Recent Movies

Projected Man (Scream Factory) (Blu-Ray)

A million volts of death in each of his hands!

Dr. Paul Steiner and Dr. Christopher Mitchell have created a projection device that can transmit any object within a few miles of their new device. The device works well on inanimate objects, but using it on a living device causes death. When Steiner is accidentally projected, he becomes a disfigured monster who has the ability to kill by electrification.This first-time-on-home-video release features a new 2K scan of the film’s interpositive.

Zodiac Killer (AGFA / Something Weird) (DVD / Blu-Ray Combo)

A new 4K transfer of the only movie in history made explicitly to catch a serial killer.

Directed by Tom Hanson, who had previously owned a chain of Pizza Man restaurants, The Zodiac Killer was made to capture the real-life Zodiac Killer. That plan didn’t work. Instead, we got the most outrageous and compelling “tabloid horror” vortex in the history of planet Earth. And beyond. During theatrical screenings, Hanson constructed in-theater “traps” to lure the killer from hiding. These included the use of an ice cream freezer filled with rent-a-cops and a raffle with a motorcycle as a prize. You won’t get insight like this by watching a David Fincher movie. But you will get it while watching The Zodiac Killer.

Audio Commentary with director Tom Hanson and producer Manny Nedwick
On-camera interview with director Tom Hanson and producer Manny Nedwick
Bonus movie: ANOTHER SON OF SAM (1977)
Tabloid-horror trailers from the AGFA archive!
Liner notes and director Tom Hanson interview by Chris Poggiali of TEMPLE OF SCHLOCK

The Master (1984)

Sometimes even a television series as profoundly dumb as The Master (1984) can fill a void in one's viewing habits. A faux martial arts action-adventure, this short-lived series (13 episodes), rather emblematic of mid-1980s TV action, might turn one's brain into cottage cheese, yet it's oddly appealing in other ways.
Predating by six months the unexpectedly popular The Karate Kid, a modest $8 million feature that became a well received $90-million blockbuster, The Master operates from a similar premise. Lee Van Cleef stars as a mysterious ninja guru who takes on 24-year-old pupil Timothy Van Patten, roaming the country (all of which resembles Southern California scrub country) aboard the latter's customized van and partake in various improbable adventures.

Squinty-eyed, hooked-nose, and hawk-faced Lee Van Cleef had specialized playing the third heavy on the right in innumerable ‘50s Westerns, including in his debut film, High Noon (1952). He toiled away in movies and on television for years. He seemed to be everywhere, with a good supporting role in Roger Corman's low-budget It Conquered the World (1956), for instance, but he never quite working his way up to character star, let alone a leading man. But, finally, he struck gold playing the mysterious, sympathetic protagonist opposite Clint Eastwood in Sergio Leone's For a Few Dollars More (1965), and worked again with Eastwood and Leone, this time as the villain Angel Eyes in The Good, the Bad, and the Ugly (1966). Eastwood scurried back to Hollywood, never to return, but Van Cleef remained in Europe, becoming a huge star there, headlining some of the best Spaghetti Westerns, notably The Big Gundown (1966), Death Rides a Horse, Day of Anger (both 1967), Sabata (1969), and The Grand Duel (1972). Returning to America, he appeared as Yul Brynner's character, Chris, in The Magnificent Seven Ride! (1972), a weak, cheap-looking sequel, at about the same time Brynner was playing Van Cleef's Sabata role in that series' second sequel, made in Europe. Director John Carpenter put Van Cleef to good use in Escape from New York (1981), but Van Cleef's unique appeal seemed to baffle casting agents.

He's not really a good fit for The Master, either. Van Cleef's screen presence was all about the threat of violence, of gunning somebody down in cold blood, not third-rate chop-socky action moves. His knee shattered in a ‘50s car accident, and more recent heart surgery necessitated finding a stand-in for the uniquely compact, wiry, bald actor missing part of one finger and sporting bushy gray sideburns, resulting in surreally unbelievable stunt doubling. And, yet, Lee Van Cleef is a pleasure to watch, the actor clearly relishing the leading role on an American TV series.

Creator Michael Sloan, who'd soon move on to the much superior The Equalizer, packs The Master with entertainingly goofy situations and a dizzying array of guest stars. One-off 007 George Lazenby, of On Her Majesty's Secret Service, turns up in one episode as a British spy in a tuxedo who drives an Aston Martin DB-5, helping the stars battle terrorist David McCallum. And one can only imagine the loopy casting genetics that resulted in burly, pit-bull-faced Claude Akins playing the father of demure, 21-year-old Demi Moore.

The pilot episode is cut for the usual hour format but plays like it might have been shot as a 72-minute TV movie for a 90-minute slot. Certain story elements make little sense, as if crucial exposition were cut out, though the action is very nearly non-stop. Van Cleef plays John McAllister, World War II vet who remained in Japan after the war, training as a modern-day ninja. Leaving the order to search for a stateside daughter gone missing, McAllister signs his own death warrant, with former student Okasa (Sho Kosugi), determined to assassinate him.

Meanwhile, free-spirited drifter Max Keller (Van Patten), who drives around the countryside with his pet hamster (yes) rescues Holly Trumball (Demi Moore) from lascivious redneck Sheriff Kyle (Bill McKinney), a corrupt lawman in the employ of slimy developer Christensen (Clu Gulager). Christensen wants the airstrip owned by Holly's father (Claude Akins). When Sheriff Kyle corners Max in a bar, McAllister turns up, nearly destroying the bar with his ninja moves much like Jonathan Winters with his bare hands trashed that gas station in Mad Mad World. Suitably impressed, easy-going Max all but begs McAllister to train him in the ninja arts. Now, admit it - aren't you just a little curious to see The Master now?

McAllister's introduction in Japan and later flashbacks there are limited to a single set, probably a Los Angeles-based Japanese garden or maybe the grounds of Yamashiro, the Hollywood Hills restaurant often used by filmmakers. Ninja disappeared from the Japanese landscape two centuries even before the last samurai, and the gimmick of modern-day ninja lacks any sense of authenticity. It's more an outgrowth, the last gasp, really, of the type of genre popularized by Bruce Lee, mainly in Hong Kong movies a decade earlier. The show's writers and designers might have done well to study the colorful iconography from Japanese-made ninja movies of the 1960s, which show much imagination despite their budgetary limitations. Instead, most of the costumes and weapons have only a passing resemblance to the real historical articles, and how they were used.

The half-brother of Dick and Joyce Van Patten, the much younger Timothy at this point in his career had facial features and a likeability akin to a young Sylvester Stallone. His character narrates the stories with much self-deprecating humor. Emblematically an ‘80s-type but not quite a "Brat Pack" star, Van Patten is not exactly handsome but projects an agreeable confidence and affability. He gave up acting in 1990 to become a television director, where he's enjoyed considerably more success, helming episodes of such prestigious shows as Homicide: Life on the Streets, The Wire, numerous episodes of The Sopranos, and Game of Thrones.

As for directors of The Master, the series culled movie/TV veterans like Sidney Hayers and Gordon Hessler, noted for their action genre work, and even Enter the Dragon director Robert Clouse for one episode. Compared to most ‘80s TV shows The Master crams more action set pieces into each hour episode than most shows.

The list of guest stars is a wild jumble of veteran character actors and up-and-comers, notably Crystal Bernard, Edd Byrnes, William Campbell, J.D. Cannon, Robert Dowdell, James Gammon, Mark Goddard, Jack Kelly, George Maharis, Jock Mahoney, Monte Markham, Doug McClure, Diana Muldaur, Robert Pine, Jennifer Runyon, William Smith, Janine Turner, and Stuart Whitman. That's quite a pack for just 13 shows.

Steve McQueen: American Icon

In trivia of the personally strange, I tend to gravitate to documentaries on Steve McQueen, as I've watched the one where McQueen labored over years to get his Le Mans film made, and I've also seen the one that examines why McQueen was so charismatic and his life with remembrances by his son Chad. I didn't know what to expect from Steve McQueen: American Icon, but it wasn't without intrigue.

There was a point late in McQueen's life that he had discovered spirituality and faith and his love of Jesus Christ. Yes, THAT Steve McQueen! And American Icon spends some exploratory time diving into that period in his life, but this is spent near the end of the 80-minute film, after the film has hit touchstones in McQueen's life like his popularity amongst men and women and the amount of money he amassed making movies, and some personal turmoil as well.

Greg Laurie is a pastor based mainly in California, but more relevant to this is that he is a fan of Steve McQueen, and he drives a Mustang that looks a lot like the one McQueen used in the film Bullitt, and he drives around various places in California that have some relevance and/or significance in McQueen's life. While the film is narrated by Gary Sinise (Forrest Gump), his narration is kept fairly minimal in impact as the film includes interviews with McQueen's widow and pastor. Admirers of McQueen like Mel Gibson (Braveheart) talk about why McQueen was so admired, why he was so cool.

Laurie initially wrote "The Salvation of an American Icon," a book that became the inspiration for the film, and he handles the interviews of the subjects, to an occasional strange result or two. It's in the bonus material but at one point, devoted Steve McQueen fan Laurie apparently forgets how old McQueen was when he died? It's not part of the final cut of the film but it certainly gave me pause. That concern aside, McQueen's exploration of his faith is an interesting and somewhat mysterious journey. At one point, McQueen and the Reverend Billy Graham met to discuss faith, the Lord and afterlife when McQueen was suffering from mesothelioma, cancer in his lungs. The few people aware of McQueen's quest, who were interviewed for the film, share the insight they have on what he was doing in these discussions.

A couple of things I noticed about American Icon that I was taken with, the big one being the lack of connection to McQueen's journey for faith. McQueen's widow talks about how he came into a room with her and said she should put on a dress, they were going to church. It seemed like there should be some sort of further explanation to his faith that was explained in the film or even in the book somehow, but the film comes off as saying ‘Hey look! Steve McQueen liked God, you can too!' and that left me feeling that that was a little below board. Secondly, if you're going to talk about Steve McQueen, I think you better be sure to include whatever component you're looking at within the larger context of his life, and I think American Icon lands short in that bar. We know about McQueen the womanizer, the desire for fame, the gearhead, and how that was part of his persona. We don't really get McQueen the lover of Christ with that here and it's disappointing.

To be clear, Steve McQueen's fascination with God near the end of his life was something I wasn't aware of and was curious to learn more about. American Icon spends less time about that and almost kind of nods in approval that McQueen did find the Lord, being enamored of a notable convert rather than exploring this important part of the convert's life. For the ways it could have been handled, American Icon could have done better with it.


The Hard Road (1970)

A cautionary tale. At 17, Sherman Oaks high schooler Pam Banner has a baby out of wedlock. The baby is adopted, but Pam's too embarrassed to go back to school, so her dad gets her a job as the receptionist for a talent agent. A rock star takes her to a party, seduces and abandons her; that starts a spiral of partying, free love, and drug use. Pam becomes friends with Jeannie, a hooker who supports Jimmy, a useless druggie. Soon the three of them are living together, and Jimmy seems appealing to Pam. She's missing work more and more often, Jeannie wants out of the life, Jimmy is going through withdrawal, and Pam is in the middle of a maelstrom. Is there any exit for Pam?

The film begins with a pregnant 17 year-old (Pam) in the back seat of her parents' car. She is driven to a hospital or health clinic and they begin talking to her about her plans for the baby. At this point, a guy dressed like a doctor (but who obviously isn't as he mispronounces some of the words) talks--giving a dry lecture about pregnancy. This is NOT integrated into plot--just an interruption in the movie. Then, once the guy is finished, it returns back to the story and you see Pam about to give birth. Then, the baby pops out and she smiles. The narrator then tells us that that's the last she ever saw of the baby--it was soon adopted by strangers.

D'Wild Wild Weng (1982)

Weng Weng was christened as Ernesto de la Cruz and was the youngest of the five de la Cruz children (all boys). Weng Weng was born with a medical condition known as primordial dwarfism, which caused him to only grow to a height of 2 feet and 9 inches tall. According to his brother Celing de la Cruz, when his mother gave birth to Weng-Weng, his size was "no bigger than a small coke bottle", this forced Weng Weng's parents to place him in the care of the hospital incubator for the first twelve months of his life. During this time, the doctors were advising the de la Cruz couple that Weng Weng might not survive but miraculously he did, and being devoted Catholics, the couple showed their devotion to their faith by dressing and parading a young Weng Weng as Santo NiƱo each year for the annual Baclaran parade.

Weng Weng starred in this 1982 western D'Wild Wild Weng, playing a character called "Mr. Weng". In the film, he and sidekick Gordon (Max ZUMA Laurel) are sent to the countryside to investigate the murder of Santa Monica's mayor. The town is now overrun by the corrupt governor Sebastian (played by Romy Diaz) and his army of banditos, all dressed up to look like Mexican revolutionaries. The ending has Weng cranking a Gatling gun - on the back of a jeep - mowing down wave after wave of sombreros, while a tribe of dwarf Indians launch a counterattack with bows and arrows.

Count Tsakona and His Draculettes (1989)

In this offering, Kostas Tsakonas (a champion of the SOV comedy of the era) as a wimpy poor guy & petty thief who lives with his nephew, is chosen by the arch-Dracula to rule Greece, since he's a long lost relative of the vampire family, and since the current Prime Minister has sucked the Greeks dry (yes, there's some awful not-so-subtle dated attempts at political satire in there as well). What follows is Tsakona's transformation and consequent attempts to adjust to his new vampiric lifestyle, while a clumsy exorcist and some of his fellow villagers are after him.

The title says it all really, this is a fine example from the glory days of the Greek SOV 'industry' of the 80's. Today this all looks horribly silly, badly written, cheaply produced and directed trash, but back then this was wholesome family home entertainment for the weekend.

The Ultimate Degenerate/The Lusting Hours/In Hot Blood

"A Shameless Tangle of Carnality!" Director Michael Findlay is Spencer, The Ultimate Degenerate, a crippled psycho in a wheelchair who fills his home with naked women who perform strange sex shows after he injects them with an aphrodisiac that gets them "tuned-up for love." But when Maria, a cheerful exhibitionist, visits his home, she quickly learns that Spencer, like this movie, is "on the verge of insanity," especially after she's given a drug that makes her both paranoid and a tad homicidal.... Another diseased masterpiece from Michael and Roberta Findlay, the twisted team responsible for The Touch of Her Flesh and Take Me Naked! Plus: Michael and Roberta Findlay are among the "parasitic masters of perversion" -- along with call girls, lesbians, an S&M-loving photographer, and a whip-wielding transvestite -- who prowl during The Lusting Hours in this unhealthy expose of the world of hookers with a disquieting emphasis on the depraved! And: When "an ordinary girl with an extraordinary body decides to put that body to work," it can only end one way -- with a meat-cleaver massacre. Obviously. But first, of course, she must become a fashion model. All of which is detailed in In Hot Blood, a film that wastes no time diving headfirst into the gutter! So, c'mon! Let this Twisted Threesome suck you "into a vortex of voluptuousness from which there is no escape!" Over 3-1/2 Hours of "Hot Passions of Erotic Abandon!"

Alice in Acidland / Smoke and Flesh

Another interesting title in the Something Weird series, but interesting mostly only as a late-night curio of sleazy 60's weirdness.
"Alice," a low-budget skin flick, is about an ordinary L.A. teen and her swift descent to the looney-bin once she's lured by her seductive female teacher into the world of drink, drugs, sun and sex.
That description makes it sound much more engaging than it actually is: Alice is... to put it delicately... not overly attractive and not excessively talented as an actress. The film quality is sketchy (lots of jump-cuts and segments without audio) and the action is glacially paced. We're talking slow going and most of the sex involves Alice writhing and making spastic "oh!" faces in response to simply being held by her lovers (no touching, basically).

A sequence in which Alice drops acid is presented in color and it's so slow and dull it makes you wonder if the filmmakers mistook Ny-Quil Liqui-Gels for LSD.
If you're looking for funny sound-bites or want a wacky, unseen film to project on the wall of a loft-party, this is all you. It's not good for much else.
"Smoke and Flesh" is actually a lot more interesting. Editor, director, cinematographer Joseph Mangine had clearly seen, and been influenced by the French New Wave and also movies like "Touch of Evil." The story (one hipster's swingin' party is interrupted by volatile bikers on acid) ain't much but visually there's style to spare. The opening motorcycle ride through New York is so cool and atmospheric it could've been filmed by some video wunderkind circa 1998 and there are other highlights as well -- a "Pulp Fiction"-esque joint rolling, a spooky attack in an attic and a nicely-shot sequence in which whip cream is applied to the body of a young party girl. Scriptwise, they got nothing but compared to "Alice" it's practically Godard.
A hidden feature about the aphrodesiac effects of weed is a hoot, though it grows boring.
The best part is a collection of about 10 previews for similar movies ("The Pusher," "The Acid Eaters" and "Confessions of an Opium Eater"). That alone makes it worth netflixing or buying used at a low, low price.

Satanis: The Devil's Mass / Sinthia: The Devil's Doll (Special Edition)

An up-close look at Church of Satan founder Anton LaVey and the satanic shenanigans filmed inside his infamous San Francisco "Black House" back in 1969, "Satanis, the Devil's Mass" (86 minutes) is a wonderfully oddball documentary inside one of America's darkest pop-culture curiosities. Along with nude women decorating the altar to a man dressed as a bishop who gets his fanny whipped before climbing in a coffin, you're treated to interviews with LaVey (wearing silly little devil horns) and his flock along with various startled neighbors! Plus, after murdering her parents and setting the family home on fire, Cynthia Kyle becomes "Sinthia, the Devil's Doll" (77 minutes) when Lucifer forces her to wander through a psychedelic world of dreams in this ultra-bizarre mix of skin, daddy-lust and art-film exploitation from cult fave Ray Dennis Steckler. Remember, "If you're gonna b ea sinner, be the best sinner on the block!"
This 1970 film is a great, honest, non-hostile, un-biased documentary presentation of the early days and general proceedings of the Church of Satan---possibly the only such one other than Nick Bougas' Speak of the Devil from 1993. While I personally prefer Speak of the Devil because I felt it captured more of LaVey the person---his intelligence, his charisma and his personality---this is nonetheless a gem. It captures the spirit of the time so vividly, and the ritual scenes are very moving, though I am a Satanist so perhaps you would consider me biased. But even from an aesthetic standpoint, the stunning gothic solemnity and high nobility of these dark ceremonies will make you feel SOMETHING I hope. If not, check your pulse. I also especially like that a lot of this documentary is dedicated to speaking to regular everyday people in the area and letting them talk about how they feel about having the Church of Satan in their neighborhood. Some are supportive, some quite displeased. If you are a Satanist or are at all interested in the Church of Satan's history, check this out. Now I don't know quite what to say about the bizarre hypersexual Z-movie Sinthia: The Devil's Doll which seems almost like a random thing to slap onto a DVD with this serious documentary. I love incredibly weird movies though, so I didn't mind, but the squeamish and faint-of-heart will find themselves skipping out on the bonus film.

Extra Weird Sampler

EXTRA WEIRD SAMPLER presents clips from over 100 of the strangest and most fantastical films ever made. From THE AMAZING TRANSPLANT to WRESTLING WOMEN USA, this sampler has it
I watched this 4-5 years ago and got interested in these movies, so I bought a couple of them. I am now hopelessly addicted to SWV and have almost all of the Special Edition DVDs. I've spent way too much money and have had way too much fun watching these B-to-Z grade films!

True Gore II (1989)

Don't be misled by the title and put your lube away: True Gore II (aka Empire of Madness) (1989)--M Dixon Causey's follow-up to the eponymous first entry--has virtually no true gore in it at all. Instead, the first half is a compilation of faux-snuff vignettes akin to something you'd find in a SOV horror collection like Snuff Perversions 1 & 2, Snuff Files, The Dead Files, Violations I & II, or even more recent titles like Murder Collection Volume 1. The second half is in turn a send-up of satanic panic style videos like Law Enforcement Guide to Satanic Cults, Devil Worship: The Rise Of Satanism, and countless others shat out during the 80s/90s.

The vignettes are hilariously inept to the point where it seems clear that Causey was parodying the shockumentary form; the 'intestines' stuffed into the mouth of the rotting corpse during the necromancy ritual, for instance, are clearly-visible sausage links, with no effort being made to disguise this (quite the opposite). Even the credits are a joke, mocking the seriousness with which shocku producers take themselves, crediting a 'researcher' for a film that clearly had none, and a 'visual archivist' being listed in place of a cameraman.
 
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