Shocktober Revisited: Death Spa and Killer Workout

 editor's note: this review originally appeared as part of the Summer Fest 5 coverage.


For whatever failings Prisoners of the Lost Universe has (and there are many), Death Spa and Killer Workout were the palette cleanser we needed to get back on track for Saturday. While it is rare that I'll program one movie, let alone two, sight unseen*, I had enough faith in the slasher movies of the 1980s not to let me down and went in blind. And I'm glad I did.

 Death Spa is not in the traditional sense what one would call a "slasher" movie, although it shares a similar structure. It also doesn't actually take place in a spa, necessarily, which disappointed one attendee who looked forward to "killer facial peels" and other "spa"' related kills. Nevertheless, while it commits two cardinal sins of "false advertising," the movie is bizarre enough and and of itself to compensate.

 If I were to compare Death Spa to anything, I guess you could call it a spiritual successor to Death Bed: The Bed That Eats. It isn't quite as formless as Death Bed, but amidst the three or four competing plots in Death Spa, there's definitely a "this gym / health center / indoor swimming pool is haunted and is killing people." A ghost is using the totally automated system against people who go there, seemingly at random. To say much more about who the ghost is or what it wants would spoil parts of the movie that generate the most "what the hell?" moments.

 Fortunately, there's a bunch of other crap in Death Spa I can talk about that's just as weird. Like the group shower scene where the spa shoots tiles at naked ladies, or the killer fish (yes, a killer fish in a gym). There's the package loading ramp at the bottom of the stairs in the basement that serves no purpose, or the "Parologist" (I'm assuming he studies haunted rocks) hired by the owner to investigate the haunting. There's the conspiracy to shut down the gym before the big Mardi Gras party (no amount of killings will close this Death Spa!) and the question of whether the place is haunted or if somebody is killing people in order to make it look like it is.

 SPOILER ALERT: It's both. Yes, on top of the ghost, there are people also killing random gym members to make the owner look bad. And the owner's brother-in-law has an, um, "unhealthy" relationship with his dead sister. The dead sister who set herself on fire after a miscarriage left her wheelchair bound (the flashbacks to this are unto themselves strange enough to recommend Death Spa).

 There's so much going on in Death Spa that I can't possibly cover all of it, and yet it manages to hang together well enough that you want to know how the hell it's going to resolve them. And it does. Well, kind of. But even that's fun to watch too. Also, Ken Foree (Dawn of the Dead, From Beyond) has an extended cameo where he only has to appear at the beginning and the end of the movie and gets to live (SPOILER).

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 Killer Workout (Aerobicide) is, by contrast, a more straightforward slasher movie, but one with its own particular set of charms. It follows an extremely basic structure: a long montage of an aerobics routine featuring some, *ahem*, chesty ladies (sometimes also a morbidly obese guy in overalls riding the exercise bike), then a conversation with owner Rhonda Johnson (Maniac Cop's Marcia Karr), and then somebody being murdered, usually with gym equipment. Although not always: sometimes the killer uses and over-sized safety-pin (shades of Student Bodies).

 There's some procedural work done by Detective Lieutenant Morgan (David James Campbell), and an undercover agent posing as a new employee (Uh, I forgot his character's name and IMDB isn't helping), but mostly it's a slasher movie from the 1980s, which means some creative kills, a twist-y backstory for the killer, and lots of nudity. Actually, not as much nudity as you'd expect, and a lot less than Death Spa, but there's MUCH more time devoted to the aerobics routines Jaimy (Teresa Vander Woude) puts together, many of which appear to offer no exercise value whatsoever. So while you don't get as much nudity, there's a lot more jiggling.

 But don't worry, ladies, there's also a lot of guys in impossibly short shorts too. This unintentional recurring motif of Summer Fest was perhaps never more in evidence than during Killer Workout.

 What really helped Killer Workout as a companion piece to Death Spa was the weird touches, like David James Campbell's unfortunately high-pitched voice, one that in no way matches his imposing physical presence. It made it nearly impossible to take him seriously, all the way up to his final scene that must have, in some abstract way, inspired the series Dexter. There was also the guy we nicknamed "Johnny Pervo" with his pervo mustache that we later realized was two different characters that just looked alike and both happened to be sleazeballs.

 And then there's the "twist" of the film, which the Cap'n will immodestly admit I called twenty minutes in, about who the killer is. What I didn't realize until the "reveal" was it tied into a prologue most of us had forgotten about involving a tanning bed accident. Unlike Death Spa, Killer Workout doesn't have a supernatural angle, but it does have what one viewer described as "pudding tits."

 The two films do share some interesting connections, though: both Death Spa and Killer Workout close on freeze-frames of the villain, implying that both of them secretly won (well, in Killer Workout, it's flat out saying they did). And in Killer Workout, the reputation for murder makes the gym a target for vandals, one of whom spray paints "DEATH SPA" on the window... interesting...

 Up next is a blast from Horror Fest past with the return of Kingdom of the Spiders!



* Not since the Matango / See No Evil debacle at Horror Fest IV.

Summer Fest 7 Recap (Day Two Part One): Without Warning, Tremors, Deadly Eyes, and Blood Car

 We kicked off Day Two of Summer Fest 7 by watching Without Warning, which is Predator before Predator came out. I guess that's a SPOILER if you somehow found yourself watching Without Warning (or It Came Without Warning) and didn't see the cover art or read the back of the case. Or look slightly to the right of this paragraph. But since I'm SPOILING it anyway, it's a tall alien, also played by Kevin Peter Hall (Harry and the Hendersons) who hunts humans for sport, or food, or... something. He keeps them in the "Department of Water" shack out by the dam outside of, uh, *mumblemumbletown* and uses starfish-like projectiles to kill his prey. They attach to you and pump you full of yellow liquid that kill you, or something. Hard to say, because you can survive it if you cut one off quickly enough, as we learn not once but twice. As for how they operate, thing of a cross between a Nerf Disc Shooter, a Facehugger, and that yellow embalming fluid the Tall Man uses.

 Without Warning is mostly notable for the fact that it features "paycheck" performances from Martin Landau and Jack Palance, who are a long way from Mission: Impossible and Shane here, and would be another decade or so before they were picking up "you're still alive" Oscars for City Slickers and Ed Wood. Fortunately, both are playing different variations of gonzo in the film: Landau is a veteran of, uh, the Korean War, I guess. He says at some point he'd been in the military for 27 years, and this is 1982 we're talking about, so he'd be a little old to have gone crazy in Vietnam. But he's crazy, and he's already seen the alien, so nobody believes him. Also he later kills the Sherriff for no apparent reason and steals his car to prove the alien is real. Hey, I told you all SPOILER warnings were done with, here. He eventually blows up the alien in the shack.

 By comparison, Palance is just playing creepy as the hunter who owns the only gas station in town that our presumed protagonists are visiting (two of them are killed, leaving the "backup" couple to be our heroes, I guess, but they're so vanilla that you're happy to have Palance and Landau chewing the scenery). He's not afraid of the starfish weapons because he cuts them off with a knife (both times) and also keeps one in an empty jar he has on his desk. I'm not sure if it's creepier to imagine he just has an open jar of formaldehyde or that he puts the starfish in his moonshine. Either way, it gets loose and that is in no way brought up again. It's okay, because Palance is menacing and growly and Landau is near hysterical for most of Without Warning, which is pretty much what you'll need to get by.

 Without Warning adheres to what I'd call "The Boogens" rule of not showing the monster until the very end, not because it successfully builds tension, but because you'd never be able to watch the movie seriously if you saw it earlier. If we're simply ignoring the fact that the primary antagonist of Without Warning looks like every "alien" costume you've ever seen in Party City, you're still going to laugh at the fact that it appears to be wearing a combination of mesh and a fishing net. I guess most of the budget went to the starfish, because the alien has a very limited range of facial expressions (at times it looks like a leftover from a cheaper episode of The Outer Limits), and for most of its onscreen time, it stands next to the shed, doing nothing. However, the explosive finale made it clear to me that I had seen this movie a long time ago on television, probably without much context, because the image of the stationary alien next to the exploding shed is a familiar one. I really didn't recall Cameron Mitchell (Raw Force, Deadly Prey) being in the movie for, oh, five minutes, nor did I remember the dumb Boy Scout subplot that was vaguely reminiscent of Beware! The Blob, however...

 In the planning stages of Summer Fest 7, somebody asked me if Tremors had ever made it into the lineup before, and for some reason the answer was "no". I don't really know why, because it is a great fit for a Saturday afternoon - a leisurely, funny movie about giant worms in the desert that wreak havoc on a small town. The kind of movie they don't really make anymore - unless, I guess, you count the three (soon to be four) Tremors sequels - one where the protagonists are a couple of knucklehead handymen (played by Fred Ward and Kevin Bacon). It's an amiable sort of film, the kind that plays for years and years on TNT or TBS, and at least two people at the Fest knew it so well they were quoting lines before they happened. To be honest, I don't think I had seen Tremors in years, but I remembered most of the beats of the story (such as they are), and was able to enjoy small surprises, like forgetting that Victor Wong (Egg Shen from Big Trouble in Little China) was the opportunistic owner of the only store in Perfection (Population: 14).

 Tremors is the kind of movie that's so much fun that you don't really notice how quickly everything happens. I mean, there are giant, blind, albino worms that somehow have "worm vision" - or at least, a camera angle devoted to showing us its ability to move through dirt - and we just take it an go with it. There's a seismologist, so good enough. Valentine (Bacon) and Earl (Ward) aren't especially good at doing anything (as is evidenced by the fact that Bacon is having a hell of a time hammering wire into a fence at the beginning of the film, but they're so fun to follow around that you don't much care. Almost all of the "killing people we don't know" is dispensed in the first thirty minutes. Other than Walter Chang (Wong) - SPOILER - that is. But it doesn't even matter, because then we get to spend some time with the Gummers - Heather (Reba McEntire) and Burt (Michael Gross, who has been in every sequel to date). They're gun loving nuts who manage to kill one of the Graboids (actually name) with the comically massive arsenal of weapons in their basement. But they listen to Val and Earl and leave their fortified home to hide on rocks in the middle of the desert, where they can go dynamite fishing. And then stampeding. It all works out in the end, practicality be damned. It doesn't really matter, as I said, because Tremors is so damn fun to watch.

 After Tremors, it only made sense to continue the "nature gone wild" trend with Deadly Eyes, which is one of the strangest movies you're likely to see. Not because you haven't seen dogs playing "giant" versions of rodents before (thanks, Killer Shrews), but because so much of the movie is obsessed with being a romantic comedy about a high school gym coach and an EPA inspector. In between seeing Dachshunds bounding around, pretending to be giant rats that eat Scatman Crothers (SPOILER), there's uncomfortable flirting between the coach and one of his students, the "meet cute" in the hospital where her son (a star basketball player) ends up after a rat bites his hand, and the "misunderstanding" about whether he's porking the cheerleader who wants to jump his bones. Oh, and he's divorced and has a young son who is in the living room while all of this is happening. It doesn't matter in the end because they're all eaten by rats, in one of the bleakest final shots this side of Frank Darabont's The Mist.

 Hey, I said "SPOILER"! But seriously, the focus in Deadly Eyes is all over the place, as the film tries to develop every character at the expense of the fact that there are giant rats in the New York City Subway (or is it Toronto?). Yes, they look suspiciously like happy Dachshunds with "rat" costumes, but why do I care about the scene where the cheerleader comes into the locker room and finds the coach just coming out of the shower and he nakedly discusses why they can't do anything? If I followed the film correctly, there's not really a reason the rats are growing to enormous size, because the rice they've been eating at the dock wasn't irradiated or anything - it was just not up to safety codes. I clearly missed the part about Scatman Crothers working for the EPA as a narc who takes jobs working for serial polluters, but again, it doesn't matter because the rats eat him. Like they eat everybody else. And they cut the power on the subway. How did they cut the power? Game over, man.

 And then there was Blood Car. I'm not sure what to say about Blood Car that hasn't already been said here and here, other than maybe to mention that there's a Last Tango in Paris reference that I'd somehow forgotten about. It's been a while since I watched Blood Car, which isn't okay, now that I think about it, but sometimes you get caught up with other movies, you know? Luckily for the Cap'n, less people in the room had seen it than I thought, which absolutely made up for that. I particularly liked the question "is he always this crazy or did something happen before I got here?" directed at the protagonist. It's also much funnier watching Blood Car since Veep has been on the air, because in a lot of odd ways, Anna Chlumsky's character lays the groundwork for her part in the show. Or maybe I'm projecting... yeah, that must be it.

 Okay, so it's time for The Trappening... and only I know what it is! Stay tuned, masochists!

"Where have you been, Cap'n?"

 Ah, yes. Apologies for the lack of reviews. It's not for lack of having seen anything, but mostly because Cap'n Howdy has been busy putting the final touches on Summer Fest 7. Around this time of year my schedule goes haywire, because the logistics of a fest, even eight years in, is time consuming. And this isn't even a large scale one: just our normal get-together weekend of B-Movies. That said, bringing back the "Field Trip" movie has turned out to be slightly more complicated than usual, in part because the film we're going to see performed so poorly last week that most theatres aren't interested in showing it this week. But it's worth it, my Fest-ers and vicarious Fest-readers.

 This year's Fest is broken up into three, loosely theme-based days:

 Friday: Unnecessary Sequels

 Saturday: A Taste for Flesh and Blood

 Sunday: Super Hero Origin Stories

 I believe that I've put together a good balance of schlock to entertain the Fest faithful. This year will include past favorites from the earliest Summer Fests, in large part because the audience has changed enough that some of them never made it to the first three years. There are also some other, heretofore, unseen films joining the lineup that I'm excited to show them. And, of course, there's the Trappening.

 This year's Trappening is something that I watched many times years and years ago, but has inexplicably never played at a Fest. Why? I'm not sure, because it absolutely fits in. Like the people coming to see it in person, it's going to remain a mystery until the moment it plays. Could it be Night of the Lepus? Death Bed: The Bed That Eats? Big Money Rustlas? Titanic: The Legend Goes On..? Only I know for sure...

 Here's the schedule as planned - feel free to watch along at home if you like:

Friday
  
Terminator Genisys (Summer Fest Field Trip Movie)
 Kung Fury
 Revenge of the Ninja
 Traxx
 Shark Attack 3: Megalodon

 Saturday

 Without Warning
 Tremors
 Deadly Eyes
 Blood Car
 Zombeavers
 TRAPPENING
 A Vampire on Bikini Beach (USA Up All Night Experience)

 Sunday

 She Devil
 Teeth
 Super
 Lucy







Recap to come in the following week. In the meantime, the madness begins soon...

Summer Fest Recap: Day Three

 Summer Fest 6 has come to a close! It was a fun ride while it lasted, but now boring things like work have to come back and assert themselves. Still, it was nice to spend the weekend in a hermetically sealed dome of B-Movies with willing victims participants. Despite a brief technical hiccup that cut our list of movies from four to three, I'd say things closed out with a bang. Let's take a look, shall we?

 From Hell It Came!

 Year of Production: 1957

 What's the Haps, Cap?: On a tropical island somewhere in the Pacific, science collides with tribal practices (badly), and it's going to cost Kimo (Gregg Palmer) his life. When the American physicians fail to save the tribe's Chief, Kimo's father, from infection, witch doctor Tano (Robert Swann) and new Chief Maranka (Baynes Barron) seize the opportunity to accuse Kimo of betraying his people and sentence him to death. With his wife, Korey (Suzanne Ridgeway), conspiring with Tano and Maranka, Kimo has no hope and vows to avenge this injustice from the grave. He will become Tabonga, the resurrected spirit of vengeance!

 Who's the Hero: I guess it would be the American scientists, although they really make things worse, if you ask me. Not by failing to convince the tribe to let them help with inoculations, but by removing Tabonga from Kimo's grave, nursing it back to health, and shooting it with an experimental drug that makes it stronger! Oh, I suppose I should introduce these geniuses of "science": there's Doctor William Arnold (Tod Andrews), Professor Clark (John McNamara), and Eddie (Mark Sheeler), an Army Sergeant who helps with the radio and protection. Eventually Doctor Terry Mason (Tina Carver) arrives, but don't think you're going to get some impressive show of gender equality here. This is the 1950s, and Dr. Mason is strictly in the movie so that William can try to woo her away from her life of science and instead marry him and move back to the states. Tellingly, Mason is the one who foolishly helps nurse Tabonga back to life after they accidentally kill it, and is (SPOILER) inexplicably also dragged away near the end of the film. That'll teach you to be interested in work instead of housewife-ry, young woman!

 Hold On, Tree Monster?: Yep. The primary appeal of From Hell It Came is that the monster is a dude in a tree outfit. It has a face kind of like the trees in The Wizard of Oz, but with all the mobility of, well, a tree. The legs kind of work, but whoever made the suit didn't bother to put in arms that function above the elbows, so Tabonga comically grasps at anything and barely manages to make contact. Because of the limited visibility in the suit, Tabonga is constantly hitting branches with its head, and when it isn't shaking people to death, it casually drops them in quicksand.

 Bad Science: Not satisfied with Tabonga just being a native superstition / supernatural form of vengeance, our "scientists" surmise that its existence could be a side effect of atomic bomb testing (like in Attack of the Crab Monsters). Sure enough, when they put the ridiculously over-sized tree monster on the operating table, his blood is "highly radioactive," and yet they make no effort to avoid direct contact. Mason's experimental serum has never been tested on anything larger than small animals, but she's wanted to "try it on a human," so a tree monster is basically the same, right?

 Other Bad Ideas: Other than the tree monster? Well, most of the "tribe" is comprised of white actors pretending not to be. The Witch Doctor's Brooklyn accent is hard to miss, but then again his ability to throw a spear at Tabonga should also be hard to miss, but he's off by a mile. There's the persistent casual sexism, which is almost as bad as Dr. Chet Walker's ass slap in Creature with the Atom Brain. Almost everything that happens in From Hell It Came seems like a bad idea.

 Recurring Summer Fest Themes: Geiger Counter, Casual Sexism, Tropical Setting, Questionable Science, Monsters That Hate Radios, Movies Made in the Same Year.

 Final Prognosis: From Hell It Came is the sort of movie that makes it clear from moment one that you're in for a half baked movie. It's goofy, filled with inconsistent logic, and has one of the goofiest monsters you're going to see. If you don't mind the sometimes astonishing level of patronizing sexism on display, it can be an enjoyable romp as a B-movie.


 Zaat!

 Year of Production: 1971

 What's the Haps, Cap?: Mad Scientist Dr. Leopold (Marshall Grauer) is planning on taking over the world by transforming all living creatures into Catfish, starting with himself. Who will stop him? Will he find a Bride of Catfish Man? Will he at least stop wandering around and do something? Will anybody stop wandering around and do something? Will you watch this movie in the non-MST3k version (The Blood Waters of Dr. Z)? Should you?

 Who's the Hero: We spend the first, oh, thirty minutes with Dr. Leopold as he walks around - the beach, his lab, some buildings outside of his lab - and then he turns into Catfish Man, and we follow him some more. But he IS the villain, so I guess our heroes are supposed to be Sherriff Lou Krantz (Paul Galloway) and the INPIT Team of Martha Walsh (Sanna Ringhaver) and Walker Stevens (Dave Dickerson). Those are probably not porn names, if you ask me, but I might be wrong. Anyway, I prefer to think of our hero as Rex (Gerald Cruse), who is a marine biologist inexplicably working for the BFE, FL police department. The Sheriff is perfectly content to sit on the job, and the INPIT investigators don't show up until an hour or so in. Of course, we don't actually know Rex's name until the INPIT team gets there, or maybe I didn't hear the Sheriff say it. He's the only person making a concerted effort to put the pieces together about the mysterious murders and appearances of Catfish all over town.

 Bad Science: Oh goodness, where to start... I'm still not sure exactly how Dr. Leopold's serum turned him into a Catfish Man, and why he can turn anything else into a Catfish by using a spray bottle(!). But that happens. Only his attempt to turn "Girl Camper" (Nancy Lien) into his first bride fails miserably. Everything else seems to go according to his very clearly written out circular calendar. But moving away from that, I'd like to point out that at the end of the film, when apparently the serum involves some radiation, Walker Stevens holds a Geiger Counter out like a metal detector into the air, assuming that will lead him to the source. And then he gets it wet, and is bitten by a water moccasin, but continues walking. I'm positive that in one shot he was right in from of Dr. Leopold / Catfish Man, but then he just keeps going. Oh, and the title refers to elements Za and At, which are the catalysts for Leopold's stupid transformation.

 Other Bad Ideas: Never hire a secretary as your lead female protagonist, unless you really want to show off her shorthand note taking. It's better than her line delivery, for sure. Generally speaking, don't have everybody just wander around for the entire movie, often with interior monologues that would make HAL 9000 sound thrilling by comparison. Never have chase scenes where nobody bothers running, ever. Seriously, this makes the car chase in Mitchell look like Bullitt. I'm pretty sure the drugstore that Catfish Man breaks into was deserted, but whatever works for you. And then there are the hippies and casual racism in 1970s Florida, which leads me to...

 What the Hell Did I Just See / Hear?: Let's cover the hippies first. So the Sheriff has locked down town, declared Marshall Law, etc. He gets wind that some hippies are having a stupid hippie jam session and goes to clear it out, but when he gets there, the stupid song about Jesus wins him over. He taps along in what's clearly a different location while the hippies sing and have a flute solo, and then the merry gang marches back to the police station, still singing, and the Sheriff locks them up, "for your own safety." And they let him do it! But that's not the strangest moment in Zaat. There are plenty of strange moments, but the one that stands out for me is what has to be an unscripted bit of dialogue caught on film where a citizen refers to the Sheriff as a "n****r lover". Oh, did I not mention that Rex was black? The only black character in the entire movie? Well, he is, and nobody in the movie seemed to car at all except for this one guy. If that's unscripted, it's bad, but if, by some chance, somebody wrote that? Wow. I mean, just, wow.

 Recurring Summer Fest Themes: Evil Scientists, German Doctors, Geiger Counter, Questionable Science, Boring Main Characters,

 Final Prognosis: Zaat! is a very leisurely movie to be so liberal with its exclamation points. I'd be hard pressed to call anything in this movie "exciting" or even "slumber rousing," although more people made it through this than Destroyer. If you can get past the beginning, where Dr. Leopold is meandering around his lab, beyond the interminable voice-overs, the transformation is pretty funny, and the spray bottle is really funny. Then it kind of gets boring again, but the casual racism in INPIT help mitigate that. The climax of the film takes 20 minutes, and most of that is people walking through a swamp. I'm really not sure how Dave Dickerson didn't end up being bit by that water moccasin. The ending is surprisingly dark, but by the time you get there it's more of a "what?" reaction than anything else. Oh well, the hippies seemed to be okay with being arrested. Good job, hippies.


 Sleepaway Camp

 Year of Production: 1983

 What's the Haps, Cap?: Angela (Felissa Rose) has been living with her aunt Martha (Desiree Gould) and cousin Ricky (Jonathan Tiersten) after her father and brother were killed in a boating accident. Aunt Martha is insisting that both cousins attend Camp Arawak this summer, and despite her obvious misgivings, the mostly silent and totally withdrawn Angela goes along. Camp Arawak is, it turns out, a melting pot of perverts, bullies, and sleazeballs, and as Angela navigates the hierarchy of summer camp, someone is killing the people who wrong her, one by one...

 Who's the Hero: It's kind of hard to call Angela the "hero" of Sleepaway Camp: she's catatonic for the first half of the film, and only speaks when Paul (Christopher Collet) shows interest in her. Ricky is kind of our dual-protagonist, and other than them, camp counselors Ronnie (Paul DeAngelo) and Gene (Frank Trent Saladino) are the only non-sleazebag characters. Everybody else, from scumbag owner Mel (Mike Kellin), child molesting cook Artie (Owen Hughes), and tag team "Queen B's" Judy (Karen Fields) and Meg (Katherine Kamhi) have "kill me" signs hanging from their necks. And boy, oh boy, do they get theirs.

 Bad Science: I'm pretty sure that, even if you were seriously allergic to bees, what happens in that bathroom stall could never actually happen to someone. I'm not going to weigh in on the hair curler kill - if that's enough to (SPOILER) kill Judy, then fair enough. Also, while I'm not going to spoil the ending, I'm just going to point out that, like everybody else, Angela is wearing short shorts throughout the movie. If you know how it ends, you know what that means.

 Other Bad Ideas: While watching Sleepaway Camp again, I forgot that most of the people in this movie are roughly the age they're playing, which makes it all the creepier that we're watching 13-16 year olds in various states of undress. To be fair, most of the skin in Sleepaway Camp comes from the older (male) campers, who were probably 18, but it's hard not to feel a little uncomfortable watching the movie. Remember as well that the final scene (again, not SPOILING here) involves 14 year old Angela. 14. That some "To Catch a Predator" shit right there. As to actual, in movie, bad ideas, let's just say that Aunt Martha takes the cake and leave it at that. Her "plan" might be the worst idea in the many Bad Ideas of Summer Fest. I suppose you could argue that making a slasher movie that's mostly just about summer camp is questionable, but it works in its own way. But killing the little kids? (SPOILER) Not cool, Robert Hiltzik. Not cool.

 Recurring Summer Fest Themes: Gratudity, Vehicular Chicanery, Flashbacks, Space Cockroaches (nah, just kidding - there weren't many recurring themes this time around).

 Final Prognosis: Speaking as a fan of Sleepaway Camp, there's no arguing that the ending is the only reason horror fans remember this film at all. It's kind of like Meatballs with random murders interspersed throughout, which isn't always a bad thing, but you're definitely better going with The Burning for summer camp slashers. I mean, we did at Summer Fest III. Sleepaway Camp has a decidedly off-kilter tone, which keeps it strange enough to get you through the softball scene and the capture the flag scene. Everything with Aunt Martha is so bizarre that it skates right up to the edge of "camp" (no pun intended). In retrospect, it's easy to forget that this movie is about really young teens and pre-teens, which makes things more disturbing. Why would Meg have the hots for Mel, who is easily three times her age (at least)?  Still, it's miles better than Sleepaway Camp 2 and 3, which are better as slasher movies but not really anything else. Not offense to Hiltzik, but I'm going to refrain from mentioning Return to Sleepaway Camp. The only reason I haven't SPOILED Sleepaway Camp as I do so frequently with other movies is that if you're going to see it, it's better not to be prepared for the last scene. I'm just saying, is all.

 Overall, I'm going to give Summer Fest 6 a "Pass" in the "Pass / Fail" grading system implemented by Cap'n Howdy. There were low points, and there were high points. Fortunately, the high points outweighed the lows, or most people slept through the real stinkers. Please don't ask me what Cranpire was thinking during Hello, Mary Lou: Prom Night II, or why he insisted I include that tidbit in the review. You'd have to ask him, and I bet he's already forgotten.

 I'll see you all in October for Horror Fest IX: Howdy Goes To Hell!

Summer Fest Recap: Day Two (Part Two)

 So it's late, and everybody's heading out in order to crash. Some of them didn't make it through the last movie of the night, and that's probably for the best. I'll give you as good a recap as I can using the not-at-all patented "breakdown" list format, and then I'm going to pass out. There's still a Summer Fest Sunday to do...

 Deadly Prey

 Year of Production: 1987

 What's the Haps, Cap?: Col. John Hogan (David Campbell) has gone rogue, and is training a hand-picked group of elite soldiers to serve as mercenaries for hire. Hogan doesn't believe in "practice" drills, so he kidnaps people off of the street and brings them to his base (75 miles south of Los Angeles) for a "most dangerous game" scenario. His financier, Michaelson (Troy Donahue) doesn't approve, but Hogan believes only the best will do. When he's unsatisfied with the latest "target," he sends his right hand man, Lt. Thornton (Fritz Matthews) to find someone who might be a real challenge. Little do Hogan and Thornton know they've found more than a formidable target... they brought back the Deadly Prey!

 Who's the Hero: That would be Mike Danton (Ted Prior), who is taking the garbage out when Thornton and some goons pull up in an unmarked van, grab him, and drive away. Danton isn't just some dude taking out the trash, though - he's a one man army. It doesn't take Mike long to make mince meat out of the soldiers hunting him, and when Hogan realizes who they took, things get personal. Danton was Hogan's protégé back in "the war," and the Colonel will do anything necessary to keep our hero from ruining his operation.

 Bad Science: Apparently, you can trigger C4 using nothing but a tripwire. No explosives needed, if I understand the trap than Danton sets up late in the film. Other than that, it's just a series of somewhat questionable physics involving his other traps, including ones he sets and then doesn't use until much, much later in the film.

 Other Bad Ideas: Don't kidnap a guy in front of his house in broad daylight, and especially not Mike Danton. If you're going to have "hillbillies" in your movie, it might help if they sounded like hillbillies, even if it is California. Train your soldiers how to shoot before you send them out hunting, because these guys couldn't hit the broad side of a barn. It's embarrassing. Speaking of embarrassing, Ted Prior may have some of the worst line delivery this side of Samurai Cop's Matt Hannon. His "kill one-liners" consist of "die!" and... uh, "die!" I gather that he's the star because his brother, director David A. Prior (Killer Workout) wanted to showcase his, uh, skills (that or his ability to run around the woods barefoot and in short shorts), but yeah, not the best showcase for him. (A cursory check on IMDB informs me that Ted Prior was also in Killer Workout, Surf Nazis Must Die, and Sledgehammer prior to Deadly Prey).

 Previous Summer Fest Connection: As you may have noticed just above, David A. Prior and Ted Prior were involved in Summer Fest 5's Killer Workout, and so was Fritz Matthews. A different David Campbell appears to be in respective films - maybe Prior had a fondness for the name. Somewhat surprisingly, neither Troy Donahue (Michaelson) nor Cameron Mitchell (Danton's father-in-law) have been in movies shown at previous fests, despite their prolific filmographies dating back to the 1950s. However, reading their IMDB pages, I now have some good ideas for next year...

 Best Nickname for a Character in Deadly Prey: goes to Fritz Weaver, who looks like he was hired because of his resemblance to a certain WWF super star. Accordingly, he got the nickname "Mildly Marty Pepper" early on. The name stuck.

 Recurring Summer Fest Themes: Films Released in the Same Year, Explosions in Close Proximity to Actors, Vehicular Chicanery, Gratudity (just Danton, really).

 Final Prognosis: I can't hate a movie too much when the protagonist cuts a dude's arm off and then beats him to death with it. There are so many improbably stupid things that happen, including Danton walking(?) home and then coming back, setting up traps that would only come in handy in very specific circumstances, or not using a gun until the end of the movie. At one point he seeks cover from gunfire behind a tree he's clearly wider than. Troy Donahue's acting had us convinced he was just a producer that wanted a part in the film. I haven't even mentioned Dantons wife, Jaimy (Suzzane Tara), because if there's anybody who really gets a raw deal in this movie, it's her. Even Sybill (Dawn Abraham), Hogan's other sidekick, has more to do in the movie than Jaimy does. Deadly Prey isn't by any means an action classic, but it's a lot of fun.


 Savage Beach

 Year of Production: 1989

 What's the Haps, Cap?: Well, let's see... our favorite secret agents / tour guides / pilots / couriers / Playboy Bunnies Donna (Dona Speir) and Taryn (Hope Marie Carlton) are back after having adventures in Hard Ticket to Hawaii and Picasso Trigger. They're sent to check up on some shenanigans involving the military, a potential coup in the Phillippines, and Japanese gold that went missing during World War II. There's espionage, backstabbing, and a missing soldier who has been living alone for forty years... on SAVAGE BEACH!!!!

 Who's the Hero: Donna and Taryn are presumably our protagonists, but in typical Andy Sidaris (Return to Savage Beach) fashion, the plot is twisted in more ways than a pretzel, so we spend most of the middle of the movie away from them. That turns out to be fine, because despite the size of Hawaii's islands (where the film takes place), it takes Donna and Taryn two days to fly - and crash land - on Savage Beach. That's plenty of time to meet the military personnel who are infiltrated by the CIA and want to help a Leftist rebel (Rodrigo Obregon) take over the government of the Phillippines, but not before he hooks up with porn star Teri Weigel. Twice - once in his hotel room and then again in his limo. Also, there's the rest of Donna and Taryn's team, whose names I've honestly forgotten: let's guess they're Rocky (Lisa London) and Pattycakes (Patty Duffek), and uh, the guy who runs it (either Bruce Christian or Shane Abeline). Names aren't something you really remember while watching Andy Sidaris films, despite his love for overcomplicated tales of espionage. I haven't even mentioned go-to Asian Bad Guy Sidekick Al Leong (Die Hard, Lethal Weapon) who has a semi-major role as another interested party in the missing gold.

 Bad Science: Science doesn't really factor into Andy Sidaris films. If you wanted to pick nits, there's no way a single engine plane could make it for two days straight of flying, especially when the engine catches on fire in a storm. At least, I think that's what happened. I don't exactly remember, but I also think they weren't using the metal detector correctly. A 5 1/2 floppy drive couldn't hold the kind of software that Computer Control Corporation needs to locate the island where the gold is, but maybe the disc just had the coordinates?

 Other Bad Ideas: It would be very, very easy to criticize this movie for its many digressions and unnecessarily complicated story (did I mention there's a flashback in the middle of the movie?), but that's kind of why you watch Andy Sidaris movies. That, and the excessive, comical overuse of gratuitous nudity. Why do Donna and Taryn need to take off their shirts while flying and put on new ones? Because boobs. Why are Pattycakes and Rocky sleeping next to the hot tub? So they can take their tops off and change clothes when the boss calls. Obviously. The only thing that Sidaris likes more than mammaries are explosions, of which there are plenty. He stages an opening sequence where the girls bust a drug smuggling operation (heroin hidden in pineapples) just so the bad guys can drive off in a van that blows up. If you like explosions and boobs, then you saw Andy Sidaris movies on Cinemax when you were in middle school. As an adult, it's almost absurd how flimsy the excuses are to get any actress topless. Almost as absurd as how seriously the plot takes itself for a glorified T&A movie.

 Wait, Didn't You Mention a Japanese Soldier on Savage Beach?: I did. Thanks for remembering. He's wearing terrible "old age" makeup and follows Donna and Taryn around on the island, which is where everybody converges for the big finale. He becomes protective of Taryn, apparently because he recognizes her as the child in a photo he's been carrying since World War II. From the American soldier he dishonorably killed. But kept the photo. His fellow soldiers committed hara kiri and walked into the ocean, respectively. But not him. He kept a photo. A color photo. From World War II. Because, boobs. Obviously.

 Recurring Summer Fest Themes: Gratudity, Explosions in Close Proximity to Actors, Vehicular Chicanery, Tropical Setting, Flashbacks.

 Final Prognosis: The most fun to be had watching an Andy Sidaris film as an adult is to see it with women, who are often baffled that his films even exist. Their commentary on the film was almost as funny as seeing the myriad of lame excuses to disrobe, or comparably dumb excuses to blow things up. I'm not saying Sidaris is a one-trick pony (more like two), but he always finds new and stupid ways to use those tricks when there's no logical reason to. I also wasn't aware that there were more Donna and Taryn adventures, so after Hard Ticket to Hawaii, it seemed necessary to continue their story. I guess we'll have to watch Picasso Trigger at next year's Bad Movie Night, because Return to Savage Beach is less plot and more or less just softcore porn. That's not what we're looking for - it's early Sidaris or bust. Pun intended.


 Godzilla on Monster Island

 Year of Production: 1972

 What's the Haps, Cap?: I already reviewed this movie. Not that long ago. You can read it here, as it's pretty amusing, if I say so myself (and I do.

 Who's the Hero: See above link.

 Bad Science: Space Cockroaches. 'Nuff Said.

 Other Bad Ideas: Again, Space Cockroaches. Need I say more?

 Recurring Summer Fest Themes: Space Cockroaches.

 Final Prognosis: I'm really at a loss as to why Space Cockroaches isn't enough to explain why Godzilla on Monster Island was a "no-brainer" inclusion into Summer Fest.


 Super Secret Trappening - Ninja III: The Domination

 Year of Production: 1984

 What's the Haps, Cap?: Similarly to Godzilla on Monster Island, Ninja III: The Domination has been covered before (it was the showcase feature of last year's Summer Fest), so I will accordingly link it here.

 Who's the Hero: In case you didn't click the link (and you should), I'll just say that Christie (Lucinda Dickie), is both an aerobics instructor AND a Lineman (Linewoman?). And a possessed ninja. Her creepo cop boyfriend / back hair aficionado Billy (Jordan Bennett) also counts, I guess, since Christie is technically also the villain. Plus Sho Kosugi (Himself) is a good ninja, because only a ninja can stop a ninja. Something like that.

 Bad Science: We're talking about a movie where an arcade game called Bouncer that looks exactly like Diner Dash uses lasers to hypnotize Christie so a floating sword can come out of her closet. I don't think "science" really factors in here.

 Other Bad Ideas: Worst use of V8 ever. Or is it best? Also, back and shoulder hair dude - keep that shirt on. Seriously, it's disgusting. You're already questionable enough not helping Christie fight off rapists and then arresting her just to get a date out of the deal. Get that shit waxed, or never take your shirt off. Ever.

 Recurring Summer Fest Themes: Southwestern Locations, Ninja, Attempted Exorcism, Using the Dead for Nefarious Purposes, Surprisingly Violent.

 Final Prognosis: People were really worried about this year's Trappening. It's understandable, because of what a "Trappening" is, but also because they know I have Things up my sleeve. Nobody wants to watch Things again. Barrett argued he'd rather watch Things for the first time than see The Happening again, and wouldn't believe the assurances of everyone who had seen Things that he would, in fact, not. One person even put his shoes on when I suggested it might be Things, but this was a "nice" Trappening. I'm not always a sadist. Sometimes that just ends up being the next movie, which brings us to...


 Destroyer

 Year of Production: 1988

 What's the Haps, Cap?: After the execution of Ivan Moser (Lyle Alzado) goes awry, a prison riot breaks out, a fire starts, and the whole institution is shut down. Moser goes missing, and the prison is gutted. 18 months later, an exploitation film crew sets up shop in the facility to film a "women in prison" cheapie, but someone... or some thing, is taking them out, one by one. Can the film's writer and stuntwoman solve the mystery before the killer claims them?

 Who's the Hero: That'd be the aforementioned writer, David Harris (Clayton Rohner) and stuntwoman, Susan Malone (Deborah Foreman), who are on the periphery of the production. In addition to putting up with a frustrated director (Anthony Hopkins) and a temperamental "star" (Lannie Garrett), they have to contend with a recently renovated electric chair - courtesy of FX man "Rewire" (Jim Turner). And, Susan has a mystery admirer, quite possibly the same person mutilating the cast, crew, and former Warden (Pat Mahoney). Will they figure out if Moser is alive? Or how he survived if he is? Will I even care by the time they do?

 Anthony Perkins? Not that Anthony Perkins: Oh yes, that one. It's one of his last roles, and not a great one to go out on. Not only is Perkins phoning it in as the director of the film within a film, he's not sitting in the electric chair when Susan tries to save him. The guy doesn't even look like Perkins. Don't come in thinking he'll save the movie for you - that'd be a Norman Bates and Switch (zing!).

 Bad Science: It's pretty clear nobody involved in Destroyer had the slightest idea how an electric chair works. When Shocker does a better job, you know you're in trouble. Beyond that, the power situation in the prison has some pretty questionable rules, and I'm not even sure where the underground parking garage is supposed to lead. Other than that, I guess we can chalk most of it up to "slasher movie tropes."

 Other Bad Ideas: Let's start with "filming in a prison with a botched execution where the body was never recovered." We can end there, too.

 Recurring Summer Fest Themes: Explosions in Close Proximity to Actors, Gratudity, Movies Made in the Same Year, Fake Out Dream Sequences.

 Final Prognosis: I was really excited to see Destroyer, based on its awesome poster and trailer. It seemed like an even sleazier version of Shocker or The Horror Show, but instead it's just crap. Ivan Moser's "one liners" are mostly limited to "Bitch!" and he can't even pull off the Maniac Cop knock-off scenes late in the film. The "twist" is pretty lame (SPOILER the janitor is his dad and hid him in the basement) and anybody that hadn't left before the movie was over was asleep halfway in. I got so bored that I started cleaning. It's not totally unwatchable like, say, Suburban Sasquatch, but Destroyer comes pretty close. Fortunately, almost everybody split after Ninja III: The Domination, so nobody had to know that Day Two ended with an unwelcome stinker. I had such high hopes, too...


 Ah well, tomorrow is another day. Well, technically, it's just later today. I need to sleep. Like now. See you in a few hours...

Summer Fest Recap: Day Two (Part One)

 We're heading into the second stretch of Summer Fest movies for Saturday, but before that happens, let me catch you up on what we've been enjoying (or, enduring) so far...

 Attack of the Crab Monsters

 Year of Production: 1957

 What's the Haps, Cap?: Scientists land on a remote island in the Pacific, where they predecessors mysteriously vanished. In fact, there's nothing on the island other than seagulls and crabs. Almost immediately after setting ashore, the Navy plane that transported them explodes during takeoff and they find the radio isn't functional. Oh, and something in the water decapitated a seaman with almost no effort. They'd better find out what happened before the constant earthquakes reduce the island to nothing... and that's the least of their concerns.

 Who's the Hero?: Well, everybody takes turns being incompetent or simply not interested in the bizarre circumstances surrounding them, but the last three alive are Hank Chapman (Russell Johnson), Dale Drewer (Richard Garland), and Martha Hunter (Pamela Duncan). They represent the "radio engineer" and "biologist" divisions, respectively. There's also the botanist, Jules Devereaux (Mel Welles), the nuclear expert, Dr. Karl Weigand (Leslie Bradley), and Dr. James Carson, who, uh... I don't remember. I think he's the one with the severely cleft chin. It doesn't much matter, because director Roger Corman is moving at such a breakneck pace that only the audience seems to know what's supposed to be happening on-screen. The characters sure don't seem to care: Weigand tells the others that he has a theory but doesn't want to tell them "right now."

 Oh, there are also a couple of other seamen who are in charge of the dynamite and grenades:  Ron Fellows (Beach Dickerson)  and Jack Sommers (Tony Miller). One of them embodies the stereotypes about men "in the Navy," although nothing is ever mentioned about it. I guess that would fall under the "surprisingly progressive" category, if Attack of the Crab Monsters had anything to be surprisingly progressive about otherwise.

 Bad Science: Where to start? Well, it is suggested the titular monsters have inherited the ability to become mercurial in composition, and thusly can't be harmed by conventional weapons (unless it's convenient for Corman). They also consume their victims and absorb their memories, which allows them to communicate via radio signal into anything metal. This is how they draw the otherwise sensible scientists to their doom (when they aren't doing that themselves). They hate electricity for some reason - the explanation is a doozy - and there's lots of mumbo jumbo explanations for how any of this could happen. Most of it is tied to the fact that the island is south of Bikini Atoll, and that the nuclear fallout caused the crabs to "evolve."

 Other Bad Ideas: Generally speaking, if you tell your fellow scientists not to climb the rope DOWN into a hole created by earthquakes, you shouldn't ask them to climb UP the same rope ten minutes later. Maybe that's just me. Also listening to the disembodied voices of your colleagues who only contact you in the middle of the night and want you to go to the caves is not smart. And this is after they know that the crabs are in the cave. Corman is known for shooting fast and loose, so it's almost pointless to continue listing decisions that are in direct contradiction to characters just saw / experienced. Instead I'll point out that Attack of the Crab Monsters has some very good gore for 1957 - the first death is by decapitation, and later the botanist (with his outrageous French accent) loses a hand - all on camera.

 Recurring Summer Fest Themes: Geiger Counter, Monsters That Hate Radios, Questionable Science, Using the Dead for Nefarious Purposes, German Doctors, Crab-related Chicanery, Surprisingly Violent.

 Final Prognosis: Sure, it would be very easy to pick apart the many things about Attack of the Crab Monsters that don't make sense. The lazy screenwriting, the lapses in judgment by just about everybody, or the crab monsters, but the movie is so much fun you don't really mind. Even as a young filmmaker, Roger Corman knew how to deliver the thrills with a good gimmick, even if it didn't make a lick of sense. The kills are pretty violent and the ending is pretty dour. What's not to enjoy?


 Hello Mary Lou: Prom Night II

 Year of Production: 1987

 What's the Haps, Cap?: Mary Lou Maloney (Lisa Schrage) is a wild child, even for 1957: on Prom night, she drops by the church for "confession," and prepares for her inevitable crowning of "Prom Queen." When her boyfriend, Billy (Steve Atkinson) finds Mary Lou making out with Buddy Cooper (Robert Lewis), he takes his revenge by ruining her crowning. Unfortunately, his stink bomb sets her on fire, and Mary Lou is never crowned. But that's not going to stop Mary Lou from finding a way to come back and take revenge...

 Who's the Hero?: Unfortunately, it's not Mary Lou. Nope, it's Vicki Carpenter (Wendy Lyon), who may go down in film history as the most boring protagonist in horror films. During the film, one Summer Fest attendee asked "why did they put a blank sheet of paper on the screen" during a close up of Vicki. She's so boring that even when (SPOILER) Vicki opens the "trunk of exposition" and is possessed by Mary Lou that you can barely tell the difference in the character. There's only one reason I can think of that the producers and director went with Lyon, and I can boil it down to three words: full frontal nudity. I suppose that Michael Ironside as the adult Bill might also qualify - it does, at least, explain why a high school senior has such pronounced balding patterns.

 Bad Science: Not really that much. Maybe when Josh (Brock Simpson, who is somehow in all four Prom Night movies) is killed by electricity coming out of the monitor of his computer. It's hard to say, because Mary Lou is using her evil powers to punish him for changing the votes. Mostly, Hello, Mary Lou: Prom Night II doesn't bother with "science."

 Other Bad Ideas: Trying to make a sequel to Prom Night that has nothing to do with the movie Prom Night is probably the one I should mention first. Hello, Mary Lou is more of a rip-off of Carrie, but with strong, persistent references to the Nightmare on Elm Street films (of which Part 3 would be coming out roughly around the same time), but other than including Brock Simpson, there's nothing beyond the title to suggest it's related to Prom Night. I hate to continually pick on Wendy Lyon, but she has such a lack of presence that it's actually a relief when Mary Lou bursts through her body (shades of Nightmare on Elm Street 2) and takes over for the end of the movie. The shower scene where Vicki prances around naked makes Gratudity seem tame by comparison, but it doesn't make Vicki any more interesting. Also, technically speaking, it rips off the end of Scanners by way of the ending of A Nightmare on Elm Street.

 Unusually Progressive Moment: An integrated prom in 1957. I'll chalk this up to the film being made in Canada, but I'm guessing it's supposed to be somewhere in middle America, so that was notable. Also, Mary Lou apparently swings both ways, if the school shower sequence is any indication.

 Something Cranpire Asked Me to Tell You: He wants you to know that, following the surprising inclusion of an integrated prom in the 1950s, he decided to count all of the "black people" in Hello, Mary Lou. There were 26.

 Recurring Summer Fest Themes: Religious Imagery, Gratudity, Vehicular Chicanery, Flashbacks, Killing the Most Interesting Character Off Too Early, Boring Main Character, Psychic Powers, Fake Out Dream Sequences, Attempted Exorcism.

 Final Prognosis: There are a lot of great kills in Hello, Mary Lou: Prom Night II, including a fake-out, Final Destination-esque murder of Vicki's friend Jess (Beth Gondek), moments after we find out she's pregnant. The aforementioned naked Mary Lou crushes a girl with her locker, which is a nice way to close out that scene. There are some good visual effects, but wow is Vicki a walking piece of toast. It's hard to recommend this movie, even as silly and campy as it can be, because you have to spend most of it with a protagonist that sucks the life out of every scene she's in. Approach with caution - the 80s cheese is frequently off-set by Vicki.


 Suburban Sasquatch

 Year of Production: 2004

 What's the Haps, Cap?: A sasquatch is roaming around the woods outside of a suburb, killing people because that's what they do. A reporter teams up with a Native American warrior to stop him. Arms are torn asunder. Bad acting prevails.

 Who's the Hero?: I guess the reporter and the warrior. We gave up on the plot after about 13 minutes.

 Bad Science: Probably? Again, after 10 minutes of excruciating amateur acting, we skipped around to the sasquatch kills and then moved to the next movie.

 Other Bad Ideas: Making this movie.

 Recurring Summer Fest Themes: Surprisingly Violent, Choosing a Movie Nobody Wanted to Finish.

 Final Prognosis: Look, I wanted to give Suburban Sasquatch the benefit of the doubt and watch the whole thing. Summer Fest has long been home to the no-budget, backyard splatter films. Sometimes you get an instant classic like Blood Car. Sometimes you get a more ambitious, but less successful, good try like Rise of the Animals. And sometimes you get Suburban Sasquatch, that tries to cram long dialogue scenes in with people who can't act. That conversation in the "newspaper office" that goes on forever was the straw that broke the camel's back. The "sasquatch" (guy in the ape costume) and the extremely violent kills very funny. The awful "day for night" at the beginning was pretty funny. But it wasn't enough to keep us from getting bored very quickly, so Suburban Sasquatch joins ThanksKilling 3 in the "Fest Killer" pile.


 Creepshow 2

 Year of Production: 1987

 What's the Haps, Cap?: The sequel to George Romero and Stephen King's Creepshow tells three tales - "Old Chief Wood'nhead," about a Native American statue that avenges the death of his owners, "The Raft," which follows four college students who go swimming in the wrong lake, and "The Hitchhiker," about a woman who can't seem to shake a pesky hitchhiker, even after she accidentally kills him.

 Who's the Hero?: I guess Billy (Domenick John) from the live action / animated prologue, who reads Creepshow, and maybe The Creep  (Tom Savini, and voice of Joe Silver), who provides us with Tales from the Crypt-esque transitions between stories.

 Bad Science: There's no way a car would run after the abuse Annie (Lois Chiles) puts it through in "The Hitchhiker." Also, if you drove 50 miles to the abandoned lake and left your car running with the doors open and music blaring, there's no way it would still be on the next morning.

 Other Bad Ideas: Making a sequel to Creepshow where Stephen King is minimally involved and George Romero isn't directing. Oh, and story-wise, spending the first twenty minutes of the film setting up the characters of Ray and Martha Spruce (George Kennedy and Dorothy Lamour) in "Old Chief Wood'nhead" and then killing off the villains in a five minute montage to close out the segment. It really stops Creepshow 2 dead in its tracks before it has time to get going. The other two segments aren't that bad, but the first one takes forever to go anywhere and then skips right through the best part. Story-wise, almost everything everybody does is a bad decision - why try to swim back to the shore farthest away from you when there's a much closer option that also has a path leading away from it? Why drive your car into the woods twice to shake an undead hitchhiker? How did you get to the raft without getting that joint wet?

 Recurring Summer Fest Themes: Gratudity, Movies Made in the Same Year, Vehicular Chicanery, Southwestern Locations, Surprisingly Violent, Using the Dead for Nefarious Purposes.

 Final Prognosis: There's a reason that most people don't talk about Creepshow 2: it just isn't very good. Cranpire realized halfway through the first segment that he'd never seen it, and by the end I'm not sure he was better off having experienced the film. Everything about Creepshow 2 feels low rent, from the animated segments to the story structure to the "well, I guess we're done" ending. There's almost no point to having Tom Savini play the live action Creep, because you can't hear him, and the animated version looks nothing like the makeup. If I hadn't shown Creepshow at an earlier Fest, that would have easily taken the place of Creepshow 2, the definition of "the law of diminishing returns."


 And now it's time to launch into a double feature of action schlock, followed by some kaiju action, a surprise Trappening, and then we'll close it out with a slasher flick that looks like another Shocker. Well, a Cap'n can hope, right?

Summer Fest Recap: Day One

 Greetings, virtual Summer Fest-ers! Welcome to Cap'n Howdy's handy recap-o-rama-rama, covering all of your Hyde Park Summer Fest Massacre Part 6 needs!

 This year I'm going to try something a little different in covering the films watched during the Fest. Instead of full write-ups that take much longer and give away too much, I'm going to appropriate the structure of "Hamlet Week" from a few years ago to give you some idea how these movies work in tandem with each other. Fest entries often have some shared elements, and you'll find that many selections this year overlap in the most unusual ways.

 We started the Fest with:

 Creature with the Atom Brain

 Year of Production: 1955

 What's the Haps, Cap?: Gangster Frank Buchanan (Michael Granger) wants revenge on men who betrayed him, so he forces ex-Nazi scientist Dr. Wilhelm Steigg (Gregory Gay) to reanimate the dead using radioactive blood and electrodes implanted in the brain. They are controlled by Buchanan's voice and take vengeance on his enemies. Police are baffled and eventually declare Marshal Law on "Our City."

 Who's the Hero?: Dr. Chet Walker (Richard Denning), who works in the police laboratory, along with his brother(?) Capt. Dave Harris (S. John Launer). They try to work out the source of the radiation and the common element between murders, until (SPOILER) Buchanan kills Dave and uses him to get to the targets in police custody. Dave also shows up at Chet's house, confuses his wife, Joyce (Angela Stevens), and daughter Penny (Linda Bennett). Zombie Dave breaks Penny's doll, presumably because, in death, he's a jerk.

 Bad Science: Chet mixes up a radioactive concoction in the police laboratory using chemicals on his desk to prove that the blood they found wasn't blood. Buchanan and Steigg's highly radioactive lab is accessed through a plastic tunnel that's open on both sides and is attached to a door that anybody could open at any time. Planes specially rigged to detect high amounts of radiation repeatedly fly over Steigg's "shed" and never find anything. The device that controls Steigg's zombies kinda looks like The Tingler.

 Other Bad Ideas:  Chet jumps out of a car moving at high speeds and shows no signs of injury. He also shares confidential police investigation information with Joyce, who then tells Zombie Dave / Buchanan everything needed to kill men in protective custody. Nobody notices the obvious scars from brain surgery. Buchanan's suit is too big. Never give your producers a role that requires them to say more than one line of dialogue. Other characters calling Dr. Chet Walker "Joe" throughout the film.

 Unusually Progressive Moments: Penny gives her girl doll a boy's name, and argues with Dr. Chet Walker when he protests. This is offset by Chet's casual ass-slap of Joyce when he comes home from work. The Ex-Nazi scientist objects to Buchanan's plan and wanted to use his experiments for good, although it's not clear how.

 Recurring Summer Fest Themes: Geiger Counter, Questionable Science, Using the Dead for Nefarious Purposes, Marshal Law, Monsters That Hate Radios, Explosions in Close Proximity to Actors, German Doctors.

 Final Prognosis: Creature with the Atom Brain starts off with a bang, becomes a boring procedural, and then has a surprisingly violent conclusion. Lots of bad science and examples of 1950s casual sexism. We're continually introduced to characters by seeing their name and job title on an office door. It wasn't clear that Dr. Chet Walker was the hero until about halfway in, but the ending kind of makes up for the lackluster mid-section. It's always nice to start the Fest with some Bad Science.

 Remote Control

 Year of Production: 1988

 What's the Haps, Cap?: Aliens are using a videotape called "Remote Control" to beam a signal to Earth. Anyone who watches the tape is driven to murder, and only two video store clerks can save the day...

 Who's the Hero?: Cosmo (Kevin Dillon), Georgie (Christopher Wynne), and later on, Belinda (Deborah Goodrich). Jennifer Tilly appears briefly as Allegra (with a truly 80s hairdo), but is killed by Victor (Frank Beddor), Belinda's boyfriend. Oops, SPOILER.

 Bad Science: Ummmm the aliens also try to send their signal through a plastic antenna in the "Remote Control" store display?

Other Bad Ideas: Cosmo kills a police officer, steals his car, and wonders why people are chasing him. When our heroes discover the company responsible for Remote Control (run by Asians, plus the grandpa from TerrorVision) has a truck full of tapes with a delivery list, they follow the list but don't destroy the tapes inside. Cosmo tries to woo Belinda by watching a dubbed version of Truffaut's Stolen Kisses, and it doesn't work out for him. Never give Cosmo a gun - he's a terrible video store employee, but a great killer.

Uniquely 80s Moments: Other than everything about Jennifer Tilly in the movie? Well, Remote Control is about video stores and tapes, so if you tune out of the movie, there are many opportunities to get lost in background details. Posters and VHS artwork are just about everywhere in the film, and director Jeff Lieberman (Squirm, Satan's Little Helper) and his production designers have a great eye for finding weird juxtapositions. In what other movie would you find a copy of Tess next to the remake of The Postman Always Rings Twice? Also, every video store in Los Angeles had the poster for House, according to this movie. Make sure to check out the Retro club, which for 1988 is anything but.

 Wait, Did You Say All the Villains Are Asian?: According to the IMDB trivia, Lieberman did this as a tribute to Japanese sci-fi movies from the 1950s and 60s, so I guess that's... okay? I should point out the Main villains are Asian - lots of possessed people are just normal 1980s Caucasians.

Recurring Summer Fest Themes: Aliens, Films Released in the Same Year, Explosions, Mind Control, Killing the Most Interesting Character Off Too Early, Boring Main Character, Vehicular Chicanery.

 Interesting Sidenote: During Remote Control, not a single person could name one other movie Kevin Dillon had been in. I forbade the use of IMDB until after the film was over, at which point we realized how many he had been in that we had seen. Still, without looking it up, name one.

Final Prognosis: Remote Control is an amusing sibling to TerrorVision. It's not quite as campy, and Kevin Dillon has about as much charisma in this film as a toaster, but it moves at a brisk pace, is unusual enough to keep you invested, and has a ton of background details to smooth over the bumps. The only way to get it at the moment is to order it from the director (like I did), but if you like TerrorVision, it's worth considering.


 The Visitor

 Year of Production: 1979

 What's the Haps, Cap?: Uh... Well, have you ever seen The Omen? It's kind of like that, except not.

 Who's the Hero?: Well, I guess maybe the title character, played by director John Huston (The Treasure of the Sierra Madre). He's from outer space, and after interrupting Space Jesus (Franco Nero)'s story about the evil General Sateen, he flies - via Eastern Airlines - to Atlanta to hang out on rooftops with a bunch of bald dudes. Eventually he starts stalking Katy Collins (Paige Conner), the improbably Southern daughter of Barbara Collins (Joanne Neil) and Dr. Sam Collins (Sam Peckinpah). Katy is also somehow the progeny of Sateen, and has psychic powers that she uses to mess with basketball players and people ice skating. Oh, and she has a pet falcon, that she keeps inside of their apartment.

 What the Hell is This Movie???: I know, right? Nothing about The Visitor makes any sense, and I'm not even halfway through the setup of the plot. Barbara is divorced from Sam and is dating Raymond Armstead (Lance Henriksen), who owns The Atlanta Rebels basketball team and is also part of a secret cabal of Sateen worshipers run by Dr. Walker (Mel Ferrer), who want him to impregnate Barbara with a boy, because that would be better than Katy. Also, when Katy accidentally(?) shoots her mother in the spine during a birthday party, a nanny / housekeeper (Shelley Winters) comes in and slaps the living hell out of Katy. Detective Jake Dunham (Glenn Ford) is investigating the shooting, until Katy calls him a pervert and the falcon causes some serious vehicular mayhem. Did I mention that most of this paragraph happens before the halfway point of The Visitor?

Bad Science: Take a look at the first two entries. See anything that sounds remotely plausible in there? I guess after Raymond fails and Dr. Walker sends him away, the cabal stages an "alien invasion" that results in Barbara being pregnant (how she drives while paralyzed and without hand controls isn't even addressed), so she has to go to Sam for an abortion. Peckinpah was so drunk that most of his scene is dubbed, with random cutaways to cover points where they clearly had no usable footage. I guess the worst science involves Huston, who stands on the roof and makes lights appear. He also takes a plane from outer space to Atlanta, and can't seem to walk down stairs in a timely fashion.

 Other Bad Ideas: Well, when the Italian producer and director decided they didn't like the screenwriter's rip-off of The Omen, they continued changing it and eventually fired the writer. The music is jarringly inappropriate for almost every scene, but my favorite is what we dubbed the "walking up the stairs" theme for the titular character. It's so bombastic and juxtaposed with, I kid you not, walking up stairs. Nothing else. We couldn't wait to hear it again. The final scene, where pigeons and a few doves attack Katy, features one of the fakest looking plastic birds I've ever seen. The Visitor is pretty much just one Bad Idea after another.

 Recurring Summer Fest Themes: Aliens, Evil Scientists, Animal Related Mayhem, Psychic Powers, Southern Accents, Vehicular Chicanery.

 Final Prognosis: I'd be hard pressed to call The Visitor a good, or even competent movie. It's almost impossible to follow in any way, so you're better off not trying to figure out what's happening or why. However, as movie watching experiences go, there's really nothing quite like The Visitor. It starts out like a realized version of Jodorowsky's Dune, and just gets weirder from there. Just be prepared to say "What?!" a lot, and collapse into fits of uncontrollable laughter.


 Tales from the Crypt Presents Demon Knight

 Year of Production: 1995

 What's the Haps, Cap?: Brayker (William Sadler) is a man on the run. He's somewhere in New Mexico, in a high speed chase with Billy Zane (Billy Zane) in hot pursuit. Brayker runs out of gas and decides to bring a gun to a car fight in the middle of the road, which works about as well as you would think it might. But somehow both of them survive and Brayker sneaks into Wormwood, NM, where he tries to steal a car, but some dumb kid (Ryan Sean O'Donohue) rats him out. He has some wino booze with wino "Uncle" Willy (Dick Miller) and decides to crash at a motel that used to be a church. He meets the owner (CCH Pounder), a prostitute (Brenda Bakke), a mailman (Charles Fleischer), and Jeryline (Jada Pinkett), who is on work release and cleans the stoves (badly). When Billy Zane and two cops (Gary Farmer and John Schuck) show up shortly after Roach (Thomas Haden Church), we hit the magic number on Brayker's palm, and... demons.

 Who's the Hero?: I guess that'd be Brayker, although nobody seems to agree with that until almost everybody is dead. One could make an argument that the Cryptkeeper (John Kassir) is our hero, since he's presenting this here movie, but if it's not Brayker, I guess it's Jesus. SPOILER if you say that out loud 45 seconds before the first flashback, like Cranpire did.

 Wait... Jesus?: Yeah, but not Space Jesus. Just regular old crucified Jesus. His blood is what the first Demon Knight captures in a "key" to the universe that Demons want. The blood protects you and prevents Demons from crossing thresholds. Demon blood, on the other hand, makes more Demons. Or, at least, Billy Zane blood does anyway. It's the same color as what I imagine the radioactive blood in Creature with the Atom Brain would look like.

 And You're Saying Billy Zane Plays Himself?: I can understand your confusion, but we can all pretend he's more like the boring characters he plays in Titanic or The Phantom if you prefer. I'd like to think that the dude who is practically gnawing on the scenery in Demon Knight is the REAL Billy Zane, and that he had one opportunity to let loose and just be himself. Even if the rest of the cast weren't a "who's who" of "that guy!" Demon Knight would be a no brainer just to watch Zane own the screen.

 Bad Science: None that I can think of. Maybe Brayker surviving the car explosion. I get why Billy Zane survived, but not so much Brayker. Demon Knights are surprisingly when it comes to injuries. Also, when Zane punches through the Sherriff's skull (SPOILER), his arm gets stuck, which seems more plausible than when Jason Voorhees does it. Roach also lets someone hook jumper cables to his nipples - that doesn't seem safe.

 Other Bad Ideas: Well, Billy Zane uses his demon powers to lure people into doing his bidding - also known as turning them into Demons who try to steal they key. Uncle Willy is lured in by Zane as a bartender and surrounded by topless woman and at least one porn star. Since Willy is a lush, I don't even know why he needed the women, but Gratudity sells, right? Roach doesn't even try to make a deal, he just gives the damn thing to Billy Zane, because Brayker is "kinda bossy." At least we get to see Billy Zane pop a sponge out of his mouth. I can't leave this section without mentioning how unhygienic Jeryline is for (SPOILER) covering herself with the blood in the key just to kill Billy Zane's buzz when she (DOUBLE SPOILER) takes over as Demon Knight. I mean, yeah, Jesus and stuff, but that's blood going back millenia. Gross. Also, it came from (TRIPLE SPOILER) Brayker's heart, and (QUADRUPLE SPOILER) Demon Possessed Kid's Gene Simmons Tongue had been all up in there. Not very sanitary, if you ask me.

 Uniquely 90s Moments: The opening credits / car chase play over Filter's "Hey Man, Nice Shot." If there's a better time capsule of something that was cool for one year and one year only, that'll do it. I guess there's another post-grunge song that plays during the credits, but I already forgot what it was.

 Recurring Summer Fest Themes: Gratudity, Vehicular Chicanery, Mind Control, Using the Dead for Nefarious Purposes, Southwestern Locations, Religious Imagery

 Final Prognosis: As Tales from the Crypt movies go, I still prefer the Amicus version from the 1970s, but if it's post-TV show, I'm going with Demon Knight over Bordello of Blood. This is far and away the best thing Billy Zane ever did, and he owns every moment he's on screen. It's cool to go back and see a pre-Big Willie Style Jada Pinkett take control of the movie, or that someone built a film around William Sadler. The cast is so much fun because you don't usually get to see any of them showcased, let alone all of them (this was almost ten years before Sideways, and if you say "I liked Thomas Haden Church on Ned and Stacey," you're lying. Maybe Wings - I know Cranpire likes Wings.) Anyway, Demon Knight is just fun, and if you somehow think "Ernest Dickerson... why do I know that name" after the "directed by" credit, it's because he was Spike Lee's cinematographer. The director of Demon Knight shot Do the Right Thing. And that's a good thing.


 Join us tomorrow for even more Summer Fest madness, gang! We have so many movies to come...