Review: Sorority Babes in the Slimeball Bowl-O-Rama 2

Text © Richard Gary / Indie Horror Films, 2023
Images from the Internet

Sorority Babes in the Slimeball Bowl-O-Rama 2
Directed by Brinke Stevens
Candy Bar Productions; Full Moon Features; MVD Entertainment
62 minutes, 2022
www.FullMoonFeatures.com
www.mvdvisuals.com

The first SBitSBaR (1987) starred the holy trinity of Scream Queens (in no particular order) Brinke Stevens, Michelle Bauer, and Linnea Quigley, all in their horror prime. I saw this when it first came out on VHS when I rented it from my local store in Brooklyn, Video Video. It was a silly, hot mess, but so much fun.

Now, nearly 35 years later, comes Part Dos, directed by Brinke Stevens herself (I knew she was brilliant even in the 1980s), and in cameo roles, both herself and Bauer, with Quigley nowhere in sight except in archival footage (don’t worry, her career is still doing quite well, with the likes of 2017 Bonehill Road and 2020’s Death Drop Gorgeous; according to IMDB, there are conflicting stories both about how Quigley was not asked, and that she was going to be in it but broke her leg). This film was written by Full Moon regular, Kent Roudebush (such as the Giantess films recently reviewed elsewhere on this blog).

Katie O'Neill, Jessie Gill

We are introduced, once again, into the cleavage and spandex world of sorority Pi Epsilon Delta (as opposed to Tri-Delta in the first film), where actors play younger than their actual ages (a trope that goes back even further than 1978’s National Lampoon’s Animal House). Anyway, it is the sorority’s Pledge Night, and ringleader Sarah (Jessie Gill) and her second, Tiffany (Katie O’Neill) are corralling the new recruits, under the strict housemother, drinker Auntie Snake (Kelli Maroney, of 1984’s Night of the Comet, another ‘80s B-film classic, and more recently, 2022’s NightCaller). Auntie is the sister of Spider (Quigley, in the first film). 

As both Sarah and Auntie admit, the sorority is in rough shape, and Sarah wants to bring it “forward” to a better class (pun unintended). There are only two new recruits this year, busty Ginger (Audrey Neal) and multi-inked Devin (Hannah Tullett). We meet them all doing jazzercise in spandex one-sies, and bending over a lot. Not to mention the energetic shower scene; and let us not go into the whole whipped cream montage. Joining them late is leather jacket wearing tough girl Bitsy (Glory Rodriquez); you can tell she’s tough because she keeps throwing “the bird.” I am guessing a secret by her name (PS, I was wrong, but close).

Hannah Tullett, Audrey Neal

As in the first film, there are three doods spying on the sisters, this time via hidden cameras and computers, rather than through an open door. This brain-dead trio are Devin (Luka Parente, who does not live on the second floor, but wears a bowling shirt; I’m not sure if this was a coincidence, or a very wise in-joke), Dinger (Justin Luper), and Turkey (Nathan Blair).

Nathan Blair, Luka Parente, Justin Luper

Of course, the guys get caught and are “forced” to join the sorority to break into the same bowling alley (the real Dickey Lanes, in Cleveland, OH) from 35 years earlier. Man, these people are dumb. I mean, really dumb. The guys hold the bowling pins in front of their pants to emulate their junk, and carry two balls up to their chest to symbolize breasts (with one “motorboating”). The two original pledges accept these doofuses as potential partners, and dance around practically pushing their chests together, while the new one snarls. This is all done during a montage to ‘80s style electronic music. Oh, Brinke, you can do better. Gotta say, as the future body count, there is no one that will make the audience go, “Oh, no!”

During a catfight (of course) at about the halfway mark, a trophy is broken open and out comes our imp, the same puppet used in the first film. In the earlier incarnation, the imp’s voice is high pitched and electronically enhanced (and pre-autotune!). Now, being the son of the original imp, the vocal is deep and sounds stereotypical African-American (voiced by Derek Reid, the writer/producer/director/star of the series, “Black Spider-Man”), who starts off saying “Free at last, free at last / Satan O mighty, I’m free at last.” Oy. He sounds a bit like Audrey II (Levi Stubbs) in Little Shop of Horrors (1986).

Neal, Glory Rodriquez, Gill

As in the original release, Monsieur Imp grants wishes to “thank” the doodle brains for letting him out. but unlike the first, these wishes are given in unexpected manners, seeming taking a nod from the Wishmaster franchise (1997-2002); It does not go well, nor will I go into details. But it is funny. You may see some of the gags coming by the wording of the wishes, but still, it made me smile.

The physical effects look good, and there is a lot of CGI purple smoke and electrical energy that also is effective, especially since this is definitely going for a 1980s vibe. It is all remarkably effective.

Brinke Stevens, Michelle Bauer

There are some nice cameos by Stevens and Bauer, though it was obviously spliced in after. Still, works for the story though it is never explained why they aged if they were trapped in the bottle with the imp.

Okay, to be honest, this is some stupid, sexist stuff, but that is the demographic they are aiming for: teen boys, horny dudes, and people who joyfully remember skimming the aisles of their local video store of their youth as, well, teen boys and horny youth. It is extremely successful in that way, and if this had been released in the ‘80s, it probably would have been a huge VHS hit, that is plain and simple. I am not making any judgments on this, just stating the facts. I enjoyed these kinds of films in the ‘80s as I fit that previous demographic, and this is nicely retro and nostalgic.

I am not only glad this was directed by a woman (reminds me of Richard Pryor being a writer for 1974’s Blazing Saddles, making it possible to use some quite offensive language and actions), but one who was there in the period, so she could have a first-hand experience to make this as loyal to the time as possible. I am also grateful that this film is relatively short, so as not to over-use its topic. There is a hint, however, of a possible sequel to the sequel.

The extras on the Blu-ray are a stack of recent Full Moon trailers, and a short called "Brinke vs. the Imp" (3 min), in which the first half is Stevens discussing the poster of the original film poster when the first release was called The Imp, and the second part shows the person who was the voice of the Imp.

IMDB listing HERE

Warning: spoilers in the trailer

Review: Dante’s Shadow of Sin

Text © Richard Gary / Indie Horror Films, 2021
Images from the Internet

Dante’s Shadow of Sin
Directed by Dakota Ray
R.A. Productions
75 minutes, 2021
https://dakotarayfilmmaker.wordpress.com/
www.facebook.com/Dantes-Shadow-of-Sin-A-Film-By-Dakota-Ray-113284927789069

And if you go chasing rabbits
And you know you’re going to fall…
When logic and proportion
Have fallen sloppy dead
“White Rabbit,” Jefferson Airplane

I ask you: in the time of Covid, what’s a man supposed to do? Easy, just down a glass of absinthe, get a new and sharper lens for your camera, and direct your eighth film of nihilistic behavior, as has done Denver-based director/writer/cinematographer/editor Dakota Ray.

Usually I would hold off on this kind of comment until near the end of a review, but let me point out right from the start that even with Ray’s characteristic use of monochrome-colored filters, in this case one that is a rich, dark blue hue, the new lens really is incredible at showing details, which can only help spotlight the sheer insanity; the film highlights this clarity as you can practically count every hair on a close-up of a severed head.

As is his wont and right, the title character is played by the director and his insanely deep voice, who in the first line, explains the nihilism that clouds his very soul: “My name is Dante, and I serve no man but myself.” He is remorseless, unhinged from reality, and a complete narcissist (perhaps he can become president like the last joker!). We meet him staring at himself in a mirror. Yeah, this guy is not someone you are going to want to mess with in any circumstances.

Filmed in Ray’s house, in part, it was fun seeing the VHS stack with the likes of The Thing, An American Werewolf in London, and I believe Dark Shadows. There is a lot of fine editing by Ray, which improves with every film, between characters, objects (many look like they were bought at a Halloween store, and rightfully so), Satanic symbols, and insects in various states of health. These, their use as subliminal commentary on the action, all become characters in their own right in a way, rather than just be filler (more on that later). The soundtrack during the credits is emblazoned with “blackened doom” (the band’s wording) metal by the Italian trio Naga.

Two years after committing a horrific murder, Dante is contacted by an acquaintance, Mahoganny (gravel-voiced Fred Epstein, a heavy-emoting Ray regular) who has inherited the Boleskin House (referencing the Boleskine House in Scotland, owned by renowned Satanist Aleister Crowley and Jimmy Page, the once great guitarist of the Yardbirds and Led Zeppelin). Mahoganny suggests they get together and go to the house. My question to Mahoganny is, “do you know where you’re going to, do you like the things that life is showin’ you?” (sorry…). In this case, the name Mahoganny is more symbolic for the hardness and darkness of his heart rather than skin color.

After picking up Mahoganny, whose beard and hair is long in classic (and ironic) Jeebus mode, they both head to the house to debauch. How debauched? Let’s just say I had to turn my head when Mahoganny dipped a slice of pizza into salad dressing (I am assuming Ranch). What’s next? Pineapple!?! Also, I wonder about a focused bit without explanation of Dante taking an antacid pill of Calcium Carbonate (designated by the serial number G171); perhaps it is in reference to Mohaganny’s fixation on laxatives? But I digress…

Throughout the film, we hear the thoughts of the two central characters more than words are spoken, which makes sense since so much of the planning of these two are secretive, so we become cognizant of just what the hell is going on. We also hear the drug-induced disembodied voices of objects such as dolls, a white rabbit and a goat head who represent the Satanic elements. Two other mute players are Mahoganny’s senile and silent 92-year-old grandmother (Maddison M.), and his bound and gagged, drug induced “slave” (Sholeh Behesht) in the bathtub. This also makes me wonder about using the name “Mahoganny” as a slaver…

Dante, though not redeemable, kills for a purpose, even if it is self-gratification. With Mahoganny, however, slow and painful control and sadism is more his speed. These two both know that the time in the vacation house will not end well, and each has a motive to be the only one out, but the build-up to the confrontation is a large part of what is going on through the story, listening to their thoughts about destruction in different forms, but with the same end result.

Although there are four characters in this, truth be told it is a two-person story, loco mano e mas loco mano. With hexes, drugs, alcohol and just sheer deviance of a multitude of natures, these guys have a deep hatred that Ray manages to convey quite strongly. Where did they go wrong as friends or acquaintances? Immaterial, because at this time, it a steadily intensifying to-the-death duel, both mentally and physically. The lightening in the sky is a foretelling of the bad actions to come.

It is also interesting to me that both of these dudes are into Satanism and curses, but they are individuals, not part of a Satanic cult, which is where it seems most films dealing with this topic tend to lay down. Again, while the leads are both similar in their desires for death and destruction, they are very distinct in their personalities and the means to achieve their comparable end-goals. Though, honestly, I am not sure how they manage to get their goals accomplished with the sheer amount of imbibing – including mushrooms – that gets consumed. Mind you, I’m a straight-edged punk rock nerd, so it is a different world than where I come from.

The film is broken into a number of chapters via long title cards, such as “Dante’s Switchblade Romance: Caressing her ghost and other demons from the past.” This is also common among Ray’s films. However, story-wise, this is the most cohesive of the eight, being rather threadbare in its plot. Rather than mixing a number of different stories into one, here he focuses on the two main characters, and yes, you could say that it still two tales into one, but its focus is more exact, with less opaque moments.

As much as I have enjoyed all of Ray’s releases, I think this one could be a turning point as far as a pathway. As much as I like the past ones, I look forward to the swing in this direction.

 

Review: Terror in Woods Creek

Text © Richard Gary / Indie Horror Films, 2020

Images from the Internet

Terror in Woods Creek (aka Deadlines)

Directed by Tracy Lee Staton

Roadkill Entertainment / Wild Eye Releasing / MVD Entertainment

94 minutes, 2017 / 2020

www.facebook.com/tracyleestaton/

www.wildeyereleasing.com

www.mvdb2b.com

In the small Virginia town of Woods Creek, population under two grand, there is an evil that recurs every 50 years or so. No, it’s not the Creeper from Jeepers Creepers, this is more of an old school, Biblical evil from the pits of hell that has come to visit. We are introduced to the Drifter (Royce Hobson), a cool lookin’ dude with smashing early ‘60s sideburns, a big smile, and eyeliner.

Royce Hobson

What is it about devilishly and deliciously joyous supernatural evil men that you can spot them a mile away by their eyeliner? Sure, the sideburns scream “watch out,” but it is the eyeliner on these squinty-eyed dudes that make them so obvious; it’s quite the common trope. But one other thing to note is if your satanic guy is wearing eyeliner, he is going to be a fun character to watch. He is so cool and malevolent: he constantly smokes, yet still often has a cigarette tucked behind his ear at the same time.

Anyway, back in 1962, the town was visited by this very same Drifter – as we see in the prologue – while the whole joint is going crazy and killing either others or themselves, right out of Cronenberg’s The Crazies. After that we pop up to 50 years later, and it is 2012, and guess who has come back with his ‘burns, eyeliner and a cool retro ’65 Buick named Ruby bearing a license plate that proclaims “Burn One”?

The modern town is filled with people with cutesy homage names, such as Police Detective Smith Wesson (Robert Barger Jr, who looks a bit like Stephen King in Creepshow) and the priest is Father Fulci (John Johnson).

Whatever their nomenclature, everybody is just sweatin’ out ‘tude in this film, from the relatively good people to the absolutely bad ones, such as news reporter Tippi Thompson (Jaclyn Vames), said police detective, the abusive garage guy Jesco (Matthew Ewald, who also writes horror-themed novels you can check out), and especially The Drifter. Though I should point out while this covers both sexes, the women come out better in general numbers than the male of the species. An exception is the heinous High School Principal (Camille Keaton of the 1978 classic I Spit on Your Grave / Day of the Woman, in a stand-out cameo). The most likeable person, though, is the busty bartender, Bobby Jo (Katherine Tryon, who is also an Executive Producer).

Oh, and did I mention on top of all this, there is also a person in overalls and a potato sack over his head tied on by twine around the neck that is going around helping others meet the boat at the River Styx? He walks around with (and uses) an axe, and is called “Potato Sack Jack.” To me, his conversation with the Drifter is one of the high points of the film.

Beneath the story is an underlying dark sense of humor that shows its head in the form of mostly dialog, but also some of the deaths are kind of humorous, in a sick way. Some killings are “Good, they deserved it!” and others are “Damn, I liked that person.” It’s more balanced when they do that.

Most of the film is just menacing and murder, but the truly magickal and supernatural part of it does not really come until the third act, even though there are a-plenty of killin’ throughout. Nearly all of the actual murders are done off-screen, but this is a story-based tale, so that is okay. Still the “after” SFX look pretty damn cool.

As far as the acting goes, well, Hobson and Ewald definitely comes off the best. Some of the acting is kind of a mix of hokey and wooden, but with all the drawls, it all works out. Part of this is that is seems like the director employed a few of the locals (i.e., not professional actors) in Buena Vista, VA, where it was mostly filmed.

Robert Rydland and Matthew Ewald

There is a good contingent of the cast that also does double duty as the crew, especially Tryon and Johnson. And I know I shouldn’t make anything out of this, but the director being female made me happy (I bring it up because it does not happen often enough, and I want to recognize and encourage that). With the exception of Tryon’s constant cleavage, this is a pretty balanced film, and sexist behavior is pointed out often and sometimes indirectly (it was also written by Staton), even if it isn’t stopped until after the fact, such as Jesco’s relationship to his girlfriend and regarding female travelers who stop by his gas station. Kudos for that.

The extras include the trailer for the film, and a 6-minute Outtakes short, which is actually a Blooper reel. These tend to be fun, and this one runs just long enough not to get tiresome. There is also a full-length commentary track with the director, executive producer Cory Grier (who has a small, recurring role in the film), and star Barger; thankfully, they don’t talk over each other and are respectful. I love when that happens. The conversation between them deals mostly with anecdotal and cursory information about the film, such as what the shoot was like, set locations, and stories about the actors; there is little philosophical discussions on what the film means, or plot points. That’s okay, because as it is, it certainly kept the interest up.

While there are issues with the some of the points in the film, this is a nicely put-together release, with fine editing, lighting, and all those other technical bits. This is Staton’s third film and first feature, and she shows a lot of promise, which I hope I get to enjoy for years and features to come.

Review: VooDoo

Text © Richard Gary / Indie Horror Films, 2019
Images from the Internet

VooDoo (Unrated Version)
Written and directed by Tom Costabile
HyperCube Films / Agenda Avenue Productions /
Wild Eye Releasing / MVD Entertainment
84 minutes, 2017 / 2018
http://voodoothemovie.com/
www.wildeyereleasing.com
www.mvdvisual.com

So how long does it take to overstay your welcome at someone else’s home? For this this film, we meet Dani (Samantha Stewart), and the answer is a single night. After the break-up of a relationship (he’s married; more on that later), she heads from New Orleans to visit her “cuz” Stacy (Ruth Reynolds) in LA. Stacy is staying at a house with the rest of her band, who are trying to “make it” (though we never hear their music). Interestingly, the house share is filmed in Billy Idol’s actual home, so there are lots of instruments and sound recording devices around. This was a nice touch.



Ruth Reynolds and Samantha Stewart

Dani is a bit of a ditz, and not exactly likeable, though not a horrendous human. For example, she ended the relationship with the married guy when confronted by his wife, a (wait for it) voodoo priestess who curses her (shades of Drag Me to Hell). However, on the being an ass side, she steps all over her cousin boundaries without a second thought, and films everything (oh, did I mention this is a found footage flick?). Thanks to her conscious actions, she also involves Stacy into her own curse. Of course I won’t go into detail about that, but it was a real shitty move to do to someone who is opening their place for you. Now mind you, Stacy isn’t exactly a shining light as a person either. But they do get to have a cameo with Ron Jeremy, so it can’t all be bad, right?

 

My next question is, what is it about found footage films where the first 20 minutes are just following the characters around and not really giving too much info about them? I mean, we do learn a bit about their personalities, and the set-up of why the curse is happening, but that could have been done in much less time. However, this is consistent with so many films these days, where the first 20 minutes are padded on to make it into feature length, or to fit in the cameos. I’m not pointing a finger at this film specifically, as it is almost endemic in both indies and mainstream releases (of course with blockbusters, the rule is reversed and the over-indulge to the point of drowning the audience with too much).

Now, interspersed between the 20-minute mark and the 20-minute-plus finale, there are some really fine moments of spookiness that come unexpectedly, and is quite the relief from the annoyance that is Dani’s personality. Again, I’m not saying she is a bad person, just grating. But does she deserve what she gets in the end? I’m not saying.

Where Drag Me to Hell ends with the main character being – err – dragged to Hell, but here we get the scenic route. Needless to say, the film truly picks up at the moment Dani gets there, delving into a cavalcade of blood, gore, demons, and certainly makes up for the drips and drabs of the first 40 minutes.

What confuses me (lots of questions, you see), is it continues with the found footage style even in Hell. Who is going to see it? Well, other than us, of course.

I really don’t want to give away the different levels of Hell, because each one makes a point in Christian dogma, and also the result of Christian (in this case Roman Catholic) “salvation” by priests. For the genre fan who likes “blood and gore and veins in mah teeth,” as Arlo Guthrie once postulated, this vision of the underworld will be mild after the likes of Salo, or the 120 Days of Sodom (1975) or any of the Japanese or American Guinea Pig series. For the average film goer, used to mainstream cinema, this can be seen as quite extreme. Personally, I think many crime dramas they show on cable are more horrific, but that’s me.

The cast is quite attractive, and also accomplished, if one looks at some of the credits for the actors. While Ron Jeremy may be the most famous of the bunch (which makes me happy in an odd and twisted way), there is a lot of talent in this group. I guess I should say the two main leads of Stewart and Reynolds anyway, as they are the draw of both the focus of the camera and story. Everyone else is kind of peripheral, even the architect of evil here, the priestess Serafine L’Amour (Constance Strickland), who’s ironic name translates as “Angel of Love.”

It may sound like I’ve been a bit hard on this film, but note that it is the director’s first feature, and found footage (hopefully a dying breed at this point) is somewhat easier to work on the learning curve as technical precision can be fudged over a lot easier on a moving and somewhat spontaneous camera (even with storyboards and pre-blocking). I hope Christensen has learned from the experience and will continue to grow, as I see potential in here.

One recommendation I have to the viewer is check out the Trivia section for this film in IMBD. It is chock full of interesting goodies that may have you go back and revisit certain scenes, if’n yer so inclined. This is especially true as the only extras on the DVD are a cavalcade of Wild Eye Releasing trailers, including for this film.

 

Review: Where the Dead Go to Die

Text © Richard Gary/Indie Horror Films, 2012
Images from the Internet

Where the Dead Go to Die
Written, directed and animated by Jimmy Screamerclauz
Unearthed Films
96 minutes, 2011
Unearthedfilms.com
MVDvisual.com

Let me state, right off the top, that this is a great title for a film.

As a culture, we are all becoming more aware of motion capture in films, thanks to the likes of that Tom Hanks Christmas polar crap, and even Lord of the G-Strings…oh, wait, that’s different film… Anyway, my point is, everyone has come to think of it as a timely and expensive project, suitable only for the “big guns” of major studios (or at least a production with a decent budget).

However, with the help of some friends and an Xbox 360 Motion Capture, using Cinema 4D and importing Poser, Screamerclauz filmed and then edited it on Adobe Premiere. He has successfully shown that it is indeed doable with this dark trio of inter-related tales, titled “Tainted Milk,” “Liquid Dreams,” and “The Masks That the Monsters Wear.” Each takes place in a small town, showing a group of friends’ lives at various stages from children to adulthood, but not necessarily in chronological order.

The axis of the story is an evil(?)/godly(?) dog with glowing red eyes that can talk in a whispery, stuttering voice (somewhat like the pooch in Davy and Goliath), named Labby (to remind you of Lassie, though it is not a collie breed). Then there is his “owner” Tommy (Timmy) and something possibly malevolent in the well (as in “Timmy fell in the well!”). Some of the other characters are Johnny and Sophia. They have to deal with Labby, questionable parents (one voiced by the Linnea Quigley), and strange black-clad cyclopeses called “shadow people.”

The film is quite stunning to see, with nudity, sex, blood and gore, and a swirl of tentacles and eyes that appear often. The storylines are quite confusing and, honestly, half the time I didn’t know what the hell was going on, but I enjoyed the ride anyway. I strongly recommend watching the solo commentary by Screamerclauz afterwards. Now, I have to warn you, he is an annoying and whiny pain in the ass (“I didn’t know what I was doing,” “I don’t know what to say,” etc.), but he does help the story along somewhat to explain that this is that person from another story at a different time, for example. Note, though, that there is a lot more technical talk, for those into that, than story explanation. I almost wanted two tracks, one for the story and one for the technical, but Screamerclauz seemed to be having trouble with just the one, even ending it abruptly before the film ends.

Some of the interesting comments include him stating that he thought the film was funny rather than disturbing (actually, he says that more than once), and that “I just like wild things on the screen. I like flies, too.” Personally, I think he was stoned outta his mind when he recorded the track; and do I remember him actually lighting one up, or is that a dream?...

The music that flows nearly throughout is loud speedcore thrash, and most of the time it helps underscore the visuals, though occasionally I thought, okay, enough. Hey, I’m not expecting Peter, Paul and Mary, but it seems like every indie is using some speed metal in their films these days. It’s becoming unimaginative, unlike the rest of the visuals.

Despite all my whining, I think Screamerclauz has a lot to be proud of, since this really does look really great, despite the jerkiness of some of the movement. Truly, I think it would be terrific if he continued doing it, but I would also wish to add the caveat of wanting someone else work with him, to help edit his ideas more coherently.

While I don’t imbibe, myself, and also do not recommend or suggest it for others, I’m guessing this is a stoner’s dream (nightmare?).