Tag: comedy

W.W. and the Dixie Dancekings (1975)

Published on by Geoff Arbuckle3 Comments

Oh boy, do we have one that I picked up along the way last year at a convention that I couldn’t wait to feature on B-Movie Enema!

This week, we go to the mid-70s and the first ever movie covered here starring a true American icon of the decade, Burt motherfuckin’ Reynolds. This past August at HorrorHound, I was visiting my favorite table where I often find several, ahem, gray market, movies that aren’t so easy to find in the flesh. Staring at me was this movie with Burt Reynolds smiling right at me. I looked at the title and read it aloud to myself… W.W. and the Dixie Dancekings. I chuckled to myself knowing that Burt was going to give me everything I could possibly want in this and more, especially because it was a comedy.

Before we discuss the man himself, let’s talk about who actually directed this film.

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Drive-In (1976)

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Let’s pile into the car and go to a movie at the local Drive-In!

Welcome to a new B-Movie Enema review. As you can see by the title and my clever little opening salvo for the review, I’m looking at 1976’s Drive-In directed by Rod Amateau. If you look at the poster for Drive-In, and then look at the poster for George Lucas’ 1973 charmer American Graffiti… I think it’s clear that Columbia Pictures was leaning heavily on the coming-of-age style and depictions of the characters used by American Graffiti to sell Drive-In.

It’s obvious others picked up on it as it often was pointed out in reviews at the time. However, what’s interesting that some critics had some positive things to say about a movie that was very easy to call exploitation and trying to suckle at the teet of American Graffiti’s success. Critics pointed out that while not every performance by the young cast works, it’s got appeal. Others just flat-out called it likable for being easygoing. It’s often called funny by retaining a youthful, juvenile energy. So, yeah, this is a movie that, despite me just becoming aware of it over the last six months or so, was somewhat fondly reviewed during its day.

The one standout in the reception section of Wikipedia was good ol’ Gene Siskel. In a negative review, he said he wished the script for Drive-In had been tossed out in favor of the fake movie, Disaster ’76, to have been made instead. Oh, Gene…

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The Cars That Ate Paris (1974)

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Welcome to B-Movie Enema for another review to sate your appetites.

So I was trying to think what would make for a good review for this week. I was driving along the roads of New South Wales in Australia and took a detour into the French countryside. I eventually found my way through my European GPS, which was just some road signs, to a strange little village. That’s when it struck me… I want to talk about Peter Weir’s The Cars That Ate Paris.

Turns out, the same inspiration that struck me to talk about this movie with a very peculiar title was the same inspiration that struck Weir to make the film to begin with. He was in Europe and claimed that the road signs on the French roads diverted him into what he called strange little villages. From this, being an outsider from a wholly different continent, he got the idea to make a movie where the inhabitants of a small village, that he named Paris, profit from car wrecks.

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Bong of the Living Dead (2017)

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Welcome back to B-Movie Enema. This week, we’re going to have a little more fun with a fairly decent little horror movie released through independent distributor Scream Time Releasing. I’m going to be looking at 2017’s Bong of the Living Dead.

Bong of the Living Dead was directed by Max Groah. Groah has been around as a writer and director since 2010 when he made his first short film, Ringtone: The Gareth Blevins Story. Bong of the Living Dead is his first feature film. In fact, it’s still the only full-length film he’s made, though he did team up with Scream Time Releasing to write and direct a segment in the anthology film 10/31 Part 2.

Groah produced the film through Backward Slate Productions which is a small indie production company out of Columbus, Ohio. There’s a pretty healthy Midwest United States groundswell for indie film, particularly in the horror genre. Being a frequent visitor of HorrorHound in both Indianapolis, the home base of B-Movie Enema Industries, and Cincinnati, as well as visiting Days of the Dead Indy a few times over the years, I have often seen several indie filmmakers from the surrounding areas. It seems as though there are several Ohioan indie horror filmmakers with varying degrees of exploitation, throwbacks to the style of the 80s and 70s, and production quality.

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Meet the Feebles (1989)

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Welcome to another review here at B-Movie Enema, ya filthy animals! Yeah… I suppose that’s a proper way to start because we have some animals who have filthy lives in this week’s movie. This week, I’m going to be digging deep into the nether regions of Peter Jackson’s 1989 musical black comedy Meet the Feebles.

Now, when you think about Peter Jackson, I think what comes to mind is his very polished films like the Lord of the Rings trilogy, the remake of King Kong he made, or maybe the unpopular, but reevaluated, fun romp that was The Frighteners. The point I’m trying to make is that he’s well-known today as a very top-tier filmmaker. Think of him as the George Lucas of the 90s and 00s. He set up his own special effects company, Weta Workshop. He does nothing half-assed. He has big visions and ideas and it usually pays off in moola for studios.

He’s been nominated for nine Academy Awards (and won three of them), he unearthed and revived a lot of old Beatles footage for a hugely successful documentary, and he’s done more to popularize Hobbits and Elves and Wizards than maybe even Wizards of the Coast has, but let’s back it up a little bit to the early part of his career, shall we?

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Amazon Jail 2 (1987)

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Welcome back to B-Movie Enema and the continuation of the Amazon Jail saga with Conrado Sanchez’s Amazon Jail 2!

This month, we’ve got a set of releases from Vinegar Syndrome in 2023. We looked at the first film of the Amazon Jail duology last week. We finish that up this week and move on to some more fun next week. We’re going to be able to get right into the movie very quickly because these movies are wildly obscure so there’s not much of note I can really dive into in the background.

I will follow up on what I discussed for a short bit last week and say this comes from the later days of the Mouth of Garbage exploitation movement in Brazil. That began in the 70s out of Sao Paulo and tackled sex comedies for the most part as well as horror and action films. By this time, a regime change in Brazil led to the loosening of censorship in cinema so porno films began to be produced by the time Amazon Jail 2 was released.

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The Toxic Avenger (1984)

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He was 98 lbs. of solid nerd until he became… THE TOXIC AVENGER!

Welcome to a brand-spankin’ new B-Movie Enema. As it were, Happy Holidays and Merry Christmas, my Enemaniacs! To celebrate, let’s visit Tromaville, New Jersey, the home of everyone’s B-movie uncle, Lloyd Kaufman. Kaufman and his producing partner Michael Herz co-directed this breakout film for Troma Entertainment.

Now, I’ve covered several movies released by Troma from within the distribution arm of Kaufman and Herz’s entertainment company. I’ve even covered a few other movies that featured Kaufman as an actor. Only once, though, did I ever cover a film actually funded, made, and released by the Troma team. I’ve not brought this one up for quite some time. It used to be one that I would reference often, and definitely compare to when I’d see a movie of a particular level of quality. Do you guys remember which one that was?

That one is the cinematic diarrhea disaster that was Pot Zombies.

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Dr. Caligari (1989)

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It’s December here at B-Movie Enema Industries, and that means things are getting a little cold. But I’ve got something to warm the bones. By that, I mean something really weird. This week, I’m looking at the avant-garde 1989 Dr. Caligari.

I don’t want to say this is a remake of the German expressionism classic The Cabinet of Dr. Caligari, but let’s try to sort all this out. That original version I just mentioned was released in 1920. This was during a time of massive film experimentation in post-World War I Germany. The Cabinet of Dr. Caligari is one of the most influential early films in history. While 1922’s Nosferatu is a more influential monster film, Caligari twisted the way a story could be told. That wasn’t just a clever way of using the word twisted to describe the look of the film. There are multiple reads about how the narrative plays out.

Dr. Caligari, in the original that is, was a man who went from town to town and did sideshow-like performances with his somnambulist, Cesare, who is forced to obey his every command. Cesare is Caligari’s instrument of revenge against those who wronged him. It turns out that the character who is telling this story is actually a patient in an asylum. Caligari is actually the head doctor there. The other main characters, Cesare, and the girl whom Cesare falls in love with, Jane, are also inmates. It’s an early example of a twist ending and an unreliable narrator in a film.

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