The other main performance comes from Michael Harris as General Hardcastle, who is the head of a secret government organization called ‘The Outfit’ and is in charge of the project. He shovels billions of taxpayers’ dollars to Wakeman and his team with the goal of creating a superior human being that could be used not only in warfare but to take down the bureaucrats in Washington so he can remodel the government in his own vision. He is the real antagonist of the movie. This was perhaps the weakest and most laughable performance of the movie. His dialogue reminds me of something a professional wrestler would say, but he gets what’s coming to him and it’s very satisfying. There is also small appearances from Ron Perlman as Dr. Texarian, the original team leader of the Stitch Project, Taylor Negron as Dr. Alan Jacobs who replaces Dr. English and gets a not so warm welcome by Lazarus and Make Up Effects Guru Tom Savini as a scientist.
Mr. Stitch is available to watch on YouTube since it’s hard to find any video copies. I think you would enjoy watching this made for television movie. It’s a creative take on an original monster story. It doesn’t drag and keeps your attention with every scene. I wish the Sci-Fi Channel would make more of these compelling films than cheap monster movies involving five headed sharks or a yeti with the speed of a greyhound dog. Really makes you miss the 90s.
TRIVIA (Per IMDB)
Part way through production, Rutger Hauer completely discarded the script and refused to do any scenes from it. The majority of his scenes were improvised by the actor. Later, Roger Avary was forced to rewrite the remaining script to match up with Rutger’s footage.
This movie was the first “original” aired by The Sci-Fi Channel (now Syfy). It would be a few more years before they started advertising their made-for-TV movies as “Sci-Fi Originals”, but they did advertise this quite a bit as new and never-before-seen.
Was meant to be a pilot for a proposed television series. After Rutger Hauer gave up on the movie, the series was sunk.
Starring: Bruce Campbell, Grace Thorsen, Taylor Sharpe, Ted Raimi
WARNING: POSSIBLE SPOILERS IN THIS REVIEW
Bruce Campbell is undeniably the King of B-Movies. He’s catapulted to the top of the genre in large part to his recurring portrayal as chainsaw wielding, boomstick carrying, demon killer Ashley Williams from the Evil Dead movies. His career has spanned for over thirty years. In the last ten years he’s had more mainstream appeal largely in part to his role in the Espionage series Burn Notice and his return to the Evil Dead world as Ash once again in both the Starz TV Series Ash vs. Evil Dead which lasted three seasons and the upcoming Evil Dead video game which was announced a few weeks ago expected to be released for the Playstation 4 and Playstation 5 in 2021. Bruce Campbell portrays characters that make the audience feel like they are a part of the ride. He is not afraid of getting downright goofy as much of his acting was influenced by The Three Stooges. In 2007, he came out with a movie that pokes fun at not only himself, but his career. That movie was called My Name Is Bruce.
As the title suggests, My Name Is Bruce is a tongue in cheek film about Bruce Campbell, his popularity and the blurred line between fiction and reality. The film is about a Goth teenager named Jeff, who happens to be a huge Bruce Campbell fan. Him and his friend meet up with two girls at an abandoned gravesite in the small mining town of Goldlick, Oregon. Jeff finds a circular object placed in front of what looks like to be a collapsed tunnel. Removing the object, Jeff accidentally summons the spirit of Guan-Di, who is the Chinese God War and an early settler of the town. With Guan-Di unleashed and killing it townsfolk one by one, Jeff decides to track down the one person he believes could defeat the evil spirit…..yep, you guessed it. Bruce Campbell.
While the events in Goldlick are happening, Bruce is in a movie studio shooting a sequel to the B-Movie Sci-Fi film Cave Alien. Frustrated by the lack of quality roles, being turned down by women and crushed over a divorce, Bruce threatens to fire his agent, Mills Toddner (played by Tem Raimi in one of three roles he plays in the film). Mills tells him that he has a surprise for him on his birthday. Bruce shrugs it off and heads back to his trailer for a night of drinking and calling his ex wife. Bruce hears a knock on his door and Jeff appears. He asks him to come with him, but Bruce refuses. Jeff resorts to knocking him out and putting him in the trunk of his car. Jeff drives back to Goldlick and lets Bruce out. After Bruce gives a lecture to the townsfolk about kidnapping a movie star, he is informed by Jeff that he called his agent and was told he was free. Bruce believes that this is the surprise Mills was talking about and believes he’s part of a new movie. Bruce plays along with it unbeknownst that the townspeople are serious.
After a hero’s welcome that is filled with food and drink, Bruce leads the townspeople to the cemetery. There he encounters Guan-Di. Realizing that this is not a movie, Bruce tells the people to retreat. From there he cowardly escapes from the town to let the townspeople deal with Guan-Di. The next morning Bruce receives a call from Jeff saying that he is going to fight Guan-Di himself since he is ultimately responsible for releasing him. Now Bruce must decide if he wishes to help Jeff or let him deal with the spirit himself.
This film is hilarious. While this will appeal to the most diehard Bruce Campbell fans, I think viewers who aren’t familiar with him or his work will get a kick out of this. There’s plenty of jokes that will keep the average comedy movie fan in their seats.
You can tell throughout the film that Bruce Campbell enjoys parodying himself. The fact that he depicts himself as an arrogant, cocky, selfish, womanizing and drunken actor who lives in a trailer and is getting burned by horrible acting parts. It’s the polar opposite of the typical Hollywood actor. You get into his head of what he deals with on a daily basis from crazed fans to slimy agents. He doesn’t skip a beat with his line delivery, his physical expressions and his candor. He does show a moral compass during the film as he gets to know Jeff and his mother, Kelly whom he immediately has an attraction for despite her shunning his advances and thinking he’s nothing more than a phony.
The rest of the cast is pretty small as it primarily centers around Bruce and the relationship he builds with Jeff and Kelly. Grace Thorsen plays Kelly. She turns in a decent performance although it didn’t find her convincing that she immediately felt an attraction for Bruce especially after berating him about he thinks the situation is a joke to him, but to the townspeople it’s not. Jeff is played by a kid named Taylor Sharpe. This is his only acting performance to date (according to IMDB). I can see why it’s his only performance. He definitely plays his role like a newcomer. He sounds dull and not too concerned about what has happened. The character of Jeff itself is strange. One minute he is all dressed up as a Goth kid and then the next he’s a regular kid blending in with the town. Eventually his Goth persona would become his hero alter ego when he makes the decision to battle Guan-Di. I will give him props for knowing his Bruce Campbell trivia and his collection of Bruce Campbell memorabilia in his room. Other than Campbell, the other best performance of the film goes to Ted Raimi who plays three different characters. Besides Mills Toddner, he plays the town painter who gripes about having to change the population number of the town and uses lazy methods to change it and he also plays Wing, the last descendent of the original Chinese immigrants that founded the town. Radical leftists will more than likely cry that his performance stereotypes Asians, but I didn’t see it that way. I found it funny that he warns the people about Guan-Di and begins to taunt them. He only appears in a couple scenes, but he would provide something that will help them in the battle with the Chinese God of War.
Speaking of Guan-Di, I think it was an interesting monster that Bruce had to deal with. He looked like a giant puppet that dangled on strings. I’m pretty sure it was the film’s intention to make the monster look cheap as it fits in with the B-Movie concept. Nevertheless it was good to see a little innovation in the bad guy and not make him another vampire or zombie.
After watching this film again, I would easily place this in my Top 10 Bruce Campbell movies. Yes, this film will largely appeal to his fan base, but there are those out there that will enjoy it if they are a fan of B-Movies. If you can show this movie to someone who has never seen a Bruce Campbell movie, you might be able to turn them into an immediate fan. If you’re able to do that, then it will be a testament to the power that this film really has.
Trivia (Per IMDB)
The exteriors for the town of “Goldlick” were actually shot on Bruce Campbell’s property where a back lot was built with the exteriors of all of the buildings. The interior shots were all done on a sound stage.
According to the DVD commentary, most of the Bruce Campbell memorabilia in Jeff’s room was real, including a spare Brisco County Jr. costume that Campbell owned. A few fake items, such as a poster for “The Stoogitive,” were made to fill up space.
There are many mentions and references to Bruce Campbell’s other films. Examples are phrases ‘sugar baby’, ‘groovy’ and ‘boomstick’ along with name checking of people like Sam Raimi (director of the ‘Evil Dead’ trilogy).
The rude man in the wheelchair was based on a real person Bruce Campbell met.