Loving Feeling (1968)

B-Movie Enema carries on with the first of another 500 reviews!

This week, we’re returning to the early days of our friend, our grandpa, the man we miss, and the guy who we have covered nearly all of his filmography – Norman J. Warren. Some time ago, I watched the 1968 Warren film, his debut as a feature filmmaker, Her Private Hell. This week, we’re looking at his second film, the other 1968 film on his filmography, Loving Feeling. As a fan of this man’s work, will I get that loving feeling from this movie?

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Dangerous Men (2005)

What is it with these damn movies with “Men” in their titles?

Welcome to the 500th review at B-Movie Enema. Holy shit, 500! That’s the number of miles they go at the Indianapolis 500, or half the number of miles I would walk to be the man who falls down at your door! That’s how many dollars it would take to get me to… I dunno… visit Delaware or something. Nah, I’m just messin’ with ya, Delawarians.

Anyway, 500 reviews and it’s time to tackle one of the all-timers when it comes to being batshit insane – 2005’s Dangerous Men. This movie was mostly under the radar for a very, very long time. In fact, it had to because it took 21 years to make it! Production started in 1984 when director-producer John S. Rad (the pseudonym for Jahangir Salehi Yeganehrad) decided to try his hand at making movies. Yeganehrad/Rad was from Iran and worked as an architect on films. He came to the United States during the 1979 Iranian Revolution. Five years later, he began to audition actors for his first American film.

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Trapped (1982)

You can’t say we don’t get around here at B-Movie Enema.

Over the last month and a half or so, we’ve gone from outer space by way of Japan to the sewers under Los Angeles before we hopped across the Atlantic to hang out with crooks in Italy to a top secret facility out in the American desert lousy with dinosaurs to New Zealand to Tromaville, back to Japan, and here we are… headed to Canada for some thrills and chills. We are definitely piling up the frequent flyer miles. Anyway, this week, B-Movie Enema is reviewing a 1982 film that has a few different titles. We’re going to refer to it, as seen above in this article’s headline, as Trapped. The other titles it is known by are The Killer Instinct and Baker County, U.S.A. The latter is one I’ve either seen at a video store or heard of somewhere along the way (as well as being the title given to the film by IMDb).

Trapped has some returning folks that we’ve talked about before. The director of this flick is William Fruet. Fruet directed 1986’s Killer Party, which is a VERY old review here dating back to, like, 2017. Fruet also worked on the 1983 Peter Fonda/Oliver Reed horror film Spasms, which is definitely one I remember from the video stores thanks to an eye-catching box. Seriously… was I supposed to be looking at the naked girl screaming in the shower or the monster-faced man below her?

The answer was “yes.”

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The Toxic Avenger Part II (1989)

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)

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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Lucky Bastard (2013)

Welcome back to B-Movie Enema!

It’s Friday the 13th! As is the case commonly over the last few Friday the 13ths, I am totally fumbling the bag on what I’m reviewing. Oh, sure, I could surely find another outing from good ol’ Jason Voorhees to write about. That Jason Goes to Hell is a shitfest, but it’s a shitfest I take no pleasure in watching. So, instead, I’m going to celebrate Friday the 13th with a movie from 2013 that features something that we all like watching… found footage!

What, did you think I was going to say porn? I dunno about you, but I’m strictly anti-porn. Who on Earth would possibly want to watch succulent naked bodies doing things to give themselves pleasure with toys or digits or appendages or, I dunno… cucumbers or something? No sirree… I do not condone sexual gratification.

Nah, I’m fuckin’ with ya. Porn is great… in moderation. And pornography is at the heart of the movie getting reviewed this week, 2013’s Lucky Bastard from director Robert Nathan. Nathan got his start in media as a novelist, most notably for writing the political thriller The White Tiger, which was set in China back in Mao’s rule. In the 90s, Nathan started writing a ton of episodes for Law and Order. Lucky Bastard is the only film he wrote and directed aside from a TV movie the same year called The Grim Sleeper.

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The Burning (1981)

Welcome to a new B-Movie Enema review, and welcome to the official start of summer.

Yeah, you read the right, bitches. I say when summer starts. And it starts right now as we say goodbye to May this weekend and hello to June. With the warmer months, traditionally speaking, people start taking vacations in various ways. Families might plan trips to lakes to go boating and maybe fish or something. They may plan on going to Disney World. The days get longer and the movies get more fun and entertaining (for better or worse). Parents are ready, after a long, grueling school year dealing with piss poor report cards and parent-teacher conferences, to send their kids to a camp to get them out of their goddamn hair for a few weeks.

That desire to make your kids someone else’s problem gave birth to two very distinctly 80s subgenres in movies. The first were comedies like 1979’s Meatballs. The second, much more popular subgenre, was the slasher horror like 1980’s Friday the 13th. The latter is where this week’s featured movie, 1981’s The Burning, lies.

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Her Private Hell (1968)

Welcome to another review here at B-Movie Enema.

If you have been around this website for a while, you know that we’re fans of the works of British director Norman J. Warren. So much so, of the nine feature films he directed between 1968 and 1987, I’ve already covered two-thirds of them over the years. Well, it’s time to start getting into that final third I’ve not yet touched. While I’ve mostly covered his best known films in the horror genre, the last time out, I looked at 1979’s Spaced Out, a return for Warren into the world of the sexploitation circles.

Sexploitation was where Warren got his start. In 1967, our favorite director was 25 years old and already had two shorts under his belt, 1963’s Drinkin Time and 1965’s Fragment. As he would put it, he was desperate for a job, especially one on a feature film. Enter producer Bachoo Sen and arthouse cinema owner Richard Schulman. The two had just entered into a partnership to start making their own films. It just so happens that Schulman had been screening Warren’s Fragment at his cinema. They needed a director for their first film, and they approached Warren. Warren, as I mentioned, was desperate and had no idea what he would be asked to make, but a job was a job.

Norman J. Warren’s feature film career began with this week’s movie, Her Private Hell.

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