Rolling Vengeance (1987)

Welcome to B-Movie Enema. I’m Geoff Arbuckle and this is the blog you come to when you’re taking a shit, or looking for a website run by a guy you’re pretty sure you are far more cultured and smarter than, or, I dunno… you have nothing better to do on a weekend night with nowhere to go. Hmmm… Maybe I’m not doing a good job at promoting my site. Let’s see if I can do better.

The 80s! That’s the decade of Ronald Reagan, cocaine-fueled American exceptionalism running rampant, and bitchin’ music. But you know what else the 80s had? Fuckin’ monster trucks! Monster trucks rolled out of the late 70s trend of modified pickup trucks in various specialized motorsport competitions. By the end of the 70s, one truck in particular, named Bigfoot, was so modified from its original 1974 Ford F-250 that it became known as the world’s first monster truck. Following that, other popular monster trucks were USA-1, Bear Foot, and King Kong. These trucks became the star of various events like Monster Jam where they’d do high-flyin’ jumps and crushing beat-up cars under their giant wheels. If you were a little boy at the time Monster Jam started up, and word on the street is I was, or if you are a grown man, and people tell me that’s what I am, you LOVED the mayhem, the majesty, and the machinery of giant trucks smashing beaters under their tires.

Apparently, Canada was into it too because, in 1987, Steven Hilliard Stern made this week’s movie – Rolling Vengeance.

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Drive-In (1976)

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)

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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Ninja in the Claws of the C.I.A. (1981)

Welcome back to B-Movie Enema and welcome back to me going through my backlog of movies that I’ve either picked up from conventions or, as is the case with this month, bought from Vinegar Syndrome.

I think we might have something of a special little movie this week. We’re going to be looking at John Liu writing and directing himself into Ninja in the Claws of the C.I.A. which was originally known as Sah shou ying as well as simply Claws of the C.I.A. and there’s even a version called Made in China. I really don’t know what I want to reveal to the people who haven’t seen this movie, so… I think we’ll just start by talking about John Liu.

When I went googling for John Liu, something really awesome happened. All I was getting were links, articles, and information on John Liu, Democratic member of the New York State Senate. Now, my brain is utterly shattered and broken in terms of being able to work properly. So I think it’s safe for you to bet that I was thinking that guy and the lead of this movie were the same dude. Then, I began thinking about him bringing legislation to the New York Senate floor by way of kicking motherfuckers’ asses. Like, he steps up to the podium, asks for time from the President of the New York Senate, and then after casually removing his tie, he just walks over to some Republican he beefs with and they just kung fu fight.

I wish that was what really happens in state senates and congresses across the country.

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Amazon Jail 2 (1987)

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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