Category: 1980s

Dark Tower (1987)

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Welcome to yet another B-Movie Enema review! This week, I’m looking at Dark Tower. Now, before you connect that title to another thing from Stephen King, just know this is a 1987 film that used that same title and set in Spain. Interestingly, though, this movie comes from a pair of directors I’ve talked about before.

The original director was Ken Wiederhorn. Wiederhorn is best known for horror. In particular, he directed Shock Waves in 1977 which features Nazi zombies. Then, in 1981, he did the quite good Eyes of a Stranger with Jennifer Jason Leigh in an early role. The year after this movie’s release, he did Return of the Living Dead II. He originally wanted to be a documentary director, but once he broke in with horror, he says none of the reputable news organizations wanted to work with him. To be fair, it probably has a lot to do with the spectacularly bad Animal House ripoff King Frat which I watched as part of the second season of B-Movie Enema: The Series.

Wiederhorn was replaced during filming. His replacement was Freddie Francis. Francis appeared recently on the site with 1970’s Girly which turned out to be quite a good movie that uses some salaciousness to draw someone in, but then turns out to be a really interesting movie about a messed up family and arrested development. Francis wasn’t the only replacement piece for this movie. Original leading lady Lucy Gutteridge was replaced by Jenny Agutter. Original leading man Roger Daltrey was replaced by Michael Moriarty.

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Maximum Overdrive (1986)

Published on by Geoff Arbuckle1 Comment

Welcome to B-Movie Enema. This week, we’re going to the mid-80s for the slick-looking horror flick Maximum Overdrive. It’s kind of impossible to talk about this movie without mentioning three things a lot of people who know about it knows (and possibly the main reasons that draw them to it). The first is that this movie bombed fairly hard and was almost unilaterally disliked by critics and a whole lot of the audience. Okay. Fine. The second thing was that this featured a pretty bitchin’ soundtrack from the Australian rock superstar group AC/DC.

But, come on… The third is the biggest reason why most watch this movie. That would be Stephen King. By 1986, King was about as big of a name in American literature as anyone else. In 1974, he released his first novel, Carrie, which was immediately brought to the screen in 1976 by Brian De Palma. With each subsequent novel released, ‘Salem’s Lot, The Shining, The Stand, The Dead Zone, and so forth, King was selling like hotcakes. Most of his novels up to this point were adapted into movies as well. King hasn’t often had a great deal of appreciation for the movies made from his movies. Notably, he hated Stanley Kubrick’s version of The Shining.

At the height of his power, King decided he wasn’t going to write a book and then sell the rights to someone only for them to make a movie he wasn’t satisfied with. Instead, he would make his own film. This was the only film King ever directed. He does admit that he had no idea what he was doing and he was railing on cocaine most of the time anyway, so he barely even remembers anything about the production.

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Deathstalker II (1987)

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Welcome to the final B-Movie Enema article for June!

So we spent a lot of time this month catching up with sequels to movies I’ve covered before. We started June with introducing ourselves to a series I’ve wanted to dive into for a while – Deathstalker. In the interest of keeping up with the whole point of this month, we’re going to round things out with Deathstalker II. If you think this is going to just be more of the same from the first film, well, you’ll be surprised to hear it isn’t. This is actually more of a comedy.

There could be multiple reasons why this sequel, that came four years after the original that was a success, decided to go this route. First of all, this was the final sword and sorcery film made in the Roger Corman-Argentinian deal. (To find out more about that, hit that link the paragraph above to read the review of that first film.) Honestly, the window had closed on these types of fantasy films by 1987. So why not try doing something a little different? Maybe wink and nod at the audience that these movies are kind of silly. Bringing Jim Wynorski in as director of this sequel certainly changes the mood. Wynorski’s pretty good at infusing a little bit of cheeky self-deprecation into his films. But then also the film was fairly low budget.

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Zombie 5: Killing Birds (1988)

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Oh boy… One I’ve long been leaving on the back burner finally flies into the forefront…

Welcome to this week’s B-Movie Enema review. This time around, I check back in with the goofy Zombie series, and leave it to the Italians to be weird. Well… sort of. The weirdness of this is not entirely their fault. It’s partially, for once, our fault. Stupid Americans.

Allow me to explain. If you’re reading this blog, you already basically know that Zombi is the Italian title for George Romero’s masterpiece Dawn of the Dead (dollars-for-donuts my pick as the best horror film ever made). Not willing to let any time pass them by without taking full advantage of a possible ripoff of that greatness that is Dawn, in comes Lucio Fulci and his Zombi 2 (aka Zombie here in America, as it is not a sequel here but a different movie altogether). Nine whole years later, Fulci would start in on another entry that doesn’t seem to have anything related to either Dawn or Zombie, but would continue the whole zombie apocalypse thing and also have a flying head that comes out of a fridge to bite someone. That would be 1988’s Zombi 3. Zombie 3 is a bit of a mess, but it’s also got some fun with the inconsistency of how the zombies operate. One thing that is unfair about Zombie 3 is that Fulci should not get full credit as he got very ill and the film had to basically be mostly shot by Claudio Fragasso (of Troll 2 fame) and Bruno Mattei (of Shocking Dark fame).

Alas… Zombi 3 is the final chapter of a VERY loose trilogy for the Italians.

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Deathstalker (1983)

Published on by Geoff Arbuckle3 Comments

Welcome to B-Movie Enema, my friends! This month, we’re kind of setting aside time to cover two things. The first will be sequels to other movies we’ve covered in the past. The second is to cover the first movie and subsequent sequel in a series that I’ve been looking forward to dealing with for some time. It’s the latter that we are dealing with this week and the final week of June.

Hot off the heels of two quite successful sword and sorcery films in 1982, Conan the Barbarian (grossing somewhere near $80 million on a $20 million budget) and The Sword and Sorcerer (grossing around $40 million on a much more economic $4 million budget), audiences were hot for these types of movies. It’s kind of funny that the early 80s saw the rise in three distinct genres: fantasy, which sword and sorcery falls right smack-dab in the middle of, science fiction, thanks to Star Wars, and ninja action films. I think it’s safe to say that the fantasy genre lost the battle relatively quickly. More on that in just a moment.

It was thanks to Conan the Barbarian and The Sword and the Sorcerer that this week’s movie, Deathstalker, was made and was a modest hit, bringing in nearly $12 million against a $457,000 budget. This was brought to screens by Roger Corman’s New World Pictures. This was the first of ten international co-productions with Argentina. I’m not being facetious here, but I can’t name any other U.S.-Argentina co-productions. But this was definitely Roger Corman doing Roger Corman things. He quickly jumped on the fantasy trend and loaded this full of tits.

God, I love Roger Corman.

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Memorial Valley Massacre (1989)

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Happy Memorial Day weekend, my Enemaniacs in the USA!

This week’s B-Movie Enema is going to take a look at a pretty obscure one that got a little bit of a boost from a fairly recent Blu Ray remastering at Vinegar Syndrome – Memorial Valley Massacre. This is a bit of a weird one for multiple reasons. But let me know if you’ve heard this one before… I first saw this a few times on everyone’s favorite Roku channel, Bizarre TV. That’s not the only time the word “bizarre” might come to mind in this article.

This movie is mostly known for kind of squirting out of the cinematic butthole that supplied video stores and cable with content. And when I say it’s known for that, it’s a pretty unknown movie that blended into the landscape of video store shelves and late night cable TV fodder. Some people who saw the names in the cast like William Smith or our great B-movie daddy in the sky, Cameron Mitchell, and those names might have been juuuust good enough to get people watch or rent it, but they would have likely been quickly turned off by it because it’s a horror film.

But… let’s back up to some of the most bizarre stuff about Memorial Valley Massacre.

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Graduation Day (1981)

Published on by Geoff Arbuckle2 Comments

When you get to the month of May, and you’re in school (especially high school), you’re all about getting the hell out of there for a summer of goofing off and sleeping in. So, with this week’s B-Movie Enema review, let’s celebrate the impending graduation of the class of 2023 with a look at the 1981 slasher horror film Graduation Day.

This comes from director Herb Freed who made only about ten movies. In 1976, he made Haunts with everyone’s favorite B-movie star, Cameron Mitchell. Then, in 1980, just before making Graduation Day, he made another horror film called Beyond Evil. Now, what’s interesting is that Beyond Evil starred Linda Day George. when he made Graduation Day a year later, he cast Linda’s husband Christopher George as his lead. Interesting how that comes around. Then, in 1985, he made another kind of cult classic 80s film, Tomboy, starring Betsy Russell. However, by the end of the decade and into the 90s, it seemed that Freed then mostly made video store and cable type movies that have a bit of a reduced budget and lesser marketing.

So, yeah, we have Christopher George in Graduation Day. Now, we saw him previously in City of the Living Dead. This is definitely at the end of his career. He would die in 1983 from a heart attack at the age of 52. He’s not the only character actor to be found here in this movie, as we also have Michael Pataki. Pataki appeared in the Spider-Man TV movies of the late 70s as well as bit parts in Rocky IV and Halloween 4 where he appeared as Dr. Hoffman. Additionally, we have an appearance of Linda Shayne who as in classics of B-Movie Enema lore like Humanoids of the Deep, Screwballs, and Lovely But Deadly. Not only that, but we have Linnea Quigley who has been in too many of B-Movie Enema alumni films to list. Finally, we have the queen of gameshow letter flipping, Vanna White, in one of her seven feature and television film appearances.

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The House on the Edge of the Park (1980)

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This article was written, edited, scheduled, and completed prior to the unfortunate passing of supporting star Giovanni Lombardo Radice.

Welcome back for another B-Movie Enema review. This week, I’m taking a look at 1980’s The House on the Edge of the Park.

This is one, and let me know if you’ve heard this line before, that I remember catching a part of on Bizarre TV. I don’t remember anything that I saw, but I remember this movie’s lead star, David Hess. Hess is quite the recognizable guy if you’ve seen Wes Craven’s The Last House on the Left. Let’s face it, most of you reading this blog have seen that one. But Hess would basically go down in “infamy” as Krug, the leader of a group of nogoodniks who kill two innocent girls just looking to score some weed before going to a rock concert.

Beyond that, Hess also would become best known for playing scuzzy villains. In House on the Edge of the Park and Hitch-Hike, he plays guys who either murder people or take them hostage… or, well, both. Most of the other movies that he appeared in just had him play bit parts as in the case of his reunion with Wes Craven in Swamp Thing. But he actually had other talents as well. He directed the Christmas slasher To All a Goodnight. Despite being recognizable for being the leader of a horrific gang of rapists and murders in The Last House on the Left, Hess actually was quite the singer and songwriter.

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