Welcome to B-Movie Enema, my dear Enemaniacs! This week, we’re going to get back to a series I started back in summer of 2020 when I looked at the first of SIX Vice Academy movies. We had some fun times with the lovely ladies of the academy as they certainly put the bust in busting bad guys. Considering it’s been almost three years since doing that movie, and this month is all about catching up with some old friends in sequels to movies I’ve covered before, it was high time I go back to the Rick Sloane series. So, here we are with Vice Academy Part 2 released the very next year after the first movie’s release.
I know I talked a little bit about Rick Sloane in the first Vice Academy movie, but I kind of want to swing back around to him for this second movie. There really are only three things Sloane has done stuff with in his life. Of course, maybe his longest running gig was cranking out these six Vice Academy flicks. His next most recognizable thing were two Hobgoblins movies. I talked last time about how that was mercilessly riffed by Mystery Science Theater 3000 in one of my all time favorite episodes of that series. Since then, alumni of MST3K riffed it again at a life Rifftrax event that was also pretty great.
Interestingly, while Sloane did make other movies here or there, he has a major passion for The Rocky Horror Picture Show. He grew up during the explosion of that film becoming the all time kin… er, queen(?) of cult flicks. When he was still fairly young, he worked with 20th Century Fox to help promote The Rocky Horror Picture Show while also producing some silly grindhouse-style shorts cut like trailers. He showed those during a Rocky Horror convention in Southern California. That also coincided with the promotional push for the sequel, Shock Treatment.
Welcome to this week’s new B-Movie Enema review. If you’re roughly my age (46) and frequented cable TV and video stores in the 80s and 90s, there were a few titles that almost seemed mythical in their reputation. These are your Faces of Death movies or Heavy Metal or Flesh Gordon or Wizards or maybe even something like a movie that had a tad more mainstream acceptance like Watership Down. These were movies that were full of wonder in the fact that they were either seemingly explicitly adult or were gory or, as is the case with Wizards, Heavy Metal, and Watership Down, were animated movies that were either not for kids or featured some pretty extreme stuff that would scar kids.
This article was written, edited, scheduled, and completed prior to the unfortunate passing of supporting star Giovanni Lombardo Radice.
Welcome back for another B-Movie Enema review. This week, I’m taking a look at 1980’s TheHouse on the Edge of the Park.
This is one, and let me know if you’ve heard this line before, that I remember catching a part of on Bizarre TV. I don’t remember anything that I saw, but I remember this movie’s lead star, David Hess. Hess is quite the recognizable guy if you’ve seen Wes Craven’s The Last House on the Left. Let’s face it, most of you reading this blog have seen that one. But Hess would basically go down in “infamy” as Krug, the leader of a group of nogoodniks who kill two innocent girls just looking to score some weed before going to a rock concert.
Beyond that, Hess also would become best known for playing scuzzy villains. In House on the Edge of the Park and Hitch-Hike, he plays guys who either murder people or take them hostage… or, well, both. Most of the other movies that he appeared in just had him play bit parts as in the case of his reunion with Wes Craven in Swamp Thing. But he actually had other talents as well. He directed the Christmas slasher To All a Goodnight. Despite being recognizable for being the leader of a horrific gang of rapists and murders in The Last House on the Left, Hess actually was quite the singer and songwriter.
Biker flicks were pretty popular between the mid-50s to the mid-70s. But not like the hero rides around on a bike and is bad ass and saves a little town from, I dunno, Nazis or something. No, some of these movies featured down right psychopathic killers on bikes who come in, drink your beer, rape your women, and, I dunno, wore Nazi paraphernalia. Wait… Anyway, here, in America, bikers kind of represented this “take no shit from anyone” kind of attitude that screams conservo-libertarian “shove your rights up your ass, my rights are more important” mindset.
They were a menace to more normal sensibilities of the typical suburban set. So much so, it got to the point where if you wore too much denim or not enough sleeves and didn’t wash your long hair and beard often enough, people were probably thinking you were a biker and probably going to bust heads. Look, I know I’m kind of shot out of a cannon here for the start of this week’s B-Movie Enema review, but I’m catching up to the thread here again.
Okay, so the origins of the “outlaw biker” films go back to Marlon Brando’s The Wild One in 1953. That was the movie that kind of revealed the subculture of biker clubs that had existed for a few years prior. While the success of that film would lead to a lot more movies, and even a book by Hunter S. Thompson about the most famous gang, Hell’s Angels, it really was our ol’ buddy Russ Meyer who made Motorpsycho in 1965 and turned this into a more exploitation type of biker gang flick. By the 70s, biker flicks were exported to the United Kingdom. Maybe our most popular example is this week’s featured flick – 1973’s Psychomania (originally released as The Death Wheelers in the United States).
Come on in and have a drink and a smoke and watch the 40s noir classic crime drama Blonde Ice on this week’s episode of B-Movie Enema: The Series starring your favorite fella and dame duo, Geoff Arbuckle and Nurse Disembaudee.
Well, well, well… Last week I did one of those rape revenge exploitation films from the 70s. The week before, I revisited a horror film I once saw on Bizarre TV. Now, I’m looking at a good ol’ fashioned women in prison films. It’s like I’m on a greatest hits of B-Movie Enema tour.
Yes, it’s time to take a look at 1978’s Escape from Women’s Prison. You know what other box this movie ticks? Oh yeah… It’s Italian, baby! This movie was written and directed by Italian actor Giovanni Brusadori. In the director credit, he’s actually credited as Conrad Brueghel, but whatever. Brusadori was best known for appearing in the Laura Gemser Emanuelle: Queen of the Desert in 1982. For whatever reason, he decided to make a movie this time around. Now, supposedly, George Eastman, star of Anthropophagus, Erotic Nights of the Living Dead, and Porno Holocaust, co-wrote this movie on (though without credit).
I guess what I’m getting at is that these types of late 70s and early 80s Italian sleazefest movies were all made by a small group of people so it shouldn’t surprise anyone to see George Eastman involved in some way.
I suppose I should give a little bit of a content warning to this review as our feature, Tomcats, is one of those 70s exploitation flicks that deals with some pretty gross stuff. You’ve got a situation where a group of ne’er-do-wells, okay, I guess I can call them “thugs”… Anyway, you’ve got this group of nogoodniks who gang-rape and kill young ladies. They get off on a technicality so it leads to one of the victims’ brothers deciding to go on a good old fashioned revenge tear to get the justice he was robbed.
So, yeah, content warning on this episode. These are unsavory situations to be sure. I do want to say that this does feel a little like a mix of movies we’ve seen before like Steel and Lace and the all-time classic revenge film I Spit on Your Grave. If I’m being fair, I’ve long wanted to do I Spit on Your Grave, but considering how dark that second act gets, I’ve yet to really go for it. So, instead, we’re giving Tomcats a try.