Loose Screws: Screwballs II (1985)

A few years back, I covered the very funny boner comedy Screwballs. It’s obvious that the type of movie that was is not something that will play well at all today, but it doesn’t excuse the early 80s sex type jokes from being funny. It’s juvenile. It’s kind of gross. It’s funny.

I’m sure, as we take a look at this week’s movie, the sequel Screwballs II (also known as both Loose Screws and Loose Screws: Screwballs II), the two years between the movies will give the series a chance to mature, right? Uh… Right?

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Carny (1980)

One look at the trio of stars that grace the promotional materials for this movie, and you might think that I chose this for B-Movie Enema because that’s Gary fucking Busey in clown makeup. If not that, maybe it’s burlesque dancer Jodie Foster. Both of those are good choices, but, alas, I chose Carny for one reason…

It’s my fuckin’ blog and I chose what I want.

Seriously. Get off my back. I want to watch a movie with good, non-weirdo Gary Busey playing a carnival barking con man and a young sexy Jodie Foster exotic dancing. I don’t know what the fuck you think you have to say that is any better of an idea. To be honest, I’ve wanted to do either this or Bugsy Malone for a long time on the blog. I really have no idea why. Bugsy Malone is easy to explain because it’s a kid mobster musical movie. That screams fun to me. Carny… Well, this one seemed a little more serious. A little more like it maybe has something to do with these young, talented actors.

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Blood Sisters (1987)

What up, a-holes? It’s a new week and a new article from everyone’s favorite movie blog, B-Movie Enema! This week, Roberta Findlay returns with her 1987 horror-thriller Blood Sisters. What’s the big deal about that? Well, Findlay is one of a handful of female exploitation horror directors that were known from the 70s and 80s. While many worked for Robert Corman, Findlay actually worked more closely with her husband, Michael Findlay.

Michael Findlay was part of an underground movement on the east coast of directors who worked on early slasher films that were crude and incredibly violent. He married Roberta and she often worked as his cinematographer and directed films on her own as well. The couple met and befriended George Weiss, the producer of Ed Wood’s infamous Glen or Glenda. He suggested they continued down the path of violent sexploitation.

They did, however, while Michael continued to pursue violent sexploitation slashers, Roberta also would dabble quite a bit in both horror and porno. Michael would ultimately be killed in a terrible helicopter accident in which he was waiting to board a helicopter on top of the Pan Am building in 1977. The chopper turned over and the blades hit him and a couple other passengers waiting to get on board. The ghastly news report revealed that he was “literally cut to pieces” but the truth was that he only had deep lacerations that led to his death.

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She (1985)

She told me that she loved me, and like a fool I believed her from the start. She said she’d never hurt me, but then she turned around and broke my heart. Why am I standing here missing her and wishing she were here?

She only did me wrong. Hey! I’m better off alone. She devoured all my sweet love, took all I had and then she fed me dirt. She laughed while I was crying. It was such a joke to see the way it hurt.

Wait… What’s that? We’re not talking about the opening song to the 1967 album More of The Monkees written by Tommy Boyce and Bobby Hart? But we’re talking about She right? Ohhhh, the 1985 post-apocalyptic comedy action flick starring Sandahl Bergman? Ah ha! I gotcha. That does seem to better fit the B-Movie Enema blog website than individual songs on random albums from, like, almost 55 years ago.

Well, shit… Let’s change gears then, yes?

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Night School (1981)

Kevin Hart. What a funny little fella. He gets up on screen, bugs his eyes out when he’s tellin’ jokes, screams… He seems like an overall pretty good dude. Tiffany Haddish is someone I find quite attractive too. She’s known for being pretty funny as well. What on Earth are they doing on this blog? What could they have possibly done to draw an article on B-Movie Enema?

Wait. Hang on a second. I’ve got some new information coming across my desk about this week’s article. Oh. Okay. I see. Gotcha.

Looks like I watched the wrong Night School. Well son of a bitch. I watched the 2018 comedy starring Hart and Haddish. I should have been watching the 1981 slasher directed by Ken Hughes. One moment while I go and rectify this shit.

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Olivia (1983)

Last week, we talked about an Italian actor-turned-director’s film, this week, we have a German actor who turned into a rather notable director.

1983’s Olivia comes to us from Ulli Lommel. Lommel was an actor in the 60s. In fact, one of his earliest films was one of Russ Meyer’s – Fanny Hill. But he would work many times over with Rainer Werner Fassbinder, who was a particularly controversial filmmaker himself. Fassbinder made a lot of avant garde films and passed away young due to a drug overdose. However, Lommel produced a 1970 movie of Fassbinder’s called Whity a surreal western about a mixed race servant who kills the family he works for and runs away with his prostitute lover. Whity won many awards in the German equivalent of the Oscars.

By the end of the 70s, Lommel moved to America to make American movies permanently. By 1980, he jumped into the slasher craze with The Boogeyman. While the reviews were mixed, and there were many comparisons made to John Carpenter’s Halloween, the movie was a huge success. It was banned in the United Kingdom as a Video Nasty, and was later re-evaluated as a movie that seems to utilize a lot of Lommel’s own fears he had as a child. Boogeyman II was released a few years later. Like the infamous Silent Night, Deadly Night Part 2, the sequel uses many flashbacks to the first to help fill its runtime. Boogeyman II is pretty much unilaterally disliked.

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The Black Cat (1981)

I love cats. Guys, I don’t mind saying it. I’m not a dog person. In fact, for the vast majority of the last 29 years, I’ve lived with at least one cat, and very often with two. These cats are as good as kids from my perspective. Most of those cats have been partners in crime with me. So, I guess you can say I have something in common with our lead in this week’s movie, The Black Cat.

However, this is only very loosely based on the Edgar Allen Poe short story by the same name. In that, it’s about a man and his wife who love animals. In particular, he seems to have a special bond with a large, black cat. When he develops an addiction to the sauce, the cat decides he doesn’t really like the guy anymore which is only made worse by the drunk man torturing the cat by removing its eye, and even hanging the cat from a tree.

This 1843 story has been the inspiration, suggestion, or basis for many a film version. Universal Studios twice made movies “suggested” by the story, but neither held any kind of similarity outside having a black cat in them. Multiple times, Italians have made adaptations of this like Sergio Martino’s Your Vice Is a Locked Room and Only I Have the Key (a title that just rolls off the tongue) in 1971, Dario Argento’s version in the anthology film Two Evil Eyes, and then Fulci’s version that we’re going to talk about today.

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