Tag: horror

Auntie Lee’s Meat Pies (1992)

Published on by Geoff Arbuckle3 Comments

Welcome to this week’s B-Movie Enema review. This week, we have ourselves a treat! Our movie this time around is the horror-comedy (and, at times, kind of sexy) Auntie Lee’s Meat Pies starring the always fun Karen Black.

Auntie Lee’s Meat Pies is yet another movie that I first saw on Bizarre TV some eight or nine years ago. I really can’t tell you how key Bizarre TV was in terms of the explosion of exploitation and obscure movies in my life. I’ve said it before and I’ll say it again: B-Movie Enema has so much to credit Bizarre TV for in terms of this site’s existence. I saw movies on that Roku channel that I had never seen or heard of before, and it sent me down rabbit hole after rabbit hole seeking out the movie and learning more about others like it. If it weren’t for my turning the channel on late one night in early March 2016 and waking up to this fascinatingly bonkers Mexican monster movie, this site would have never returned from the inactive state it had been in for over a year.

As for Auntie Lee’s Meat Pies, this is one of those movies that has the look, feel, and general attitude of a late night Showtime or Cinemax movie that guys who either just hit puberty or never matured past it would drool over and watch. It is a movie that is shot in southern California. It takes place in sunshine or in scenes washed in a primary color. It features a lot of Playmates. It treats sex and sensuality in a sort of comedic and old fashioned nudie cutie sort of way while being rather explicit at times in one way or another. It’s directed by a guy who mostly made sexploitation movies. That’s a perfect late night Showtime or Skinemax storm.

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10 to Midnight (1983)

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Cannon Films is back for this week’s B-Movie Enema review and they are bringing one of their biggest stars with ’em!

It’s hard to believe this is only the second time I’ve done a Charles Bronson movie on this site. To think, he has all those Death Wish movies. He’s got some cool-ass-sounding thrillers and action flicks in the 70s. With all that, the best I could do is Assassination? Well, it’s time to do better, and, this week, I do have one that is better.

Remember when I did the Chuck Norris 1982 thriller Silent Rage? That was this cop thriller that also had some horror and even some science fiction elements. That was part of a time in which crime thrillers were still a big deal, but horror was on the rise big time. If we were to add to that the fact that Norris was becoming a rising star who was just a couple years away from becoming the other “Chuck” at Cannon Films, it’s hard to not kind of tie all of this into this week’s movie that is getting the review treatment, 10 to Midnight.

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Strangeland (1998)

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Gather ’round, kiddies. This week’s B-Movie Enema is going to tell you a tale about urban primitives and their desire to find transcendence via pain and all sorts of fucked up shit. Oh, and also, Dee Snider is here.

Yes, this week, we’re scouring the dusty shelves of the horror section at the video store to talk about 1998’s Strangeland, written by and starring Dee Snider. Snider rose to prominence in the 80s with his band Twisted Sister. He was a hard glam rocker who dressed in a gender-bending way. I’d go so far as to say it was a little gender-bending and a little pro wrestling in style, but it was purely 80s through and through. It was Twisted Sister’s third album, Stay Hungry, that featured two very popular singles, “We’re Not Going to Take It” and “I Wanna Rock”. “We’re Not Going to Take It” is one of those 80s anthems that still gets a lot of airplay and use in movies to this day.

Snider, along with a few other artists of the time, became a favorite target of the Parents Music Resource Center who wanted to bring a warning system to music albums and singles in the pearl-clutching hope that children would not be turned into murderers or something when they listen to “Darling Nikki” or something. Snider was joined by the likes of Frank Zappa and John Denver to speak out against censorship in music. This did lead to the creation of the Explicit Content label we saw on just about every cool ass album of the 90s.

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