Tag: comedy

Feeding Frenzy (2010)

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The calendar flips to 2026 and, of course, B-Movie Enema is there for you, my lovely Enemaniacs!

So… 2025, huh? That sure was a… year, wasn’t it? There was that one thing that happened. There was that other thing. You know the one. Yeah. That one. But there were, like, one or two good things that happened too, right? The Washington Commanders were only 33 points and one more win away from a sixth Super Bowl appearance in franchise history. That was exciting for exactly 20 minutes of that late afternoon. I got to interview Tjardus Greidanus, the director of the great 1990 thriller The Final Sacrifice. So, on balance, 2025 sucked, but a couple of fun things happened.

To kick 2026 off, I call upon an influence of B-Movie Enema… RedLetterMedia. This is also the first of two times I’ll call upon those fucking hacks from Milwaukee this year. In order to really honor them, I should start with their 2010 feature film, Feeding Frenzy, featuring the media group’s mascot, the psychotic elderly man, Mr. Harry S. Plinkett.

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Terror Eyes (1989)

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Welcome back to B-Movie Enema and the second chapter in my two-part Vivian Schilling adventure!

Last week, I looked at the movie that is Schilling’s best-known movie, Soultaker. The popularity gained by the movie is mostly thanks to Mystery Science Theater 3000. That is a tad unfortunate because the popularity also gave it a reputation… not a good one at that. It’s not that bad of a movie, but the riffs from the Satellite of Love often wire viewers’ brains to think that the uncut movie is every bit as bad as the comedy of MST3K’s writers want you to think it is for their jokes to work. Don’t think that’s me saying that MST3K is bad or anything. There would be nothing more opposite than that. It’s just how things are.

This week, we have a movie from Schilling’s filmography that is even earlier in her timeline than Soultaker. This week, I’m going to review the horror/comedy anthology Terror Eyes.

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Eight Days a Week (1997)

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Welcome back to B-Movie Enema!

We’ve got something of a returning character in this week’s movie. Writer/director Michael Davis originally got started as a storyboard artist. Between 1989 and 1992, he actually had a few interesting credits on his resume. In 1989, he did the storyboards for the Kevin S. Tenney film The Cellar. The very next year, he stepped up in terms of quality films with 1990’s Tremors. The very next year, 1991, he did the storyboards for a highly anticipated sequel, Teenage Mutant Ninja Turtles II: The Secret of the Ooze. In 1993, he wrote the first of three Prehysteria! movies released through Full Moon Features under their Moonbeam Entertainment imprint for children and family films. Then, in 1994, he wrote one of the main stars of 2016’s Alyssa Milano Month, Double Dragon.

But this week, we look at Davis’s sophomore outing as a director, Eight Days a Week.

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The Allnighter (1987)

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Welcome back to another bodacious review at B-Movie Enema!

The 80s… I’m surprised there were any movies like Reds or Gandhi or Terms of Endearment or Out of Africa released during that decade. It seemed like most movies from the era were either muscle-bound hunks of men with giant guns or sexy boner comedies or beach party movies… that were also boner comedies. In a sort of way, the 80s revived the beach party movies of the late 50s and early 60s. I guess people, for some dumb reason, like seeing sexy people in skimpy bathing suits frolicking and making kissy faces with each other.

Enter writer/director Tamar Simon Hoffs and her 1987 comedy The Allnighter. Now, The Allnighter was one of those movies that ALWAYS caught my eye at the video store. Why? Because Tamar Simon Hoffs put her own daughter, singer Susanna Hoffs, on the cover with her graduation gown wide open and her skimpy matching bra and panties showing. That’s a hell of an ad campaign.

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Petey Wheatstraw (1977)

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Black Horror Halloween comes to a close on the greatest day of them all, Halloween!

Welcome to B-Movie Enema, and, brother, do we have a good one to close things out. If you think about it, Ganja & Hess was this artsy kickoff for the month. Then we got into some voodoo business in a movie that is maybe more about the dialogue than anything else. Right in the middle is the movie I will never forget because it had a giant killer dick. Then, last week, I opted for a movie with a strong cast and some good ol’ fashioned spirit possession.

So, how can we possibly finish this month off after all those bangers? With the movie that I promise you is my favorite of the whole month. I think about the artistry that started the month. Now, it’s time for more art. Give it up for the comedy stylings of my main man, Rudy Ray Moore, and the 1977 comedy Petey Wheatstraw!

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The Toxic Avenger Part II (1989)

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Welcome back to another trip to Tromaville, New Jersey, for a brand new B-Movie Enema review!

Back for Christmas 2022, I took a trip to everyone’s nuclear waste-ridden town to discuss Lloyd Kaufman’s original superhero, The Toxic Avenger. That 1984 breakout hit for Kaufman’s Troma Entertainment was brash, offensive, slapdash, but brilliant in many ways. The sheer irreverence in Kaufman’s style of comedy is in full display here. That wasn’t Lloyd’s first film he directed, and it certainly was not his first comedy, but this was the one that skyrocketed Troma into the vocabulary for all those exploitation, trash cinema fans scouring the video store shelves looking for some depraved weekend entertainment in the 80s.

Funny enough, Lloyd Kaufman’s sex comedies between 1979 and 1983 all had titles with exclamation points: Squeeze Play!, Waitress!, Stuck on You!, and The First Turn-On! You gotta love Lloyd’s commitment to the schtick. Then again, considering how bombastic his mannerisms and the way he speaks, I have to assume he shouted the titles he wanted to put on his movies, and the guy who made the title cards just thought that was part of the title.

Eh… Anyway, considering a bigger budget remake of the original The Toxic Avenger is now hitting theaters across the country, starring a for-real Emmy Award-winning actor, Peter Dinklage, I figured it’s time to revisit the world of Toxie. This week, we’re going to look at the 1989 sequel to the original, The Toxic Avenger Part II.

(Oh, and my official review of the new Toxic Avenger movie? It’s a lot of fun and has a surprising amount of heart but keeps the counterculture vibes of Lloyd’s original intact. 4 out of 5 stars!)

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Monsturd (2003)

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There’s a line in that last song in Grease that has been cut out due to no one understanding what the fuck it meant in 1978: We go together like Monsturd and B-Movie Enema. And then there’s a bunch of nonsense words like someone is doing a 50s white boy scat before it says something about being remembered forever or some such shit.

Heh… scat.

Double heh… shit.

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Poultrygeist: Night of the Chicken Dead (2006)

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Welcome back to B-Movie Enema and the final week of Troma Month!

This month has been a fun one, hasn’t it? Whether it’s a love letter to Kaufman’s appreciation of William Shakespeare in the romance Tromeo and Juliet, or the earlier Tromaville kids run amok horror Class of Nuke ‘Em High, or the most Troma film of them all, Terror Firmer… It’s been a good time visiting these classics from the 80s and 90s master of gross-out comedy, horror, and comedy-horror, Lloyd Kaufman. But now, we bring things to a close with another dark comedy-horror from the man himself. However, this time, we have a bit of a twist.

This time we have a musical.

Yes, it’s Poultrygeist: Night of the Chicken Dead. This time around, Kaufman has a little uncredited help from one of the co-writers of the film, Gabriel Friedman. Friedman would go on to be a producer for specials for the cable channels E! and G4, as well as for online series like The IGN Show. In fact, he mostly worked on a lot of specials and behind-the-scenes stuff, including making-of documentaries for Troma films like Terror Firmer and Citizen Toxie. His writing credits are mostly for Troma films like this one, Make Your Own Damn Movie!, the aforementioned fourth Toxie flick, and Lloyd Kaufman’s most recent, #ShakespearesShitstorm.

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