Madman (1981)

Gather ’round the campfire, kiddos and Enemaniacs… This week’s B-Movie Enema review is going to tell you the harrowing tale of Madman Marz!

Welcome back to Camp Crappbuttawipe! This week, we go to 1981 for Joe Giannone’s Madman. This one is a very interesting movie. Madman has a split audience. On one hand, this movie sucks. Well, maybe not so much that it sucks as much as it has a dual legacy. Critics, of course, hated the movie, with some calling it unremarkable or inept. But, it also has a pretty serious cult following. I think a lot of it is because the Madman Marz character has a cool name, and the type of look Madman Marz has seems more reasonable for a killer that lives in the woods and will kill people at a camp or hanging out in cabins.

I think there are a few things that allowed Madman to grow that cult following. For one, it is one of only three films that starred Gaylen Ross. Ross came from good ol’ Indianapolis, Indiana, the home base of B-Movie Enema Industries. While Creepshow and Madman have their fans, I don’t think anyone would say that’s where they know Ross from. No, there is only one movie that you can link Gaylen Ross to, and that’s the greatest horror film ever made, George A. Romero’s Dawn of the Dead. I already mentioned the character of Madman Marz, with his cool name and cool crazy look.

The third thing that might help this movie be a cult classic is the inspiration for this movie – the legend of Cropsey.

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Twisted Nightmare (1988)

It’s week #8 of Camp Crappabuttawipe at B-Movie Enema!

I think we’ve been on a pretty good run over the entirety of this summer camp business we’ve had going on as of late. Okay, sure, you can potentially say the two Sleepaway Camp sequels are far behind the best of the best thus far in the theme season, but… They weren’t thaaaat bad, were they? Ernest Goes to Camp, while far from Shakespeare, and I mean Todd Shakespeare from Corydon, Indiana (who did you think I was referring to?), it was fun reliving a part of my beloved childhood before I grew up and realized the world kinda sucks shit.

Largely, we’re on a hot streak with the likes of Little Darlings being kind of a revelation, Marshmallow being an excellent micro-budget gem, Meatballs being a movie that gave the world of cinema Bill Murray and Harold Ramis working perfectly together, and Wet Hot American Summer.

Well, it’s time to fuck that shit up for a couple of weeks… Yeah, we’re in the back half of Camp Crappabuttawipe, and these long, hot summer days are starting to signal that feeling inside when you really just want to go the fuck home. You’re tired of archery. You’re tired of making wallets and other leather-working stuff. You’re fucking sick of that muddy-ass lake you toss yourself into without the knowledge of whether there are leeches waiting to grab hold of your scrotum. We need to dig deep and just power through because I’m starting to feel like I really frontloaded this theme series.

So, maybe appropriately, this week’s movie is 1988’s Twisted Nightmare.

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Wet Hot American Summer (2001)

Hello and welcome back to Camp Crappabuttawipe at B-Movie Enema!

What do you get when you bring together a couple of stars from the 90s with some of the biggest and funniest people in comedy of the 21st century together in a single movie? Well, you get this week’s movie, Wet Hot American Summer! A couple of weeks ago, I talked about Ivan Reitman’s 1979 comedy that launched both his career as a director AND Bill Murray’s career as a leading man in comedies for decades to come, Meatballs. While I think it’s safe to say that Wet Hot American Summer and Meatballs are kind of in the same vein of a camp movie that focuses on the shenanigans the adult counselors get up to, Wet Hot is not as much of a straight comedy. No, this is meant to be more of a satire or parody of the archetypes of the adult counselors.

Wet Hot American Summer was directed and co-written by David Wain. Wain was influenced to make this movie based on his experiences as a kid going to Jewish camps. He specifically thought back to time spent at Ohio’s Camp Wise and Maine’s Camp Modin. Now, I’m glad I held off doing this movie until the middle of July (even though it would have been a much better choice for July 4th weekend with “American” in the title and all) because this movie does parody some movies we’re very familiar with and ones we’re especially recently familiar with. Yes, this is a bit of a homage to Sleepaway Camp, Little Darlings, and Meatballs.

See? Maybe I do know what the fuck I’m doing with scheduling movies at this site.

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Sleepaway Camp III: Teenage Wasteland (1989)

TEENAGE WASTELAND, oh, yeah… TEENAGE WASTELAND!

Oh, hi, Enemaniacs. You’ve caught me singing along to one of my favorite songs from The Who, “Baba O’Riley.” And that brings us to week #6 here at B-Movie Enema’s summer-long theme of Camp Crappa Buttawipe! This week, we bounce back into the Sleepaway Camp franchise with Sleepaway Camp III: Baba O’Riley… er… I mean Sleepaway Camp III: Teenage Wasteland!

There’s not much more to say about the behind-the-scenes business that wasn’t covered last month when I talked about the first sequel. Both sequels were made back-to-back to save on overall production costs. The first of the two movies was the more expensive of the two, coming in at about a million and a half bucks. This movie used the rest of the $2 million that was granted to make the two movies. Both films were written by Fritz Gordon, and his appreciation for playing around with character names is still on display here. The last film used the first names of the Brat Pack and other young stars of the era. This film uses character names from sources like West Side Story, The Munsters, and The Brady Bunch.

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Meatballs (1979)

Welcome back to the start of month #2 here at Camp Crappabuttawipe at B-Movie Enema!

Alright, as we get into July, the months are getting hotter and, naturally, it’s time to really heat things up here at camp, Enemaniacs. Aside from another stop off in the Sleepaway Camp franchise, we’re really ratcheting up the comedy, sexual shenanigans, and horror this month. But we kick things off this July 4th weekend here in the States with… a Canadian comedy. My ability to read a calendar and select the most appropriate movie for that date/weekend knows no bounds.

Especially with what’s coming up in a couple of weeks…

Anyway, 1979’s Meatballs is a significant movie for multiple reasons. First, this is the movie that propelled Bill Murray from Saturday Night Live stardom to movie stardom. This was his first top-billing in a movie. Within a year from this release, he would leave SNL (though part of that is due to changes behind the scenes with Lorne Michaels and NBC), and begin to rattle off hit after hit with Caddyshack, Stripes, a role in Tootsie, and eventually leading to the big blockbuster Ghostbusters. This would also be the first collaboration that Murray would have with Harold Ramis. Ramis was largely known for being a comedy writer, and a very good one. Like Murray, he spent the late 70s on TV on SCTV with the likes of Eugene Levy, John Candy, and Rick Moranis. In 1978, Ramis co-wrote National Lampoon’s Animal House, which, itself, would go on to become a massive influence on comedies through the 80s. If you can think of a comedy from the 70s and 80s that remains funny decades later, it’s very likely it was written in some part by Ramis.

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Ernest Goes to Camp (1987)

We close out the first month of Camp Crappabuttawipe at B-Movie Enema with one that falls into the column of “just for me.”

Despite the overly clever name of this theme summer, not all the movies that are getting covered here are truly crappy or butt-wipe material. No, I think we’ve already seen a couple diamonds in the rough already this month. However, sprinkled in amongst the slate for our summer camp shenanigans are a couple of movies that mean quite a bit to me on a more personal level. 1987’s Ernest Goes to Camp most certainly falls into that, um… camp.

The character of Ernest P. Worrell, played by American actor Jim Varney, was one of those creations that we see crop up from time to time. These are the characters specifically created by an advertising agency (Ernest’s creators being Carden & Cherry from Nashville, Tennessee) that are so popular or catch enough attention beyond the character’s original intention to promote various local businesses, that he becomes a national figure, used to promote global brands, and then launch that into a further pop culture footprint to appear in his own movies and TV shows. Most recently, I think GEICO’s Caveman characters were the last to attempt this, but think if Lily from AT&T or Flo from Progressive Insurance suddenly got to star in their own movies. That’s what Ernest was in the 80s.

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Little Darlings (1980)

Welcome back for another entry in this year’s Camp Crappabuttawipe at B-Movie Enema.

You know, summer camp isn’t just running for your life from a crazed killer. Nah, it’s also a place where coming-of-age comedy-dramas can be told too. That’s kind of what we have here with 1980’s Little Darlings. This movie comes to us from first-time director Ronald F. Maxwell. He was only 30 years old when this film went into production. However, he had already been a professional working in television since the mid 70s. Maxwell followed this up with another film starring one of the stars of this movie, The Night the Lights Went Out in Georgia (along with Dennis Quaid and Mark Hamill in between Star Wars sequels). Later in his career, Maxwell shifted to Civil War epics, the largely appreciated Gettysburg in 1993 and the largely despised Gods and Generals in 2003.

As for our leading ladies in this movie, the other one who would work with Maxwell follow-up is Kristy McNichol. McNichol was already a veteran of television shows from her teenage years. She was a regular nominee for Emmys in the late 70s for the drama series Family. Later in her career, she would appear in 100 episodes of the comedy Empty Nest. With Little Darlings, McNichol would follow that up with the aforementioned The Night the Lights Went Out in Georgia along with a Golden Globe-nominated performance in Neil Simon’s Only When I Laugh. Unfortunately, her appearance in the 1982 comedy The Pirate Movie (a movie absolutely slaughtered by critics upon release) probably harmed her ability to keep up the momentum her earlier film appearances granted her.

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Marshmallow (2025)

Welcome back to week #2 (heh) here at B-Movie Enema’s Camp Crappabuttawipe!

This week, we’re looking at something a little bit different… A horror movie taking place at a camp that is not just new, but more than just a generic slasher film. We’re reviewing 2025’s Marshmallow from director Daniel DelPergatorio and writer Andy Greskoviak.

I think we need to focus right there on that director’s name. Daniel DelPergatorio is a hell of a name for a horror director. That name sounds like he’s Danel of the Purgatory. And… well, what do you know? That’s actually how his name translates from Spanish. That’s fuckin’ rad. What’s also pretty fuckin’ rad is that I already know his work. He served as co-director for the 2009 animated short Tales of the Black Freighter that was released alongside Zak Snyder’s adaptation of Watchmen. The Black Freighter story was interwoven into Alan Moore and Dave Gibbons’s Watchmen story, but, for very obvious logistical reasons, would not be able to be added to the live-action film’s flow. Still, that’s pretty awesome that DelPergatorio worked on that as his directorial debut.

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