It’s the second episode of the smash new series – B-Movie Enema! This week, Dr. Geoff Arbuckle, B-Movie Proctologist extraordinaire, and his trusty sidekick, Nurse Disembaudee, watch the fun 1989 monster comedy My Mom’s a Werewolf!
Well, holy hot damn… This is the 250th B-Movie Enema article!
So what do I do to celebrate? I kick off a second month of “Full Moon Fever”. I covered a bunch of Full Moon movies back in February of 2017. But then, over the course of the past year or so, I started looking at some other types of movies from Charles Band’s production company. More specifically, I started checking out some of the offerings from Torchlight which was the spicy wing of Full Moon.
Beach Babes from Beyond was one that I chose to do. So, to kick off Full Moon Fever II: Torchlight Diaries, let’s talk about its sequel, Beach Babes 2: Cave Girl Island!
As with the first entry of this duology, Beach Babes 2 is directed by David DeCoteau under one of his many pseudonyms, Ellen Cabot. Unlike the first entry, this movie doesn’t draw the relatives of famous actors to fill out the cast. No Joe Estevez, no Jackie Stallone, no Don Swayze, no Joey Travolta. There’s not even a Burt Ward or Linnea Quigley. I’m sure that will have no significant effect on the sequel.Continue reading “Beach Babes 2: Cave Girl Island (1995)”
Oh boy, do we have a LOT to talk about in this new B-Movie Enema. article. Oddly, the movie itself, Joel M. Reed’s controversial Bloodsucking Freaks from 1976, doesn’t really have a lot to discuss in terms of what is seen on the screen (don’t worry, I will be calling play-by-play nonetheless). No, there are two topics in particular to discuss in much greater detail.
I’m not entirely sure where to start with this, so let’s start with the director, Joel M. Reed. He unfortunately passed away in a care facility in New York City just earlier this year. He’s one of the many unfortunate casualties due to the global pandemic that is COVID-19. He’s likely known best for making this movie, which drew the ire of many, many people when it was released. The release of the movie also had a couple alternate titles like The Incredible Torture Show and Sardu: Master of the Screaming Virgins. However, almost everyone knows this movie by the title Bloodsucking Freaks. That’s the name applied to it by Lloyd Kaufman when Troma came along to take over the distribution of the movie.
That began a long relationship with Kaufman that lasted up until Reed’s passing. Continue reading “Bloodsucking Freaks (1976)”
Welcome back for another round of B-Movie Enema goodness.
This week’s movie, The Working Girls, has a lot of interesting things going for it. First, it’s yet another exploitation film. It’s about a group of liberated women living together in a Los Angeles apartment. They all have different types of jobs and start dating different types of guys. However, the girls each start to have issues in which they are endangered by the men in their lives.
Second, the director, Stephanie Rothman, is quite a figure in exploitation film in the 60s and 70s. She worked with Roger Corman as an associated producer shortly after she finished college. She got the opportunity to make a couple movies under Corman’s tutelage. She did eventually venture out on her own and made another film I’ve written about before – The Velvet Vampire.
What’s most interesting about Rothman, though, is that she never liked being linked to the exploitation subgenre. After making a couple films with Corman, she learned that label was given to her movies. It horrified her. However, after learning more about what that meant, how it worked in film, and what she might be able to do with that, she thought, “Fine, I’ll do the best exploitation movies I could.” It didn’t go unnoticed. Continue reading “The Working Girls (1974)”
Yay! Roger Corman! If he can’t do it, nobody can!
So, yeah, at some point B-Movie Enema was going to come back around to a movie with direct production involvement from Roger Corman. And with a title like Attack of the 50 Foot Cheerleader? Oh you bet. I’m on board.
This movie got premiered at none other than Comic Con International in 2012 about a month before showing to the masses on Epix (a lovely little-known cable network). Yet another month later, it played at the 3D Film Festival. Oh yeah… This movie was originally made as a 3D feature. If you want to know something utterly fascinating too, then know this:
Attack of the 50 Foot Cheerleader is the first 3D film ever produced by Roger Corman.
For real. The guy who produced like 40 gabillion movies for the last 70 years never produced a 3D feature before this film. All those drive-in movies he made. All those creature features. Not a single one beyond the second dimension. Continue reading “Attack of the 50 Foot Cheerleader (2012)”
As a kid who did a lot of growing up in the 1980s, it was well into the 2010s before I knew much of anything about this week’s featured B-Movie Enema, Teen Witch.
Now… Back in the day, I didn’t live under a rock. I kind of do now, but not back then. I went to movies constantly. Every other day or so I was at Videoland renting movies and NES games. I was once “with it” and vaguely cool…? Somehow, Teen Witch escaped my notice.
It’s probably safe to say that it wasn’t really “made for me” – for whatever that really means. I was a 13 year old boy in 1989. So a movie about a girl getting the ultimate wish fulfillment opportunities didn’t really jump right out at me like, say, fuckin’ Batman or something. Now, that said… I feel it likely that I would have probably crushed on Robyn Lively.
Let’s talk about Ms. Lively, shall we? Continue reading “Teen Witch (1989)”
I like to think of this subgenre, particularly in the 1980s, an American tradition. Certainly it was nothing new to either the United States or other countries before the decade or even to this very day, but there was something pretty special about the American landscape of both horror and comedy in the 1980s. It was the decade of slashers and Porky’s ripoffs. But, maybe more important, it all falls back onto an idea I’ve discussed numerous times before – you had to stock video store shelves and late night cable TV time slots.
That brings us to director Rick Sloane and this week’s screwball comedy, Vice Academy.
Sloane is probably best known for his sci-fi throwback/boner comedy/creature feature Hobgoblins. I’ve covered that over at Film Seizure on an episode of my weekly Monster Mondays show. That was a movie I’ve seen a few times when it first made its way to cable, and several times when it was literally eviscerated by the crew of the Satellite of Love on Mystery Science Theater 3000. While I love that particular episode of MST3K, I’ve always enjoyed the quaint attempt at a Gremlins clone as well as the general quirkiness of the mixture of a lot of 80s tropes that are at play in the movie. Continue reading “Vice Academy (1989)”
With a single word, this mega company can conjure up many, many feelings. For many, it’s animated features. For some, it’s an iconic mouse. Others think of family vacations when they were little or, once grown, special times they have with their little ones. Some believe it’s everything wrong with the world. Some, like director Randy Moore, apparently believes it is a person, place, and thing that is so fake and full of shit, he wants to be sure he makes a whole movie to drive home his disdain, and then go on a press tour to make sure people know he’s above all this Disney fakeness.
The movie was Escape from Tomorrow. The gimmick is the guerrilla style filming inside both Disney World and Disneyland which is mostly what this movie has to stand on seven years on from its original release. Why is filming inside Disney Parks such a gimmick to begin with? Well, the place is absolutely crawling with intellectual property. Disney is fierce about litigation when it comes to their shit. There’s another reason why this movie was deemed risky, but I’ll get to that momentarily. Continue reading “Escape from Tomorrow (2013)”