MULTIPLE SARCASMS -- DVD Review by Porfle

Originally posted on 8/8/10

Back in the old days when I owned the only VCR in the family, my sisters would go to the video store and come back with bags full of chick flicks, which I would have to suffer through.  I'm not sure if even they would've enjoyed writer-director Brooks Branch's MULTIPLE SARCASMS (2010), but, to be fair, I suspect that they still would've derived some mysterious and indefinable emotional sustenance from it which totally escapes me.

A disheveled Timothy Hutton plays Gabriel, who wanders through the movie being vaguely dissatisfied with his life as a successful architect with an attractive wife (Dana Delaney as "Annie") and a darling daughter, Lizzie (India Ennenga), both of whom love him.  Sounds great, but darn it, he isn't living his life--it's living him!  (Or something like that.)  So he decides to let everything go to hell while he writes a play which, conveniently, is about his life so that he can put all of his self-pity into words while striving to "find himself."

Mira Sorvino is Cari, a fantasy BFF who's inexplicably supportive and excited about everything Gabe does, while Stockard Channing is his agent Pamela who urges him to complete the play so they can dish it up to an eager public.  Poor Gabe, however, can't do that because he doesn't know how the story comes out yet--he must finish wrecking his life before he can write the ending.  So whenever he breaks up with Annie, fritters away his job, publicly humiliates his daughter, or makes a drunken pass at Cari, we next find the soulful scribe hunched over his typewriter recording it all for posterity. 

Gabe says repeatedly that he doesn't know why he feels "shitty" about his relatively good life, and neither do we.  So why should we care?  He's a one-man self-pity party obsessively scrutinizing himself through a whine-o-scope and it gets old really fast.  After awhile, in fact, he starts to come off less as a troubled aspiring artist and more like a guy who's developing serious mental problems.

The film shuffles from one dull dialogue scene to the next with Gabe either being passively confrontational with Annie, seeking support from Cari or his sympathetic gay co-worker Rocky (a semi-amusing Mario Van Peebles), or proving to Lizzie (and us) that he's still a really good dad so that we'll sympathize with him, too.  As you might guess, each foray into the turbulent terrain of his aching heart is accentuated by tender acoustic guitar and piano ballads by the likes of Yusuf "Cat Stevens" Islam. 

Some of these scenes, particularly one between Gabe and Cari in her office, are just plain drama-class awful, the actors coming off as jaded old pros noodling over their lines together without putting any real effort into them.  The script isn't much help, as in this exchange between Annie and Gabe:

"I love you, but..." (pause) "I am really angry..." (pause) "inside."
"We need to get ourselves back, Annie."

Young India Ennenga as Lizzie gives what is probably the film's best performance and gets to deliver one of its few really funny lines to Hutton:  "I don't know, I guess I'm just PMS-ing or something--you know, like you and Mom?"  Dana Delaney does her best with a thankless role, almost making me forgive her for ruining TOMBSTONE, while Mira Sorvino has very little to work with. 

The DVD from Image Entertainment is in 1.78:1 widescreen with Dolby Digital 5.1 surround sound.  Subtitles are in English and Spanish.  Extras include a "making of" featurette, cast and crew interviews, and a trailer.

After you're done giggling at the clever title, MULTIPLE SARCASMS offers little in the way of amusing comedy or interesting drama.  In one scene, Stockard Channing as Gabe's brassy agent Pamela pretty succinctly sums up what I've been thinking throughout the film:  "Gabriel, I love you, I really do, but this f**king whining white guy shit has gotta stop."

MULTIPLE SARCASMS -- DVD Review by Porfle

Does Kiko Cry "Mommy!" At The End Of SON OF KONG? (1933) (video)

"Son Of Kong" is a delightful, fairytale-tinged follow-up to "King Kong."

(You can read our review of it HERE.)

Kong's son "Kiko" is a likable character played for laughs and sympathy...
...with decidedly human-like qualities.

Kiko's life is threatened when the island begins to sink...
...and his foot gets caught in a crevice.

Does the poor little soul actually call for his Mommy?

What do you think?


I neither own nor claim any rights to this material.  Just having some fun with it.  Thanks for watching!

Does Kiko Cry "Mommy!" At The End Of SON OF KONG? (1933) (video)

LOONEY TUNES SUPER STARS: TWEETY & SYLVESTER -- DVD Review by Porfle

Originally posted on 1/19/2011
 

When the Warner Brothers animation department was at its peak in the 40s and 50s, they consistently churned out some of the best and funniest cartoons ever made.  One of their most memorable comedy teams was the cute little bird Tweety and the always-hungry cat Sylvester, whose catchphrases ("I taught I taw a putty tat!" and "Sufferin' succotash!") are part of cartoon history.  With Warner Home Entertainment's LOONEY TUNES SUPER STARS: TWEETY & SYLVESTER, fifteen of their classic shorts have been collected on DVD--some uproariously funny, others not quite hitting the bullseye.

The team, who had already appeared individually in several Warner Brothers shorts, scored an Academy Award for Best Short Subject (Cartoons) with their first pairing, 1947's "Tweetie Pie" (sic).  This initial outing, in which homeless Tweety is taken in by a household whose cat sees the tiny bird as a mouth-watering meal, seems to be an answer to MGM's Tom and Jerry.  The cat who would later be known as "Sylvester" is referred to here as "Thomas" just like the MGM character, and is similarly harangued by a generic housewife seen only from the waist down. 

With Tweety's cage suspended from the ceiling, he sits in his swing warbling a strange little tune ("I love little putty, his throat is so warm...And if I don't hurt him, he'll do me no harm").  Meanwhile, Sylvester devises a series of ingenious methods of attaining his prey, giving the writers a chance to come up with some pretty funny material while establishing the basic formula for the series.  Sylvester causes more and more chaos and destruction with each attempt, either by his own ineptitude or the playful deviousness of the little bird.
 

Next comes "Bad Ol' Putty Tat" (1949), the classic situation in which a cartoon cat lays siege to a bird perched high up in a birdhouse, and "All Abir-r-r-d!" (1950), with similar antics taking place in the baggage compartment of a passenger train.   These initial offerings are mid-level Warner Brothers stuff, well-drawn and animated but not all that outstanding. 

With "Canary Row" (1950), the characters have come into their own and the gags are snappy and clever.  "Friz" Freleng's direction also gets progressively sharper and more inventive.  As always, musical maestro Carl Stallings' score plays a major part in making the action a lot funnier as Sylvester tries to sneak into a hotel to get Tweetie.  Thanks to voiceover legend Mel Blanc, we hear the cat speak for the first time as he impersonates a bellboy: "Your bagth...madame?"

Blanc's speeded-up voice is charmingly funny as Tweety sings his theme song over the titles:

"I'm a sweet little bird in a gilded cage
Tweety's my name but I don't know my age
I don't have to worry and that is that
I'm safe in here from that old putty tat."

Tweety's kindly old protector, Granny (first voiced by Bea Benederet, later by June Foray), makes her first appearance as well, thus rounding out the cast and giving the series a more distinctive character.  Thankfully for us cat lovers, it's not as painful seeing Granny whack Sylvester with her umbrella as some faceless harridan beating him with a broom.


1951's "Putty Tat Trouble" opens with Tweety shoveling snow out of his nest ("This is what I get for dweaming of a white Chwistmas!") and catching the attention of two housecats, Sylvester and a roughhousing rival, who go at it tooth and nail over the tiny bird.  This is the first real laugh riot of the collection and had me guffawing out loud several times.  (Look for the cardboard box with the words "Friz--America's Favorite Gelatin Dessert", a self-reference by director "Friz" Freleng.) 

The all-out hilarity continues in "Room and Bird" (1951), with both Granny and Sylvester's owner sneaking their pets into a "No Pets Allowed" hotel where they're joined in mischief by a belligerent bulldog, causing the house detective a huge headache.   "Tweety's S.O.S." (1951), in which Sylvester spots Tweety through the porthole of his cabin on board a docked ship, gives the cat another rare early line of dialogue: "Hell-o, breakfast!"  Later, when Granny catches him and he puts on an innocent act, Tweety exclaims "Ooh, what a hypocwite!"

"Tweet Tweet Tweety" (1951) takes place in a national forest with Sylvester trying to cut down the tree in which Tweety's nest is perched.  We hear his catchphrase "Sufferin' succotash!" for the first time here as he grows increasingly more talkative.  "Gift Wrapped" (1952) is an amusing Christmas-themed story.

In "Ain't She Tweet" (1952), a pet store delivers Tweety to Granny, who also keeps a hundred or so vicious bulldogs fenced in her yard.  The sight of Sylvester repeatedly falling into this roiling mass of teeth and claws in his attempts to get into the house are somewhat nightmarish. 

"Snow Business" (1953) is the first time we see "Tweety & Sylvester" billed together as a team.  They start out as friends this time, until they get snowed in up in Granny's mountain cabin with nothing to eat but bird seed.  While a starving Sylvester tries to trick Tweety into a boiling stew pot, he must also avoid a hungry mouse who's after him.  For some reason, the cat never thinks of eating the mouse.

"Satan's Waitin'" (1954) suffers from an unwieldy premise--Sylvester gets killed while chasing Tweety, goes to Hell, then finds that his punishment will be delayed while his other eight lives are snuffed out one by one.  An unfunny bulldog-Satan eggs them on in a series of tepid gags, each climaxing with another death.  Geez, getting hit with a broom is bad enough--I don't really want to see Sylvester being cast into a fiery lake of devilish bulldogs for all eternity.

1961's "The Last Hungry Cat" shows the more modern influence of later WB cartoons with angular backgrounds rendered in an appealingly creative way.  High concept strikes again in this spoof of "The Alfred Hitchcock Show" in which Sylvester thinks he has "murdered" Tweety and is sought by the police.  The guilt-ridden cat suffers a torturous, sleepless night, constantly needled by the Hitchcock-like narrator, until he discovers Tweety is still alive and reverts back to form.  While this short is nice to look at, it just isn't funny.
 

The trend of over-thinking these stories continues with "Birds Anonymous" (1957).  Sylvester is initiated into an "AA"-type group for bird-crazed cats, who are presented as helpless addicts.  ("I was a three-bird-a-day cat," one of them testifies.) 

Increasingly preoccupied with being clever, the writers of these later cartoons sometimes forget to pack in the funny, fast-paced gags that made this series so popular in the first place.  Here, Sylvester endures yet another mental ordeal, with a grotesque bloodshot-eyes closeup that's almost a duplicate of the one from "The Last Hungry Cat."  Why the heck has Sylvester suddenly turned into Ray Milland?

The final short in the collection, "Tweety and the Beanstalk" (1957), is a fun take-off on the old fairytale (June Foray can be heard as the unseen woman who throws Jack's magic beans out the window).  The idea of Sylvester running around the giant's castle trying to nab a Tweety who's the same size as him, while eluding a monstrous bulldog, sounds tiresome at first but actually manages to generate some old-style sight gags with an outrageous ending.

The DVD is in standard format (no choice of matted widescreen this time) with Dolby Digital English and Spanish mono sound, and subtitles in English and French.  The titles on this disc have appeared previously in other Warner Brothers DVD collections.

While uneven in quality, the fifteen shorts in LOONEY TUNES SUPER STARS: TWEETY & SYLVESTER are examples of some of the finest theatrical cartoons ever produced by one of the top animation studios of its time, in an era when such fare was designed to be enjoyed and appreciated by audiences of all ages. 

LOONEY TUNES SUPER STARS: TWEETY & SYLVESTER -- DVD Review by Porfle

SPACE GHOST (1966-1968) -- DVD Review by Porfle

 

 

Originally posted on 1/30/22

 

 

Currently watching: the complete DVD collection of one of my favorite Saturday morning cartoons as a kid, SPACE GHOST (1966-1968). 

 

(Full DVD title: "Space Ghost & Dino Boy: The Complete Series" from the Hanna-Barbera Classic Collection. 20 episodes on 3 discs, 42 7-minute Space Ghost segments in all. Bonus feature is a movie-length documentary, "Simplicity: The Life and Art of Alex Toth.")

 

I love Cartoon Network's later comedy reworking of the character in his own talk show called "Space Ghost Coast To Coast", but that takes nothing away from my feeling for the original action-adventure space opera designed by comics legend Alex Toth. 

 

 

 

It was only Hanna-Barbera's second adventure cartoon after "Jonny Quest", and their first superhero series. "Laugh-In" star Gary Owen did the voice for Space Ghost, and his teen sidekicks Jan and Jace were voiced by Ginny Tyler and Tim Matheson. 

 

Other voice talent includes Ted Cassidy as Metallus, Vic Perrin as Creature King, Alan Reed as Glasstor, Keye Luke as Brak, Paul Frees as Brago, and Don Messick as Blip, Space Ghost's cute monkey companion who often gets him and the kids out of trouble.

 

Alex Toth's character designs and layouts are eye-pleasing, and the show was done while Hanna-Barbera were still doing quality animated shows. The music is great, too. 

 

 

 

The secondary "Dino Boy" segments don't do anything for me--I don't even remember bothering to watch them when originally aired. 

 

Super villains Zorak, Moltar, and Brak would later become regulars on the talk show, along with occasional appearances by Metallus, Tansit, Lokar, and Black Widow. It's fun seeing them play it straight as they do here in their introductory appearances.

 

Space Ghost, whose subterranean laboratory can be found on the Ghost Planet, is sort of an interplanetary policeman whose main powers are supplied by his power bands, which are worn on his wrists, and his inviso-belt. 

 

 

 

Jan and Jace alert him of suspicious activity while on patrol in their scout ship and often get captured by the bad guys so that Space Ghost must fly to their rescue in his spaceship, the Phantom Cruiser. 

 

The stories are flashy and colorful, with lots of explosions, and are kept very simple and formulaic so that they can be easily followed by younger viewers.

 

As far as light entertainment with a strong sense of nostalgia goes, I just love this kind of stuff.

 

 

SPACE GHOST (1966-1968) -- DVD Review by Porfle

REDLINE -- DVD Review by Porfle

Originally posted on 12/27/11

 

Sizzling with supercharged action, the simple plot of director Takeshi Koike's sci-fi anime REDLINE (2009) serves as a backdrop for some of the most mindblowing, audacious cartoon animation to ever blaze its way across the screen. 

The pre-titles sequence features a qualifying "Yellowline" race in the desert that already makes the podrace from THE PHANTOM MENACE look like a frog-jumping competition.  We meet J.P., who resembles a brawny Ricky Nelson with a skyscraper pompadour and, thanks to his crooked partner Frisbee, has a reputation for fixing races.  Sure enough, Frisbee's in deep with the mob on this one and sabotages J.P.'s car near the finish line, landing him in the hospital.

When some of the qualifiers for the Redline drop out, J.P.'s back in the game along with his heartthrob Sonoshee, a lovely lass with more interest in machines than men.  But the location for the race turns out to be Roboworld, a militaristic society whose leaders are so opposed to the competition taking place on their world (and possibly having some of their military secrets broadcast galaxy-wide) that they declare all-out war against the racers.  In order to win this one, J.P. will have to battle it out against ruthless drivers (including Sonoshee), the entire military force of Roboworld, and perhaps even his own sidekick Frisbee.
 


Fans of non-CGI animation should have a ball reveling in this 100% hand-drawn visual feast, whose creators invested seven years and 100,000 drawings in its making.  Each frame of this dazzling tribute to old-school cartoon wizardry is as insanely detailed as panels from the more extravagant underground comix of the 60s and 70s, and unlike digital cartoons you can see the artists' and animators' hands in every painstaking detail. 

The dynamic, hard-edged drawing style, a eye-pleasing mix of both the futuristic and retro, yields a wealth of beautifully-rendered character designs and backgrounds that are then brought to vivid life.  Surreal touches, such as J.P.'s gravity-defying hairdo and an endless parade of grotesque aliens, rub shoulders with the hard-edged yet wildly-imaginative hardware of cars, spaceships, and other machinery. 

The over-the-top character design (by co-writer Katsuhito Ishii, who also worked on the anime sequence from KILL BILL, VOL. 1 and helped create REDLINE's outstanding soundtrack) goes well with the film's larger-than-life cast of oddballs.  These include J.P.'s multi-armed canine mechanic Pops, the towering cyborg Machine Head, and the various other racers whose bizarre appearance and unique personalities keep things interesting.  Even the crowd scenes are filled with a vast array of colorful "extras."
 


While the plot busies itself with various concerns such as J.P.'s wooing of the reluctant Sonoshee and Frisbee's conflict of loyalties between him and the mob, REDLINE roars to life during its many spectacular action sequences.  The imposing Colonel Votron and his Roboworld army launch a full-scale attack on the racers that begins when they leave the mothership and attempt to land their shuttle vehicles on the planet.  The race itself is a non-stop series of thrilling setpieces which lead to the activation of the Roboworld president's ace in the hole, an out-of-control behemoth known as "Funky Boy" who proceeds to destroy everything in sight.  

The DVD from Anchor Bay's "Manga" label is in 1.78:1 anamorphic widescreen with Dolby 5.1 and 2.0 soundtracks in both Japanese and English, with English subtitles.  Extras consist of a 24-minute making-of featurette and the film's trailer. 

Thrilling, funny, and endlessly watchable, REDLINE is chock-full of some of the most visually-stunning racing action and futuristic warfare ever created for an animated film.  Best of all, it's a return to the glory days of hand-drawn animation which, in the words of its creators, offers something new by doing things the old way again. 

REDLINE -- DVD Review by Porfle

ROOM 304 -- DVD Review by Porfle

 

Originally posted on 1/20/19

 

Danish director Birgitte Stærmose (DARLING, ISTEDGADE) and prolific screenwriter Kim Fupz Aakeson (PERFECT SENSE, ACCUSED) have set out to make us all sad, contemplative, and mesmerized with their gloomy drama ROOM 304 (aka "Værelse 304"), which is like one of those long, detailed dreams that skirts the boundary between the nightmarish and the mundane.

It all takes place in a high-class hotel where all the characters or their relatives work, but instead of being the story of the everyday behind-the-scenes drama of managing a bustling hotel, which I initially expected, it's really a fairly simple account of the romantic and interpersonal relationships between some troubled souls who happen to work in the confined spaces of a big, oppressive hotel. 

To make the simple storylines more interesting, screenwriter Aakeson has gathered up all the scenes and laid them out like jumbled jigsaw puzzle pieces for us to try and sort out ourselves. That way we see things that will occur much later and don't understand them until they reappear in a different context, when everything finally starts to come together.

We see the little details of married  (but not to each other) co-workers sneaking around cheating on their spouses, daily compounding the lies and suspicion that will gradually come to light in tragic ways. We see a fervid subplot about a laundry room worker avenging himself on a guest who once raped his wife, which introduces a loaded pistol into the mix. 

And we see the desk clerk covered in blood after a shocking murder, but, like all the other main plot points, we won't find out what happened until we've been slowly and subtly teased.

If it sounds anything like an Arthur Hailey story, it isn't.  ROOM 304 is slow, somber, and achingly sad, and we see almost nothing of the hotel's guests or the usual practical concerns of running the place. It serves instead as a sort of dreamlike territory of the subconscious, where characters yearning for various unreachable things wander through their unfulfilling lives like fish in an aquarium. 

Hotel director Kasper (Mikael Birkkjær) and front office manager Nina (Stine Stengade) are having a torrid affair that, we fear, will end badly.  Just how badly is revealed to us as the puzzle pieces drift maddeningly into place, and one person's obsession and desperation override rational thought while other collateral damage is wrought. 

Loneliness is another element casting a pall over such characters as emotionally needy stewardess Teresa (Ariadna Gil), who picks up men in the bar for unpleasant sex in her room.  And then there's the daily grind of service workers such as two Filipino maids who toil on the periphery, observing and chatting about it all and never knowing when some sudden twist of fate might sweep them into a maelstrom of tragedy.

My favorite character is Martin (David Dencik, 2011's TINKER, TAILOR, SOLDIER, SPY), the withdrawn, hypersensitive, obsessive (he's always washing his hands) desk clerk. When Nina calls him into her office and tells him that, while very efficient, he needs to "smile more", the nonplussed Martin considers this for a moment and, straightfaced, assures her that he will "make a note of it." He's the one who ends up with blood all over him after the murder occurs.

The visual mood inside the hotel is consistently oppressive, rendered with a richly dark palette and much Rembrandt-style lighting. Stærmose's direction is fluid and artistically expressive, and remains interesting throughout even when the plot is moving along at a snail's pace.

It took me two viewings to fully appreciate ROOM 304, one just to wander around getting my bearings, and another to piece it all together and realize what a carefully wrought and thoroughly satisfying work of cinematic storytelling it is.  The fadeout illicits much contemplation and, for me, a bit of emotional decompression.


TECH SPECS
Type: DVD
Running Time: 88 minutes
Aspect Ratio: 1.85:1 Widescreen
Audio: 2.0 Stereo

Language: German and Danish w/English subtitles

Distributor: Film Movement

Extras: None

ROOM 304 -- DVD Review by Porfle

CHESTY MORGAN'S BOSOM BUDDIES -- Blu-Ray Review by Porfle

 

Originally posted on 9/8/12

 

When adult filmmaker Doris Wishman got together with bazooka-boobed Polish stripper Chesty Morgan in the mid-70s, the result was two of the most head-scratchingly cockeyed and totally off-the-wall nudesploitation flicks ever made.  "Deadly Weapons" and "Double Agent 73" are now together on the same Blu-Ray disc along with an unofficial non-Chesty follow-up, "The Immoral Three", to form the Something Weird Video collection CHESTY MORGAN'S BOSOM BUDDIES.

It was a match made in junk-film heaven--Wishman, a filmmaker with an abundance of energy and enthusiasm but little actual skill, and Chesty, a stunning human visual effect who nevertheless displays absolutely no natural talent whatsoever in front of the camera.  In fact, her absolute lack of any discernible acting skill makes everyone and everything else around her seem better by default.  And yet, with those mind-bogglingly huge all-natural hooters and preternaturally unaffected (some might say "spaced-out") expression, she somehow demands our disbelieving attention every second she's on the screen.

"Deadly Weapons" (1974) features Chesty (here billed as "Zsa Zsa") as the faithful wife of a mob wiseguy named Larry who gets whacked after he steals an incriminating address book and tries to blackmail his boss with it.  The grief-stricken Chesty vows revenge.  Overhearing one of her hubby's killers referring to his addiction to "burlesque", Chesty knows what she must do--get a job as a stripper and wait for him to show up at the club. 

Naturally, she has no trouble doing so after the bug-eyed manager gets a load of her blouse-bursting knockers, which gives Wishman a chance to include scenes from Chesty's burlesque "act" as part of the plot.  When the killer shows up, she gets him alone long enough to wield the only weapons at her disposal, smothering him to death with her enormous cleavage in a scene that has to be gaped at to be believed. 

Later, porn star Harry Reems (DEEP THROAT) meets the same fate despite sporting what must be one of the most formidable moustaches in film history.  But screenwriter Judy J. Kushner (Doris' niece) saves the most shocking twist for the final minutes of the film, which should leave viewers shaking their heads in dismay.

With "Double Agent 73", Chesty portrays secret agent Jane Tennay, who, in service of a plot that doesn't really bear keeping track of, has a camera surgically implanted into her left boob.  That way, whenever she kills an enemy agent she can snap a photo via her Nipple Cam for use back at headquarters in identifying the big cheese, "Mr. T." (no, not THAT "Mr. T."). 

This gives the robotic Chesty an excuse to doff a variety of hideously unflattering outfits throughout the story, beat up bad guys with her wrecking-ball boobs, and snap their pictures.  But first, we meet her while inexplicably sunbathing in a black bra, hot pants, and pantyhose while watching that old nudie-flick standby, naked coed volleyball. 

Later, there's a weird slow-motion sequence with her beating up an attacker with her boobs while taking pictures of him, leading to a hilarous speeded-up car chase that's like a cross between "Bullitt" and "The Road Runner."  In another highlight, Chesty's pretty blonde houseguest is mistaken for her by an assassin, giving director Wishman a chance to duplicate the shower scene from "Psycho" but with a decidedly different approach than Hitchcock.  To her credit, Wishman does manage a couple of semi-cool action scenes in which Chesty is manipulated into looking like she's actually doing something, a feat even Hitch probably couldn't have pulled off.

Wishman's directorial style is primitive, but it's always watchable.  She even shows a little imagination here and there, particularly during scenes of people getting beaten up, and there are flashes of rudimentary style.  But the main fun here (aside from the inescapably nightmarish 70s decor and fashions) is in watching Wishman try to coax a performance out of Chesty Morgan the way nature photographers attempt to manipulate animals into "acting" for the camera.  

While listening to breathless dramatic dialogue being dubbed over Chesty's expressionless closeups, to hilarious effect (Doris and her husband dubbed ALL the voices themselves), it finally occurred to me that these films reminded me of the 1970 TV series "Lancelot Link: Secret Chimp", in which footage of chimpanzees dressed as human characters was coupled with voiceover dialogue to create modest little spy spoofs.  Even the look of the film, sets, and costumes is similar, and it wasn't hard to imagine Chesty fitting right in as Lancelot Link's female sidekick Mata Hairy ("Oh, Lancie!"), albeit with less acting ability than the original ape actress.

Since there were only two Doris Wishman epics produced with Chesty Morgan as the star, the third film in this collection, "The Immoral Three", aka "Hotter Than Hell" (1975), is more of a generic offering.  That is, the three women who star in it have more generic physical endowments, although star Cindy Boudreau as "Genny" is still pretty conventionally stacked.

This time, agent Jane Tennay (also Boudreau) is murdered by a mysterious assailant.  We discover that she had three daughters who were the result of "carelessness" during missions involving sexual relations with the enemy.  The half-sisters Genny, Sandy (Sandra Kay), and Nancy (Michele Marie), strangers to one another until now, must find out who killed their mother and avenge her in order to inherit her $3,000,000 estate.

What follows is some dull softcore sex stuff such as a bikini-clad Sandy fellating a banana to entice the pool man and a drunken Genny doing a seductive dance in bra and panties (the elevator scene is actually kind of funny), mixed with scenes of abrupt, bloody violence as the girls' search for their mother's killer draws some desperate characters out of the woodwork.  The final minutes are rather intense in their own haphazard way, with a surprise ending from right out of left field.

The triple-feature Blu-Ray from Something Weird Video is in 1080p high-definition widescreen 1.78:1 with mono sound.  Bonus features are a gallery of Doris Wishman exploitation art and a sizable collection of entertaining trailers from her many films.

In recognition of one of his major influences, John Waters has the teenage son in "Serial Mom" breathlessly watching Doris Wishman's Chesty Morgan flicks on home video in the privacy of his bedroom.  I, too, rented these movies back in the early 80s and found them, while not exactly "sexy", to be delightfully odd artifacts from a once-in-a-lifetime collaboration of cinematic forces.  With CHESTY MORGAN'S BOSOM BUDDIES, we can revel once again in the bizarre.

CHESTY MORGAN'S BOSOM BUDDIES -- Blu-Ray Review by Porfle

TOM AND JERRY: THE GENE DEITCH COLLECTION -- DVD Review by Porfle

 

Originally posted on 5/31/15

 

I originally watched these cartoons during my college days, many years ago, on a tiny portable TV.  Thus, I never realized that they're actually fairly nice-looking, colorful cartoons with some lovely backgrounds.  My only reaction at that time to the Gene Deitch "Tom & Jerry"s was abject horror at how awful they seemed compared to the earlier Hanna-Barbera ones, which were actually known to win Oscars from time to time.

The only way any of the thirteen cartoons in Warner Home Entertainment's TOM AND JERRY: THE GENE DEITCH COLLECTION would get an Oscar would be if producer William L. Snyder taunted members of the Academy enough to have one thrown at him.  With Hanna-Barbera's departure from MGM, the studio turned to Snyder and Chicago-born animator-director Gene Deitch (a former Terrytoons producer and father of famed underground comix artist Kim Deitch) to keep the cat-and-mouse game afoot.

From Snyder’s Prague-based animation studio, Rembrandt Films, they churned out 13 new shorts from 1960-62 (after viewing some of the celebrated originals for the first time and disliking them) and created a run of "Tom & Jerry"s which stand as some of the oddest, least accessible, and, some might say, most bizarre mainstream cartoons ever made. 

Even as the age of the theatrical cartoon began to wane, moviegoers young and old must've scratched their heads as these wacky artifacts unspooled before them on the big screen. (A later Deitch creation, the Nudnik, would be even harder to relate to, although, to his credit, one of Deitch's unrelated shorts during this period won an Academy Award.)

A follower of the UPA style of animation, Deitch was unused to MGM's old-school, freewheeling slapstick hijinks and outlandish gags.  His attempts to recreate the works of animators such as William Hanna, Joseph Barbera, and the brilliant Tex Avery while adapting their brand of outrageous comedy to his post-modern sense of humor resulted in a series of hybrid efforts which, while hardly as entertaining as their forebears, are nevertheless curiously compelling.

Many of the odd, poorly-rendered gags make little or no sense--after being buried alive in "Switchin' Kitten", Tom's tail slithers up out of the ground and then his head appears on the end of it like a flower, looking just as perplexed as we are. The eye-pleasing artwork is at odds with the jerky movements and editing, while the sound effects often consist of reverb-heavy electronic noises that seem to have been recorded in a restroom. 

Rather than simply come up with the usual domestic antics for the duo, Deitch started putting them into all kinds of outlandish settings and situations (something Looney Tunes vet Chuck Jones would continue to do when he took over the reins from Deitch later on).  Haunted castles, ancient Greek cities, the jungle, outer space, and even a ship under the command of Captain Ahab ("Dicky Moe") are some of the backdrops for these stories.

Some of them consist of Tom simply doing what's expected of him--protecting the homefront from vermin.  Meanwhile Jerry, who is basically a home invader out to steal food (and, let's face it, spread disease), gleefully causes the hapless feline to get beaten and tortured for his efforts.   Honestly, it's as though we're expected to despise cats with a passion in order to find these cartoons funny.

Deitch lays the anti-cat sadism on thick as the writers try to top themselves coming up with ways for poor Tom to suffer (some of his punishments here are positively medieval) while Jerry, of course--insufferable little bastard that he is--dances around gloating and basking in his own horrid "cuteness."  The cat-hate is taken to especially uncomfortable extremes whenever Tom's new owner, a surly fat guy who constantly abuses him, takes him aside for a severe beating as Jerry looks on with a smirk and gorges himself on ill-gotten food.

Fortunately, some of the later entries in the series manage to tone down the Tom-related violence a tad as the stories become a bit cleverer and even the already-passable artwork seems to improve.  "Landing Stripling" and "Calypso Cat" come closest to the classic MGM cartoon style (while still displaying the usual Deitch touches) with an old-school look and gags that are actually funny. 

In "Landing Stripling", this is helped by making Tom the clear-cut bad guy from the start so that he deserves what he gets for once (although it's clear we're being manipulated to feel that way).  The duck character here is a throwback to Yakky Doodle from the classic era although not as cute.  "Calypso Cat" finds Tom once again trying to woo a beautiful girl cat, this time aboard a luxury cruise ship, while Jerry mischievously cramps his style--leading to some genuinely funny gags.

Deitch also harkens back to earlier cartoons with the music-based "Carmen Get It!" and the fourth-wall-breaking "The Tom & Jerry Cartoon Kit", although such attempts tend to emphasize the relative awkwardness of the newer ones.  "Dicky Mo", the western "Tall in the Trap", and "Sorry Safari" suffer from Deitch's grotesque depiction of human characters, whom Hanna-Barbera generally avoided save for the occasional pair of legs.  Another above-average entry is "Buddies...Thicker Than Water", whose tale of penthouse-dwelling Jerry taking in a homeless, freezing Tom actually generates some charm.

The DVD from Warner Bros. Home Entertainment is in standard format with Dolby mono sound in English and Spanish.  The 13 cartoons are newly remastered and look very nice.  Subtitles are in English, Spanish, and French.  Extras consist of a Gene Deitch interview, "Tom and Jerry…and Gene: The Rembrandt Years", and a series retrospective entitled "Much Ado About Tom and Jerry" which spans the decades from their debut cartoon all the way to their most recent TV incarnations.

Although as a cat-lover I eventually came to find even the earlier, classic MGM "Tom and Jerry" cartoons somewhat hard to endure (feeling sorry for Tom and seething with hatred for Jerry the whole time), I still watch them from time to time simply to enjoy the sheer genius behind their creation.  As for the 13 shorts in TOM AND JERRY: THE GENE DEITCH COLLECTION, the reason I watch them is the same reason I watch Ed Wood movies or gaze at kitsch art--because some things are so interestingly bad that they instill in the viewer a curious blend of revulsion, disbelief, and perverse pleasure.


Featured Shorts:
•Switchin’ Kitten
•Down and Outing
•It’s Greek to Me-ow!
•High Steaks
•Mouse Into Space
•Landing Stripling
•Calypso Cat
•Dicky Moe
•The Tom & Jerry Cartoon Kit
•Tall in the Trap
•Sorry Safari
•Buddies Thicker Than Water
•Carmen Get It!


Buy it at the WB Shop

Street date: June 2, 2015

TOM AND JERRY: THE GENE DEITCH COLLECTION -- DVD Review by Porfle

Two Modern Vehicle Bloopers In "Shane" (1953) (video)

It's one of the great westerns of all time...with two great modern vehicle bloopers.

The first one has been erased from the movie...but can still be seen in the trailer.
Look right past Shane as he approaches the Starrett ranch.

The second one happens later when Joey is talking to Shane. 
Look through the open window right behind Joey, right over the top fence rail.

And to think, the people in those vehicles never knew they were in this movie.

Originally posted on 9/10/18
I neither own nor claim any rights to this material.  Just having some fun with it.  Thanks for watching!

Two Modern Vehicle Bloopers In "Shane" (1953) (video)

JAMES BOND AND THE TIPSY TOURIST (video)

On three separate occasions, James Bond's incredible escapades are witnessed by the same hapless tourist. 

Wherever in the wide world this poor guy goes on vacation...he can't get away from Bond.

And the wilder Bond's antics, the more this guy wonders what the heck's in his drink.

THE SPY WHO LOVED ME (1977) Sardinia
MOONRAKER (1979) Venice
FOR YOUR EYES ONLY (1981) The Alps

Hopefully, his next vacation will be blissfully Bond-free. But one thing's for sure...

This guy needs a new travel agent! 


Tipsy Tourist: Victor Tourjansky

I neither own nor claim any rights to this material. Just having some fun with it. Thanks for watching!

JAMES BOND AND THE TIPSY TOURIST (video)

BABY BLUES -- DVD Review by Porfle

 

Originally posted in 2008

 

Whoa--I must say, this movie took a rather shocking turn I didn't expect. When I started watching BABY BLUES (2008) I had no idea what it was about, so I was on the lookout for the usual horror elements to start popping up. The setting, an isolated rural farmhouse in Georgia with a typical family of six--Mom, Dad, two boys, a girl, and a baby--seemed ripe for ghostly occurrences of some sort, or maybe a possession or an axe-wielding maniac. And that scarecrow that keeps giving Mom the heebie-jeebies sure seems like it might come to life at any moment. But the real horror that strikes this family isn't supernatural, and it doesn't come from outside.

I almost hate to give away any more about it, but the pivotal event in the story happens so early on that I wouldn't be able to talk about the movie otherwise. To put it bluntly, BABY BLUES is pretty much inspired by the case of crazed Texas housewife Andrea Yates, who murdered all of her children in one fell psychotic swoop back in '01. (At least, that's what this "based on a true story" story brought to my mind.) The "baby blues" of the title refers to postnatal depression--perhaps "psychosis" would be more apt--which has Mom (Colleen Porch) wandering around with black circles under her eyes while drifting in and out of a state of hallucinatory paranoia. We also see her reading (gasp!) the Bible in her first scene, rarely a good sign in a modern horror film.

Her family, on the other hand, is pretty normal and well-adjusted. Dad (Joel Bryant) is an easygoing lug who unfortunately has to spend much of his time driving a big rig. Jimmy (Ridge Canipe), the oldest, is a typical boy who plays baseball and carries a slingshot. Holden Thomas Maynard and Kali Majors are younger siblings Sammy and Cathy, and bringing up the rear is the new baby, Nathan. Jimmy's starting to notice that Mom isn't quite her usual self lately, but nobody suspects what will happen when she finally flips out during Dad's absence and begins to see her children as vile creatures who need to be severely punished.

I don't know what your tolerance level is for seeing bad things happen to little kids in movies, but BABY BLUES will definitely test it. Mom's breakdown leads to one murder, an attempted bathtub drowning, and various other acts of violence until finally there's a bloody stabbing that may have you picking your jaw up off the floor. After that, the surviving kids run for their lives as the suspense becomes almost unbearable for the rest of the film. Most movies would build up to a sequence this intense as a finale, but this one hits a high tension level about a third of the way through and more or less sustains it till the end.

As Mom, Colleen Porch ably conveys her slow descent into madness and the hysterical homicidal rage that finally bursts forth. There's a great early scene in which, after hearing that a former classmate has scored a job doing the local TV weather report, a haggard Mom stands in front of the bathroom mirror with a bright smile and recites "Tonight will be mostly cloudy, with a slight chance of rain" over and over, until the smile gradually becomes hideous and the phrase itself seems to boil over with bitterness and despair. The kids all give realistic performances, especially 13-year-old Ridge Canipe as Jimmy. He's just about as believably natural as a child actor can get and we can't help but pull for him as he tries to protect his siblings and himself. The authentic Southern accents and atmosphere are also a plus.

The direction by Lars E. Jacobson and Amardeep Kaleka is first-rate as are the editing and the cinematography, which has a rustic warmth in the daytime scenes that gives way to a colder, harsher look later on. Michael Filimowicz's music augments the action well without competing with it.

The DVD is 1.78:1 widescreen with Dolby Digital sound and Spanish subtitles. I watched a screener so I can't comment on any extras, but the promotional info mentions a behind-the-scenes documentary and a trailer.

This isn't about some cool serial killer in a hockey mask slaughtering a bunch of vapid teenagers in delightfully gory ways, and the fact that the setting is so normal and the events so plausible makes it all the more horrifying. Each death is tragic and hurtful to watch, and the suspense leading up to them is dreadful. Impeccably made and intensely effective, BABY BLUES more than succeeds in what it sets out to do, but boy, is it ever hard to watch. And you may suffer from a bad case of postcinematic depression when it's over.

 

BABY BLUES -- DVD Review by Porfle

CATHY'S CURSE -- Blu-ray Review by Porfle

 

(Originally posted on March 30, 2017)

 

I'd never watched CATHY'S CURSE until now, but I do remember seeing a TV spot for it way back in 1977 and thinking that the title sounded like some kind of weird Everly Brothers song.

Today, this charmingly quaint little Canadian chiller-thriller is one of those late 70s film artifacts that seem to foretell the kind of supernatural horror flicks that we'd be seeing all through the 80s when we weren't watching some unkillable stalker-killer slashing his way through a teen cast.

Much of what happens was already pretty familiar stuff at the time.  There's a 1947 prologue featuring the violent deaths of a father and his young daughter Laura--the mother having just abandoned them, taking younger son George with her--whose spirits will return to haunt the living in the present day.

Those haunted are a family consisting of grown-up George (Alan Scarfe, LETHAL WEAPON 3, LOCK UP), his troubled wife Vivian (Beverley Murray) who's still recovering from a nervous breakdown, and their adolescent daughter Cathy (Randi Allen). 

When they return to the old homeplace to live, we know pretty much what's in store for them, and it will involve Cathy being possessed by Laura's angry spirit and making life a living hell for everyone else--especially Vivian, since Laura, like her late father, tends to regard all women as "bitches."  (George seems to be soaking up some of the old man's malevolent spiritual residue himself at first, but not much is made of this.)

French director Eddy Matalon has a lean, unfettered style and the cinematography has that chilly sort of starkness you often see in 70s and 80s Canadian cinema.  The editing is rather jumpy at times, adding to a sense of unpredictability and illogic that seems to enhance rather than detract from the film's modest appeal.

Once settled into their new house, Cathy wastes no time switching over to "creepy possessed kid" mode with the help of a hideous doll with sewn-together eyes that she finds in the attic along with a glowing-eyes portrait of Laura. 

This allows the writers to toss dashes of THE EXORCIST and THE OMEN into the stew albeit never anywhere close to the same intensity or fear level.  In fact, most of what happens is more delightfully amusing than scary, and is at times downright rib-tickling. 

This includes Cathy getting the old caretaker Paul drunk and then unleashing a gaggle of imaginary snakes and spiders on him, and sending a poor old lady who's babysitting her out an upstairs window by telekinetically launching that ugly doll at her. (The investigating police detective is familiar David Cronenberg regular Sonny Forbes, who played the bald black assassin in SCANNERS.)

There's a cool scene early on with Cathy reenacting Laura's fatal car crash with some neighborhood children while Vivian entertains two women, one of whom happens to be a medium.  Her extreme reactions to a picture of Laura's father, jerkily intercut with Cathy's menacing behavior toward her playmates, are a hoot.

The main focus of Cathy's wrath, however, is poor, frazzled Vivian herself, who's in and out of the nervous hospital throughout the film.  This allows Beverley Murray to emote to her heart's content, as when she's having a Calgon moment in the bathtub and suddenly finds herself awash in blood and leeches. 

The rest of the film is a series of derivative but pleasingly off-the-wall "fright" scenes that build to a blandly diverting finale boasting some fun burn makeup for Cathy.  Little Randi Allen, in her first and only film, is endearingly cute acting all menacing and scary.

The Blu-ray from Severin Films is 1080p HD full resolution with Dolby mono sound in English, French, Italian, and Spanish.  English subtitles are available.
 
Severin once again offers a loaded bonus menu including an interview with director Eddy Matalon, a charming interview with grown-up Randi Allen and her mother Joyce (who worked in wardrobe on the film), a fannish audio commentary with critic Brian Collins and filmmaker Simon Barrett, a trailer, and more.  The disc contains both the U.S. release cut and the longer director's cut. 

CATHY'S CURSE never gets nearly as scary as it wants to be--in fact, I don't think it raises a single hackle--but for those who can appreciate this sort of thing, kicking back to watch it is one of life's simple pleasures.  It's just the kind of relatively minor cult horror flick that's a throwaway to some, and a euphoria-inducing treat to others.

CATHY'S CURSE -- Blu-ray Review by Porfle

OZPLOITATION TRAILER EXPLOSION -- DVD Review by Porfle

 

Originally posted on 3/15/14

 

As all movie fans know, there's nothing more kickass than a collection of movie trailers!  Unless, of course, it's a collection of trailers for rom-coms or Merchant Ivory films.  Those don't get described as "kickass" very often.  But you know what does?  Ozploitation flicks!!!  So you know what would be a really kickass trailer collection?  OZPLOITATION TRAILER EXPLOSION!!!

This 2014 DVD from Intervision doesnt literally explode, of course, but there may be times when you'll think it is, or that your brain itself is exploding from the overload of pure, unadulterated exploitational trash-cinema goodness that you're subjecting it to. 

It's a delirium-inducing cornucopia of drive-in fodder that offers ample evidence that the Australian film industry was a beehive of activity back in the glorious 70s and 80s, with directors such as the great Simon Wincer ("Lonesome Dove", "Quigley Down Under"), actor and Rick Wakeman album narrator David Hemmings, the prolific Colin Eggleston, and even Peter Weir and Bruce Beresford manning the director's chair.  (If the production could afford a director's chair, that is.)

The three things that best transcend a low budget are sex, horror, and action, so these trailers fit snugly within those categories.  "Sexploitation and 'Ocker' Comedies" ("ocker" meaning "consisting of broad and uncultured Aussie stereotypes") gets the ball rolling with a string of low-class and often painfully corny flicks that are as twangy and hick-ified as "Hee Haw."

Barry Crocker and Barry Humphries give us the rowdy musical "The Adventures of Barry McKenzie" (with a young Peter Cook) and its sequel, "Barry McKenzie Holds His Own", guest-starring none other than Donald Pleasence as Count Plasma the vampire.  Graeme Blundell, who went on to play Padme's father in deleted scenes from "Attack of the Clones", stars in a couple of "Alvin Purple" romps about the sexploits of a nerdy-looking chick magnet who is given this valuable business advice: "There are openings everywhere for the right man!"

"Plugg" offers the gorgeous Cheryl Rixon along with some really bad cop hijinks, while Susannah York and Trevor Howard find themselves ensconced in a dreary-looking period costume farce called "Eliza Fraser."  The trailers for "Fantasm" and "Fantasm Comes Again" feature a too-close-for-comfort view of John Holmes' trouser snake while giving us teasing glimpses of favorite 70s porn stars Candy Samples (as "Mary Gavin"), Uschi Digard, Roxanne Brewer,  Rene Bond, and Rainbow Smith. 

In addition to the slapdash and gleefully vulgar comedies are nudge-nudge wink-wink mockumentaries such as "The Love Epidemic", which exhorts viewers to have sex while warning them of V.D., and "The ABC of Love and Sex Australia Style", which we examined in detail here.  All serve as naughty looks at what was considered shocking in "Strine" society in those days and, like the comedies, are brimming with a multitude of boobies and great gobs of softcore sex. 

The ubiquitious Jack Thompson ("Merry Christmas, Mr. Lawrence") plays the no-nonsense, ultra-manly "Petersen", who takes no guff and tells people to "get stuffed."  Arthur Dignam of "Dead Kids" (aka "Strange Behavior") co-stars, but it's the welcome sight of a topless young Wendy Hughes who makes this trailer interesting.  Thompson turns up again (and again) in "Libido", which offers the usual sexual situations with a lurid and melodramatic leer. 

Much of this material seems to be the same kind of stuff that turned up as late-night filler on the Playboy Channel in the 80s.  Like most of OZPLOITATION TRAILER EXPLOSION, I'm not sure I'd care to actually sit through some of these films yet their trailers provide non-stop entertainment in handy capsule form.

Moving on to "Horror and Thriller",  we get another staple of Aussie cinema that was either well-done or utterly gosh-awful in seemingly equal measures.  Roo-doo potboilers such as "Outback" and "Night of Fear" appear to represent the latter, while something called "Inn of the Damned" ("in the tradition of Hitchcock!") manages to boast none other than Dame Judith Anderson in what is known as "slumming" with a capital "S." 

Returning to sex-comedy territory is "The Night The Prowler", about a woman named Felicity who turns the tables on her nocturnal rapist and becomes a sex-starved prowler herself. "End Play" mixes two brothers, a secluded country house, and a pretty young hitchhiker to give us something that is, the announcer warns, "terribly, terribly wrong."

Reprenting the best of low-budget Australian horror cinema are the trailers for some familiar faves.  "Patrick" tells of a comatose man who may be causing chaos on a subconscious telekinetic level.  "Thirst" is a story of modern-day vampires, while "Dead Kids" is the richly compelling horror thriller by filmmaker Michael Laughlin which stars Michael Murphy, Louise Fletcher,  Fiona Lewis, Dan Shor,  Marc McClure, and Arthur Dignam. 

Peter Weir's "The Last Wave" stars Richard Chamberlain in a nightmare of supernatural evil.  Sigrid Thornton looks great topless in "Snapshot" while being menaced by Vincent Gill and propositioned by "Thirst" star Chantal Contouri.  "Nightmares" is as lurid a horror-slasher flick as they come.  A personal favorite of mine, "Roadgames" (1981), stars Stacy Keach and Jamie Lee Curtis as a truck driver and a hitchhiker on the trail of a highway serial killer. 

Of the three categories featured here, perhaps "Cars and Action" is the one the Australians do best.  Ever since "Mad Max" roared through American drive-ins and cable TVs there's been a string of imitations and outright clones of it and its superior follow-up, "The Road Warrior", which really set the standard for white-line mayhem. 

The same cast members keeping turning up too--not the least of which is probably the busiest man in Oz cinema, Bruce "Gyro Captain" Spence, who seems to be in damn near everything in this collection.  "Mad Max"'s ever-popular "Goose",  Steve Bisley,  heads sci-fi action-thriller "The Chain Reaction", which has its own incredible car chases, crashes, and stunts. 

More automotive vehicles are destroyed and stunt drivers endangered in the hair-raising "Stunt Rock", "Stone" (the guy flying off a cliff on a motorcycle is a stunner), "Fair Game" (another beleaguered woman turns the tables on her antagonists), and the mind-boggling "Midnight Spares" with, you guessed it, Bruce Spence. 

Judging by their trailers, these films are jam-packed with the kind of stuff that makes Quentin Tarantino's "Death Proof" look like a fender-bender.  I can only guess at how wide-open the stuntman trade must've been in Australia during that era.  Some of them seem to be risking life and limb with utter abandon. 

Elsewhere, Alan Arkin does a funny turn as a washed-up superhero in "The Return of Captain Invincible."  "Terminator" rip-off "The Time Guardian" stars Dean Stockwell and Carrie Fisher.  Jimmy Wang Yu goes up against erstwhile 007 George Lazenby in "The Man From Hong Kong." 

There are would-be spaghetti westerns such as "Raw Deal" and Dennis Hopper (in a series of horrible fake beards) as "Mad Dog Morgan."  Aerial thriller "Race for the Yankee Zephyr", with Ken Wahl, George Peppard, Lesley Ann Warren, and Donald Pleasence, is directed by David Hemmings ("Thirst") and features some of the most exhilarating helicopter photography I've ever seen. 

"Attack Force Z" is a mercenary shoot-em-up with Mel Gibson, Sam Neill, Olivia Hussey, and John Phillip Law.  Getting short shrift here is Nicole Kidman's teenage debut,  "BMX Bandits", whose brief trailer seems more like a TV spot.  Peter Weir's "The Cars that Ate Paris" (1974) is just as nutty and stunt-packed as it sounds, and yes, Bruce Spence is in it.

Among the other luminaries popping up here and there in this collection are Broderick Crawford, Judy Davis, Robert Powell, Jenny Agutter, Tom Skerritt,  and James Mason, along with frequent Ocker faves such as Frank Thring and Briony Behets. 

The DVD from Intervision Picture Corp. is in anamorphic widescreen with Dolby Digital mono sound.  No subtitles or extras.  The picture quality is about what you'd expect from a bunch of forty-year-old trailers (give or take a decade).  Running time is 165 minutes.  Many more trailers besides those mentioned here are included (65 in all).

If you're not in the mood for a sit-down meal but fancy a snack tray of sex, horror, and violence goodies, then Mama always said you should try OZPLOITATION TRAILER EXPLOSION.  Because even though you never know what you're gonna get, you can be sure it'll be chock full of fine Strine cui-sine.

OZPLOITATION TRAILER EXPLOSION -- DVD Review by Porfle

"KING KONG VS. FRANKENSTEIN" Main Titles (video)

 

Here's a fun "what if" I concocted based on a concept by "King Kong" (1933) chief animator Willis O'Brien.  

His proposed sequel, for which he made some fascinating preliminary sketches (like the one in the very last shot of this video)...

...involved the giant ape going into battle against an oversized Frankenstein Monster.

 

I neither own nor claim any rights to any of this material, nor am I profiting from it.  Just having a little Monster Kid fun with it!

 

"KING KONG VS. FRANKENSTEIN" Main Titles (video)

"The Matrix": Trinity's Escape Set to Janet Jackson's "That's the Way Love Goes" (video)

Somehow this music just seems to go with this scene.

For us, anyway. In a weird way.

If you like this, please check out the entire movie, "The Matrix"...

...as well as other music by Janet Jackson.


I don't own or claim any rights to any of these materials--just having a little fun with them. Thanks for watching!

"The Matrix": Trinity's Escape Set to Janet Jackson's "That's the Way Love Goes" (video)

BIKINI FRANKENSTEIN and TWILIGHT VAMPS -- DVD Reviews by Porfle

Originally posted on 1/30/10

 

 

As great as Universal Studios' classic "Frankenstein" movies of the 30s and 40s are, there was always one key ingredient curiously missing from all of them--beautiful naked babes having sex. Whether this was merely an oversight or, for some inexplicable reason, directors such as James Whale and Rowland V. Lee intentionally omitted this vital element, legendary "B" moviemaker Fred Olen Ray's Retromedia Entertainment has finally corrected this problem with the release of BIKINI FRANKENSTEIN (2009).

And rest assured, there's a veritable buttload of steamy softcore, simulated sex scenes in this film, with the story serving as a sort of connective tissue between them. It's kind of a shame, in fact, that we don't get to see more of that story since it's really fun and the actors all give exceptional comic performances. Unlike some preening 70s porno stud like Randy West donning a pair of glasses and trying to be "funny", Frankie Cullen is genuinely, cartoonishly amusing as Dr. Victor Frankenstein, a nebbishy scientist who gets booted (yes, "booted") out of his university teaching job for banging a buxom cheerleader on his desk.

Tony Marino is also funny as Victor's rival, Clive, who gleefully reports the Doc's carnal activities to Professor Van Sloane (actor-filmmaker Ted Newsom in fine comic form). As it happens, both Cullen and Marino happen to be a couple of pretty buffed-out hunks, which should keep the straight chicks and gay dudes in the audience occupied while the heterosexual males get an eyefull of the gorgeous female-type characters. These include voluptuous blonde knockout Brandin Rackley as Dr. Frankenstein's ditzy lab assistant Ingrid, exotic Christine Nguyen as Clive's sexy wife Claudia, and the delightfully winsome Alexis Texas as the aforementioned cheerleader, Debbie.

Retreating to his castle in Transylvania, Victor vows to prove his theories to his skeptical colleagues by bringing life to the dead, which in this case is the tall, lissom Jayden Cole as "Eve." She doesn't actually wear a bikini--more like two strips of gauze--but that doesn't matter since she gets naked pretty quick anyway. A carnal encounter with Ingrid reveals Eve's tendency to crackle with electricity whenever they connect the minus to the minus, so to speak.

Later, Victor returns to the States along with Eve and Ingrid, where, at a cocktail party attended by Clive, Claudia, Professor Van Sloane, and Dr. Waldman (Ron Ford with an enormous fake moustache), he plans to reveal Eve as his triumphant creation after she's sufficiently impressed everyone. Eve does this by having sex with Clive and then engaging in a three-way with Ingrid and Claudia (Claudia also finds time to get it on with Victor as well) which ultimately comes to an unfortunate and, to me, rather abrupt conclusion.

Nicholas Medina's direction is quite good and Sherman Scott's screenplay is stocked with fun references to the classic Frankenstein films. Aside from all the obvious name-dropping, the opening scene has Victor illustrating a scientific procedure that seems inspired by a certain Dr. Neimann from HOUSE OF FRANKENSTEIN (dog included) and Ingrid is obviously inspired by Teri Garr's character in YOUNG FRANKENSTEIN, albeit with even more impressive "knockers." One of the film's best features is its cinematography, which looks just plain great, and the musical score is also easy on the ears.

Personally, I find long, drawn-out sex scenes to be pretty boring after the first minute or so, but the ones in this film benefit from truly great-looking performers and skillful execution. Add to this a nutty cast, lighthearted script, and pleasing production values, and BIKINI FRANKENSTEIN, while lacking a satisfactory ending, is a creation that's more than the sum of its parts.

TWILIGHT VAMPS (2009), on the other hand, isn't quite as enjoyable comedy-wise but maintains the same high standards in regard to the sex scenes while boasting pretty much the same cast. This time Frankie Cullen and Tony Marino play Jack and Roger, a couple of office drones who decide to unwind at a flashy new strip club called Shadows, which just happens to be a front for a bunch of beautiful vampires who drain male customers of their money, sexual energies, and blood.

Having just been dumped by his girlfriend Louise after discovering that she was a dyke interested only in banging her girlfriends and emptying his bank account, Jack falls for sexy blonde dancer Tabitha (Brandin Rackley) while Roger is smitten with Angela (Christine Nguyen). Before long, however, Jack discovers the blood-splattered truth and is forced to become an amateur vampire hunter armed only with a bottle of holy water that's gone past its expiration date.

With the same above-average production values, cinematography, and performances as BIKINI FRANKENSTEIN, TWILIGHT VAMPS is breezy low-budget entertainment that's pleasing to the eye. In addition to the usual plethora of simulated sex scenes which are equally well-done, the strip club setting affords lucky viewers the opportunity to watch the leading ladies show off their considerable poledancing skills. Ultra-fabulous babe Brandin Rackley, who has instantly leapt into the top five of my favorite actresses of this week, is especially awesome in this department (although the exquisite Christine Nguyen offers her close competition in terms of hotness). The opposite of her goofy "Ingrid" character from BIKINI FRANKENSTEIN, Brandin's "Tabitha" is sublimely gorgeous and seductive. In fact, she should be receiving my marriage proposal in the mail any day now, and my fingers are crossed that she'll check the "yes" box. Wish me luck!

Ron Ford returns as Jack's unappreciative boss, Mr. Cartwright, this time sporting an outlandishly fake beard, while Ted Newsom shows up again as a terse, suspicious police detective who questions Jack in regard to one of the vampire murders. In addition to giving his usual solid performance, Ted gets to reprise one of the most celebrated quotes from Ed Wood's classic PLAN 9 FROM OUTER SPACE, and delivers the line with much relish. (Or whatever the craft services people were serving that day.)

Once again, Nicholas Medina handles the directing chores while also contributing the screenplay, which, according to the opening titles, is "based on the poem by Edgar Allen Poe." What poem by Edgar Allen Poe? I don't remember him writing anything called "Twilight Vamps." Maybe it's one of his lesser-known works. The associate producer is identified as one "Thorn Sherman", although it's unclear whether or not this is the same Thorn Sherman portrayed by actor James Best in THE KILLER SHREWS. If so, my hat's off to the guy for defeating those horrible monsters and scoring Miss Universe 1957 in the bargain.

Infinity Entertainment Group's DVDs of TWILIGHT VAMPS and BIKINI FRANKENSTEIN are presented in 16 x 9 widescreen and 2.0 Dolby Stereo. Special features include original trailers.

TWILIGHT VAMPS is filled with visual delights and, while not quite as much giddy fun, makes a fitting companion piece to BIKINI FRANKENSTEIN. Both films are worth checking out for the sex scenes alone, with the added benefit of talented actors and production values that are clearly superior to the usual low-budget fare. So the next time the guys are over at your place for the usual Saturday night drunken wing-ding, leave GIRLS GONE WILD on the shelf and pop one of these babies into the DVD player, and go nuts.

BIKINI FRANKENSTEIN and TWILIGHT VAMPS -- DVD Reviews by Porfle