Category: Reviews

Caligula (1979/2024)

Published on by Geoff ArbuckleLeave a comment

B-Movie Enema has existed from the morning of the world, and it shall exist until the last star falls from the night. Although I have taken the form of the Enema Man, I am all men as I am no man and therefore, I am a God… of buttholes.

Ah yes… This was bound to happen, wasn’t it? There are infamous movies, and there is 1979’s Caligula. Known as the gigantic budget sex film produced by Bob Guccione and Penthouse Films International. Guccione was the founder of Penthouse Magazine. Penthouse, as per my reckoning, as a guy who once had a subscription to both that and Playboy in my younger years, was known for two things. The first was the Penthouse Forum, in which people supposedly wrote letters that sounded a little more like erotic fiction than anything else. The second was the fact that the women in the magazine, at least when I had the subscription, tended to be more of the adult actress type of models, and therefore, unlike Playboy, which specialized in girls-next-door types, the Penthouse Pets tended to be a little raunchier in their pictorials. Playboy was more artful. Penthouse was more sexual. Hustler was dirty.

But what people don’t really know is that Penthouse was involved in funding for films for a long time. They chipped in funding for studio pictures like Chinatown and The Day of the Locust. Guccione never produced his own film. So he decided he wanted to not just produce a movie of his own, but make a grand spectacle about a time in which spectacle was sexy as fuck. So he said that Caligula would be the guy he’d make his movie about. He started working with an Italian producer, Franco Rossellini, whose uncle, Roberto, was one of the most prominent Italian filmmakers. He then eventually hired author Gore Vidal as his screenwriter.

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Missing in Action (1984)

Published on by Geoff Arbuckle2 Comments

This review was written in advance of Chuck Norris passing away on March 19,2026 following a medical emergency. It’s not exactly written to be a tribute or an in memoriam to Norris, but more of a typical review of Missing In Action. That said, this movie is one of the more important ones in his filmography and the start of a franchise we will return to later in the year. It will be at that point that there will be more to say about the passing of an 80s action icon.

Oh boy, it’s time for some Chuck Norris/Cannon Films goodness on this week’s B-Movie Enema!

1984’s Missing in Action is kind of an important movie for our two primary entities. First and foremost, this was the first film Chuck Norris made for The Cannon Group and producers Menahem Golan and Yoram Globus. That also meant that Cannon got Chuck Norris, an action star already, to more or less become the face for the company for years to come. This movie also brings director Joseph Zito back for another go at B-Movie Enema. Zito had previously directed The Prowler in 1981, but 1984 probably brought his two most recognizable films to his filmography – Friday the 13th: The Final Chapter and Missing in Action. In 1985, Zito, Cannon, and Norris teamed up again for another movie that really should find its way to the blog someday soon, Invasion U.S.A.

It’s really hard not to compare Missing in Action to 1982’s First Blood. First Blood probably kicked off the subgenre that Letterboxd likes to call vetsploitation. And how could it not? It was Sylvester Stallone in a really good performance as John Rambo, which then led to several leading action characters in the 80s being somehow a part of the Vietnam War. Missing in Action originated as a treatment by James Cameron for Rambo: First Blood Part II. That’s where the Rambo flicks and the Missing in Action series both get their pretty tight similarities. Golan and Globus totally owned up to the fact that Cameron’s treatment served as the inspiration for their series. So they released Missing in Action and Missing in Action 2: The Beginning as quickly as they could to get it out ahead of Rambo to avoid any legal issues. I wasn’t entirely sure how that avoided issues, but whatever, it was the Go-Go Boys doing what they do best, go-going.

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Can’t Stop the Music (1980)

Published on by Geoff Arbuckle1 Comment

Do the milkshake, the milkshake, my Enemaniacs.

Guys… I… I’m not sure how to even start this review. Welcome back to B-Movie Enema and yet another review on this web zone. Boy oh boy do we have a doozy for you this week. 1980’s Can’t Stop the Music isn’t just a box office bomb. It isn’t just a critical disaster (to the exception of one movie reviewer’s very odd opinion), It isn’t just a movie about the disco group Village People, a group that, themselves, are kind of a massive dose of campy pop culture jokes. It also helped pave the way for a Hollywood tradition that is very hit and miss with me.

The movie was kind of meant to be about the formation and near-overnight success of Village People. Village People were formed in 1977 by Jacques Morali (played by Steve Guttenberg in his film debut) and his business partner, Henri Belolo. They were hitmakers in Europe and came over to New York City to break into the American music market. The first member to join the band was Victor Willis, who was the cop character in the group. Willis wrote most of their hits and was the lead singer of the group. He was the only performer on the first Village People album. To find other stage performers to mostly dance on stage to Willis singing, Willis first handpicked Alex Briley who portrayed the G.I. of the group and remained with the group for 40 years, and Morali chose Felipe Rose, who wore the Indian costume during performances. Rose was found in a local gay BDSM club with a name that is every bit as gay as it is awesome – The Anvil.

When the record proved to be a major hit, the rest of the band was formed by way of putting out an ad in a theatre trade paper. Glenn Hughes was added as the leatherman. Randy Jones saddled up as the cowboy. David Hodo built his entertainment foundation as the construction worker character. 1977’s Village People and 1978’s Macho Man were okay sellers, but later in 1978, Cruisin’ proved to be a MASSIVE hit, and it was followed by another hit album, 1979’s Go West.

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Killdozer (1974)

Published on by Geoff ArbuckleLeave a comment

A new review at B-Movie Enema is KILLDOZING ITS WAY INTO YOUR COMPUTERS!

Hell yeah, brother! It’s time for this oddball made-for-television flick from 1974. Look out! It’s Killdozer! Killdozer was first released as a 1944 novella by Theodore Sturgeon. Sturgeon wrote a ton of reviews (somewhere around 400, which means I have written more, so take that, Mr. Killdozer), along with a bunch of short stories, and about 11 novels. He even ghost-wrote an Ellery Queen mystery novel. Ellery Queen was someone my oldest brother would read when I was a kid.

Sturgeon also wrote a couple of very popular Star Trek episodes in the 60s. The first was “Shore Leave” which featured members of an away team seeing a bunch of crazy visions like characters from Alice in Wonderland and damsels in distress. The second was a VERY popular one, “Amok Time.” This introduced the Vulcan mating ritual, pon farr, and the first time the phrase “Live long and prosper” was uttered. It was also the first episode to feature the Vulcan hand salute. Some other scripts he wrote that went unproduced introduced the concept of the Prime Directive, the doctrine that Starfleet and the Federation operated by when visiting new worlds.

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Moment by Moment (1978)

Published on by Geoff Arbuckle1 Comment

Welcome to the most sexually charged review of B-Movie Enema ever.

This week, I’m going to review 1978’s Moment by Moment from director Jane Wagner. We’ll talk about Wagner momentarily, as she is the writer, collaborator, and wife of one of the stars from this infamous movie. But when it comes to Moment by Moment, there are two guys we need to focus on first. That would be the leading man of the movie, John Travolta, and producer Robert Stigwood.

Travolta’s rise to superstardom was already well on the way in 1978. Sure, he was already famous for the sitcom Welcome Back, Kotter. In 1976, he had a strong supporting role in the Brian De Palma horror masterpiece Carrie. But it was his leap to taking lead roles in 1977 that really made him a household name and one of the great movie stars for a few years to come.

And it was Robert Stigwood who launched that superstardom.

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Mata Hari (1985)

Published on by Geoff Arbuckle3 Comments

Alright, everybody, if you’ll take your seat, your B-Movie Enema historical lesson can begin.

Today, I’m reviewing 1985’s Mata Hari from our good friends at Cannon Films. This was during a time in which Cannon was raking in money from the Chuck Norris action flicks, but also was luring a lot of directors with a great deal of artistic talent. A lot of people think it was those Norris action exploitation films, or the authoritarian, at least semi-right-wing coded crime thrillers that Charles Bronson was making, that brought Cannon low. No, what led to Cannon’s demise was a combination of overpaying Sylvester Stallone for two films that didn’t really do the gangbusters that the company expected, and the big time swings for the fences that were utterly destroyed by critics. These were your Brooke Shields vehicle, Sahara, The Wicked Lady with Faye Dunaway, Bolero from John and Bo Derek, Tobe Hooper’s Lifeforce, and Mata Hari. There were others, but these were the large productions that had massive scale and looked beautiful, but ultimately were not much more than sex and exploitation films that were just never going to sell to mainstream audiences the way Menahem Golan and Yoram Globus expected. I’m probably not really describing all these films in the best, most detailed or nuanced light, but that’s what more or less happened.

With Mata Hari, they did have a very capable director, though, brought in to tell a war epic. Curtis Harrington was no hack job. Harrington was an experimental filmmaker in the 50s and 60s, but his career actually began as a film critic. In the mid 60s, Roger Corman brought Harrington to make Voyage to the Prehistoric Planet and Queen of Blood. He also made Whoever Slew Anutie Roo. He also worked on well-known TV movies like How Awful About Allan and Devil Dog: The Hound of Hell. Most importantly, though, Harrington, himself a gay man, was instrumental in two things related to James Whale (most famous for Frankenstein and The Bride of Frankenstein). He was instrumental in rediscovering and recovering Whale’s thought-to-be-lost film The Old Dark House. He also served as an advisor on Bill Condon’s Gods and Monsters about Whale in his later years.

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Fright (1971)

Published on by Geoff Arbuckle4 Comments

Welcome to another FRIGHTening review here at B-Movie Enema!

Quick! What was the first slasher film? The one that created the subgenre that would dominate the horror section of 80s video stores and late night cable TV? I bet you’re thinking Halloween. Or maybe you muttered to yourself, “The Texas Chainsaw Massacre.” If you really wanted to flex some horror muscle or just simply sound like a smarty pants, you might have mentioned Black Christmas. Hell, I think I just heard someone shout Hitchcock’s Psycho.

I don’t know if there is any one real answer, but I want to enter 1971’s Fright into the conversation.

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Golden Needles (1974)

Published on by Geoff Arbuckle1 Comment

This week’s B-Movie Enema is on the hunt for a legendary statue with needles, which, when stuck into an adult male in a very particular pattern, will turn that guy into a sexual Tyrannosaurus.

And it’s Joe Don Baker who is one of the men after it!

Yes, you read that right… Joe Don Baker is after the seven Golden Needles that will turn him into a sex machine (well, maybe not so much, but still…). If it wasn’t for a very specific appreciation for Baker, I might just have to barf. *Hurk*

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