Jonah Lives (2015) Review

jonahlives1JONAH LIVES (2015)

Starring Brinke Stevens, Cesar Pereira and Ryan Boudreau

Written and Directed by Luis Carvalho

A story of revenge from beyond the grave, centring on a group of teenagers who unwittingly supply the catalyst for the murdered Jonah’s return from the grave.”

What do you get when you get a bunch of thirty yet old looking teenagers who like talking about nothing between weird long pauses and just playing poker in a basement, and toss them in a blender with a zombie with a shaky motivation for going on a killing spree?

You get the ridiculous Jonah Lives. Man I really hate hating on a film but this was bad.

The aforementioned group of teenagers who look like adults who speak like aliens probably think we speak get bored of playing poker while their parents get pissed upstairs and start playing a ouija board. As well as kind of being possessed they inexplicably wake up a dead guy who, instead of going after the people who killed him, just kills the dumb kids downstairs.

There are so many things weirdly wrong with this but I kind of got myself lost listing them all.

Characters are completely inconsistent. One minute they’re an asshole jock, then they’re religious and nice, and then they’re suggesting doing a seance. And the actors never rise above it.

jonahlives3Francis is the Skeet Ulrich type who is a jock on the outside but has a heart of gold. Maybe. He flip flops.

Lydia starts as a typical dirty talker Rob Zombie type and then has an existential crisis or something.

And it goes on like this for them all.

Not only are they inconsistent, they’re horribly written and completely unlikeable. I swear to god someone says penetration and another guy chuckles and says “he said penetration!” And then another guy says “fuck you and your peer pressure” and they just sit around in a basement like little children. Carvalho probably does know how human teenagers interact, but he sure as shit can’t write it.

Which is a shame, because Carvalho can compose a shot professionally. This feels like a bigger budget than it probably was visually. But the seizure induced editing makes even the simplest scenes incoherent, as does the laughable sound effects.

The pacing, the structure, the acting, the filmmaking is all just massively uninspired. As is Jonah himself when he eventually turns up.

To wrap this up on a positive note, the score by Russell Estrela is a great 80s synth score that recalls a few Giallo scores. It’s really fun.

But that’s it.

jonahlives2From the cutaways to the party upstairs that leads to nothing, to the random debates about religion that feel cut and pasted from Wikipedia, I just found this a really joyless experience. Could there be a drinking game in here? Maybe a tequila shot every time there is an unnaturally long pause in the dialogue, or a beer bong when someone an attempt at humour goes wildly wrong. Actually, that could be fun! Maybe order a pizza too, and get some friends round.


Graduation Day (1981) Blu-Ray Review


Directed By: Herb Freed

Written By: Herb Freed, Anne Marisse, David Baughn (story)

Starring: Christopher George, Patch Mackenzie, Michael Pataki, E. Danny Murphy

UK Certification: 15

RRP: £17.99

Running Time: 96 minutes

Distributor: 88 Films

UK Release Date: 13th October 2014

Marking the launch of 88 Films Slasher Classics Collection is GRADUATION DAY, a Californian shot horror which was banned after its pre-cert UK release on IFS under a Section 3 Seizure Order, although its content was reappraised to a 15 certification as early as 2003 for its budget Hollywood DVD release. It proved an unlikely hit for director and former Rabbi Herb Freed, who other than this slasher made little impact over his ten directorial outings; though having said that, as schlock-entertainment the John Saxon starring BEYOND EVIL (1980) is a gloriously awful haunted house flick that warrants a late night alcohol fuelled viewing.

GRADUATION DAY begins with a high school track race where Laura (Ruth Ann Llorens), encouraged by the crowd and coach is pushing herself to the limit, so much so that after she crosses the finishing line she collapses and is soon pronounced dead. Shortly after this tragedy her sister Ann (Mackenzie) moves back to the small town where she was born and begins to do some investigatory work around the school in an effort to uncover the killer. As she digs deeper, a spate of killings begin which see Laura’s former track team members murdered by an anonymous black-gloved killer in a fencing mask.

GRAD 002With a synth-laden slice of pop cheese in ‘The Winner’ playing over the opening credits, GRADUATION DAY announces itself as a child of the early eighties loud and proud. While flares and dated hairstyles are the understated aspects that date such peers as HALLOWEEN and FRIDAY 13th, here an antiquated musical score from the band Felony (no, me neither) as well as Bee Gees plastered walls and alternatively shaped headphones mean that GRADUATION DAY wears its year of production firmly on its sleeve.

Deliriously camp in appearance, GRADUATION DAY makes for a decidedly modest slasher. Murder sequences are at times eye-rollingly constructed with the subtlety of a sledgehammer, while the mystery of the anonymous killer never really intrigues to the degree that it wants to and comes with a somewhat disappointing payoff. That said this is a film impossible to dislike irrespective of its obvious shortcomings. With frequent forays into comedic territory; intended or otherwise, along with eye-catching performances from such folk as Linnea Quigley, Vanna White, Michael Pataki and Christopher George, it’s a movie that provides great entertainment, but released slap bang in the middle of the golden era of slasher movies – it’s firmly down the pecking order.

With a region free Blu-ray coming from Vinegar Syndrome five weeks prior to this release, the boys at 88 Films were always going to have to add something special to convince people to opt for this home-grown release. At first glance, the absence of any commentaries (the Vinegar Syndrome edition has two), and the glut of Troma related miscellany from Kaufman’s age-old DVD elicits a resigned sigh.

Thankfully though, the welcome addition of the superb Scream Queen documentary from High Rising elevates this Blu-ray to another level. This feature length extra is introduced by the lovely Debbie Rochon who makes way for a legion of Scream Queens to talk candidly about their careers – from the iconic Linnea Quigley, Brinke Stevens and Michelle Bauer; to the lesser known Forbes Riley, Patricia Tallman and Elissa Dowling; there’s many more too, all of whom make for fascinating viewing.

GRAD 003What’s so refreshing is the concept of having a totally female perspective. It removes the distraction of a leering myriad of guys giving their predictably caveman-like reasons for their Scream Queen appreciation; leaving us instead with a relaxed, honest and informal analysis of the subject. With Jason Paul Collum’s SOMETHING TO SCREAM ABOUT being the last feature I remember on this topic, Waddell’s documentary easily eclipses it and could easily stand its own as a separate release.

Film: 5 out of 10
Extras: 8 out of 10


Brand new 4K restoration
Scream Queens: Horror Heroines Exposed (78 mins)
Graduation Memories: Interview with author and critic Justin Kerswell (10 mins)
Introduction by Lloyd Kaufman (complete with insensitive Columbine pun)
Interview with Linnea Quigley
The cannibal lesbian hoedown music video – directed by Lloyd Kaufman
Tromatic filmmaking classroom: The arm rip
Theatrical trailer
88 Films trailer reel
Reversible sleeve
Booklet by Calum Waddell featuring a conversation with Patch Mackenzie

31 Days of Horror: #11 – Jack-O

31 Days of Horror: #11 – Jack-O

Your daily bitesized guide to the films you should be watching this Halloween season…

Jack OJack-O (1995)

Directed by Steve Latshaw
Written by Brad Linaweaver (story), Fred Olen Ray (story), Patrick Moran

Starring Ryan Latshaw, Linnea Quigley, Gary Doles, Maddisen K. Krown

“Plan 9 from Outta State,” laments Fred Olen Ray on the commentary for Jack-O as he and director Steve Latshaw explain their reasons behind some genuinely crazy/inspired filmmaking decisions on this Florida lensed picture. The narrative is largely incidental here, but for the sake of formalities we have a wizard who years ago swore vengeance upon the townsfolk who facilitated his demise. In the present day, this revenge takes the form of the pumpkin-headed demon Jack-O who has his sights set on the Kelly family – direct descendants of those pitchfork waving yokels.

Jack-O IS a terrible film, however, it’s also enjoyably bad in that Ed Wood mould where you find yourself sat with your jaw gaping at what unfolds before your eyes. The cameo from John Carradine – who had been dead for seven years – is the undoubted highlight, though listening to Ray you can’t help feel yourself shrugging and nodding in begrudged agreement at his justification for shoehorning him in! Jack-O himself is a rare sight for most of the movie, while Cameron Mitchell turns up from another picture for a spliced in scene, Linnea takes a very prolonged shower and there’s a very out of place Brinke Stevens cameo too.

Jack-O is a totally inept schlockfest that underlines the danger of just what you could have come home with from the Video Store had you been hypnotised by some funky artwork. I say that, but then it’s really hard to refuse repeated viewings as its awfulness is truly endearing.

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DeCoteau DeCoded by Matty Budrewicz

dc1DeCoteau DeCoded

Director and producer David DeCoteau has had one helluva career. Whilst even his most ardent supporters would have a hard time describing it as illustrious, the Canadian-American schlock kingpin has certainly been prolific. Hell, a look at his IMDb slate should be enough to tell you that, with well over one hundred directorial credits (under a variety of eclectic pseudonyms) since the mid eighties alone. Factor in his producing, writing and assorted other credits and well… Well I guess it’s safe to say that dissecting his full body of remarkable, money-spinning work would be a meteoric task; a near impossible endeavour, in fact, that’d be better served by a wordsmith far greater than myself.

Now, by and large DeCoteau has been responsible for a fair amount of dreck, something that he himself would probably admit to too. However, for the more liberal, loon-minded cineaste- you know, those of us with a voracious appetite for hootingly good tripe, there is actually a whole lot to savour with ol’ Davey’s hokum. And, what’s more, there’s a surprising amount of artistry and craft behind it all too.

One of the standout directors of the late eighties-early nineties direct-to-video B scene, DeCoteau is certainly one of the strongest visual stylists amongst them. Unlike his contemporaries Fred Olen Ray and Jim Wynorski who prefer a more ‘locked-off’ camera approach, DeCoteau sports a keen eye for staging and pomp-filled composition. Favouring Dutch angles and deep focus, he possesses a strong understanding of how to get a slick, richly photographed film in spite of meagre budgets, schedules and resources. Just check out the sorely undervalued car boot sale classic and discount shop favourite Legend of the Mummy 2 (or Ancient Evil: Scream of the Mummy as it’s also known)(1999) for the proof: bottom-end it may be, but it’s wickedly photographed, with a look falling somewhere between classic Hammer and the glossy energy of Tony Scott.

dc2It’s perhaps with the late Scott that the best comparison lies. Like Scott was, DeCoteau is a populist filmmaker. Just consider the evidence: both were/are commercially safe and both filled/fill the needs and demands of their paying audience and financiers, churning out profit-making hits in their respective fields in spite of often vicious critical lambastings. Best of all, however, is how they both managed/manage to do so whilst remaining true to their own artistic sensibilities, elevating them far beyond that of a pair of box-ticking journeymen to the status of true pulp auteur’s. Sure, their budgets may be drastically different, but it can’t be denied they’re not a million miles away from each other, especially when one considers that beach volleyball scene from Scott’s ’86 smash Top Gun…

I refer, of course, to homo-eroticism DeCoteau’s defining trope. Openly gay himself, DeCoteau has been the figurehead of the niche homo-horror sub-genre since his minor video success with Voodoo Academy back at the turn of the millennium. A thoroughly enjoyable quickie (DeCoteau shot it all in four days), Voodoo Academy is one of DeCoteau’s finest, the story of six male students at a strange Scientology-tinged Bible School being seduced into kinky black magic by the resident Reverend and house ma’am. It’s effective and surprisingly atmospheric stuff, a sort of low-key hodge-podge of Suspiria (1977), Angel Heart (1987) and a Calvin Klein boxer shorts commercial.

Retrospectively, it’s easy to see DeCoteau’s distinctive blend of histrionic horror and sculpted, shirtless young men implicitly flirting with one another as the next logical step in his filmic evolution. Reworking and inverting the playful, girl-ogling sexiness that characterised his earlier gun-for-hire T&A jobs like Beach Babes From Beyond (1994), and infusing them with the same Queer Cinema sensibility that made his experimental black and white gay art-pic Leather Jacket Love Story (1997) such a festival hit, DeCoteau has turned post-Scream teen-centric terror into a girl and gay-baiting art-form a fact his longevity can attest to. Though perhaps a little too much for some, there’s without doubt a big and demanding market for DeCoteau’s kind of chilling chintz. I mean, just look at the colossal Twilight saga – what are they if not glorified DeCoteau flicks? Angsty teens, topless hunks, supernatural shenanigans…

dc3Ultimately, I think without Dave DeCee and, say, his Brotherhood series (2001-2009), Sparklin’ Edward Cullen et al just wouldn’t have been possible. The only difference is that the six-strong Brotherhood chapters are actually pretty damn good, unlike the god-awful Twilight, and the first three (I’ve Been Watching You, Young Warlocks and Young Demons as they’re known over here) especially so. It would seem even directorial titan Martin Scorsese isn’t above lifting from him either, what with his latest DiCaprio-starring hit bearing a strikingly similar title to DeCoteau’s 2002 lycanthrope romp Wolves of Wall Street. Oh, to see the faces of the people who unexpectedly stumble across that one…

Beginning his film career as a production assistant for the legendary Roger Corman back in the eighties, DeCoteau soon found himself at the attention of another iconic B sultan, Charles Band, with his first mainstream movie proper, Dreamaniac (1986).

The impact Band has had on DeCoteau is gargantuan and it’s often under the Full Moon head honchos auspicious guidance that DeCoteau has made a vast majority of his best stuff, such as the terrific should-have-been-a-series Shrieker (1998) and Sorority Babes in the Slimeball Bowl-O-Rama (1988)- his most well-known film. Indeed, a lot of DeCoteau titles I’ve already mentioned have also been Band produced, occasionally – as in the case of Legend of the Mummy 2 – uncredited. However, the real treat of their numerous and fructiferous collaborations is 1991’s Puppet Master III: Toulon’s Revenge. For my money, it’s DeCoteau’s masterpiece.

dc4Retconning the timeline established in the first two instalments of the flagship Full Moon franchise, DeCoteau’s part III is a period-set prequel starring Mr. Sardonicus (1961) himself, Guy Rolfe. It’s Berlin 1941 and the Nazi’s- as they so often do, are unsuccessfully attempting to raise the dead for use as battlefield super-soldiers, via the experiments of the surprisingly well-meaning Dr. Hess. His superiors, the lecherous General Mueller and full-blown S.O.B. Major Kraus, are a different story however, and they take great umbrage when they learn, through Kraus’ driver and spy Lt. Stein, that master puppeteer Andre Toulon has been performing politically subversive shows with his anthropomorphic puppets. After a Kristallnacht-esque raid on his home in an attempt to grab Toulon’s secret life-giving elixir results in the death of his beloved wife Elsa, the heartbroken Toulon swears revenge and, with the help of his deadly puppets, embarks on a swath of bloody retribution against his wrongdoers.

Made whilst DeCoteau was closeted both personally and professionally, and purely because he was the only director willing to travel to the originally planned Romanian locations, Toulon’s Revenge is understandably free of his guy-candy fetishism. It’s for the best really too, as any sort of over the top eroticism would likely be out-of-place in the comic book-y series, lest of all between a gaggle of overly tactile male model types! Even without DeCoteau’s signature auteurist flourish though, Toulon’s Revenge is a far from perfunctory mercenary gig, packed as it is with his usual panache and creative bombast.

Transcending its modest budget, Toulon’s Revenge is a big-feeling picture, without doubt the most ambitious and most handsomely mounted of DeCoteau’s career. It’s part rollicking little horror programmer and part Where Eagles Dare-ish wartime adventure, just as DeCoteau and scripter C. Courtney Joyner envisioned it. This magpie, cherry picking knack is another goodie habitual to cinematica DeCoteau: his utilising of an obvious love of the movies to create interesting and often inter-textual cross-genre product. Take Creepozoids (1987) and Final Stab (2001) for example. On paper, both are nothing more than shameless rip-offs of Aliens (1986) and Scream (1996) respectively, with the latter actually going as far as to be being cheekily retitled Final Scream here in the UK. Now, I’m not going to dispute for one second that that’s not how they came about, but both transcend the usually awful ‘Rubbish Clone’ category by actually being quite inventively referential and self aware.

dc5The excellent Creepozoids, for instance, knows it’s fundamentally man-in-a-rubber-suit tosh and DeCoteau is more than willing to celebrate it, firing a whole manner of archetypal sci-fi and horror motifs at the screen with gleeful abandon: Aliens, a monster baby a la It’s Alive (1974), giant rats, an abandoned research facility, the fall of man, and a future earth thrown into ecological hell… It’s all there, delivered with a fair amount of wit too. Even better is that it’s all capped off by the, erm, ‘double delicacies’, shall we say, of Scream Queen Linnea Quigley.

The twisty-turny Final Stab meanwhile, is DeCoteau’s pleasing contemporary valentine to the golden age of slashers. It’s a wonderfully silly and loving patchwork of retro fun and sly humour, a shining minor gem vastly superior to more famous and truly chunder-some soulless Hollywood slash-arse like the Prom Night (2008) remake. In short, it’s much better than a casual glance would suggest.

Elsewhere, DeCoteau inverts the Death Wish (1974) vigilante formula with a female twist in his self-explanatory Lady Avenger- a cheap and cheerful blast of kinda-gritty action fluff from 1988. It’s an area DeCoteau would explore further with his producer only Steel & Lace (1991), a schlock hybrid of rape-and-revenge and the then blossoming DTV cyborg genre that followed in the wake of RoboCop (1987). Tailored towards what sells they both may be but, like Creepozoids and Final Stab, the glee in which they each embrace and toy with their own conventions is refreshing. Interestingly, Lady Avenger and Steel & Lace link pretty nicely thematically with Toulon’s Revenge, essentially creating a loosely connected ‘Vengeance Trilogy’ well over a decade before Park Chan-wook even began his. What? I’m just saying…

dc6In Toulon’s Revenge, perhaps the most striking moments (other than the ones of puppet carnage, natch) are those which allude to the classic Universal horror of the thirties, Frankenstein (1931) in particular. The similarities between actor Ian Abercrombie’s conflicted Dr. Hess and Colin Clive’s conflicted Victor Frankenstein are just as impossible to ignore as their shared use of stylised lab equipment.

It’s an obvious tip of the hat really, considering how Frankenstein’s director, the openly homosexual James Whale, is the progenitor of ghoulish camp. Fittingly, DeCoteau would later go on to helm his own revisionist version of the classic Mary Shelley tale, the kiddie-friendly Frankenstein Reborn! (1998), and even go as far as to cite Whale’s stupendous Bride of Frankenstein (1935) directly during a scene in 1999’s prequel to the prequel, Retro Puppet Master: “A world of God’s and monsters,” a young Toulon says, echoing the effete Dr. Pretorius.Stuart Gordon, a DeCoteau peer and fellow Band alum, and his debut film Re-Animator (1985) are another key Toulon’s Revenge touchstone.

In a fun visual quote, Toulon’s magical serum looks suspiciously like Herbert West’s glowing green re-agent from the similarly Frankenstein-like saga; who knows what kind of Freddy vs Jason franchise hopping this could’ve yielded too, had Re-Animator just kept the original H.P. Lovecraft stories thirties setting! The DeCoteau-Gordon back and forth doesn’t stop there, however. Exchanging the weird creepiness of William Hickey’s portrayal in the original Puppet Master (1989) for a more human and pathos laden take, the then seventy-nine year old Rolfe gives an excellent dramatic performance as the definitive incarnation of Toulon. It’s a turn cut from the same genial horror hero cloth as his part in an earlier Charles Band exec produced killer toys flick, Dolls (1986), directed by (you’ve guessed it) Stuart Gordon. Rolfe would return to the Toulon role three more times (or four if you count his archival footage appearance in the duff part eight, Puppet Master: The Legacy) before his death in 2003.

dc7Weirdly, and as if to confound even more the already incestuous nature of the eras B movie scene, Brit actress Sarah Douglas- best known as the villainous Kryptonian Ursa in Superman I and II (1978/80)- would later go on to star in Re-Animator and Dolls producer Brian Yuzna’s Return of the Living Dead 3 (1993). Unlike her part as the angelic Elsa in Toulon’s Revenge, Return finds Douglas as the driven military head of a scientific programme planning to raise the dead for use as battlefield super-soldiers. Just like Mueller, Kraus and Hess. It’s a convoluted web, no? Even more so when you think that Return’s producer, Gary Schmoeller, is the brother of David Schmoeller, the director of the first Puppet Master. Good Lord…

Ironically, just as Toulon’s Revenge stands as DeCoteau’s best, two of his subsequent entries in the series are amongst his worst: 1998’s Curse of the Puppet Master and the aforementioned Retro Puppet Master. Whilst bad scripting and a general air of rushed tackiness are forgivable, that both movies are so painfully dull is not; DeCoteau land is many things, but it’s never boring. It’s a shame too as Curse in particular boasts one of the most nifty but wasted premises of DeCoteau’s filmography; a Tod Browning-tinged tale of a madman attempting to turn one of DeCoteau’s beloved twinks into a human puppet. Thankfully, DeCoteau atoned somewhat with Puppet Master: Axis of Evil (2010), an interesting, amusing and again World War II-set Toulon’s Revenge companion piece.

Though the old rental medium that allowed someone like DeCoteau to flourish in the first place is now a thing of the past, it’s lovely to see that he remains as productive and as enterprising as ever. By embracing the online streaming platform, DeCoteau and his production company Rapid Heart have certainly proved themselves still relevant in the home entertainment arena, just as his recent 1313 brand shows.

Sure, the films may now be of noticeably lower quality than his giddy heyday (a truly horrifying thought if you’re one of the man’s detractors), but any filmmaker who still manages to regularly belt out gloriously goofy gay-tickling pap like Giant Killer Bees! (2010) and Hercules Unbound! (2012) deserves to be celebrated if you ask me. I mean, the MILF-tastic 1313: Cougar Cult (2012) alone is enough to warrant a look for the B curious, reuniting Quigley with fellow schlock sex sirens Brinke Stevens and Michelle Bauer, some twenty-four years after their last team up in DeCoteau’s Nightmare Sisters.

dc8A look around your local Tesco’s entertainment aisle will tell you Big Dave is as vital as ever too. Just last week a new DeCoteau joint, Bonnie & Clyde: Justified (2013), stormed into their charts top ten, whilst his endearingly naff Hansel & Gretel: Warriors of Witchcraft (2013) has been one of their bargain zone mainstays since its release back in March last year.

What with that and companies like 88 Films pushing his back catalogue out into the market again, there really is no better time to immerse oneself in DeCoteau’s stuff. You’d do well to give it a go. I think you’d just might like it.

For more ramblings, follow Matty on twitter @mattybudrewicz





Slave Girls From Beyond Infinity (1987) DVD Review


Slave Girls From Beyond Infinity 1987

Dir. Ken Dixon  –  71 Minutes  – Full Moon Productions

UK DVD released by 88 Films

Starring Elizabeth Kaitan, Cindy Beal , Don Scribner , Carl Horner , Brinke Stevens .

Daria (Elizabeth Kaitan) and Tisa (Cindy Beal) are two scantily clad prisoners held in an intergalactic space prison , they manage to escape  by overpowering a couple of quite frankly inept guards and then make their dash for freedom in a stolen shuttle . After realising they are in the back end of nowhere (in the universe that is) the ship picks up a homing beacon and follow it but crash on landing.

Now on a desolate planet the pair meet up with the mysterious Zed (Don Scribner) who allows the girls to stay in his house along with other guests brother and sister Rik (Carl Horner) and Shala (Brinke Stevens) , who also crash landed just days earlier. What happens next is very reminiscent of the 1932 classic The Most Dangerous Game but set in space with sexy slaves and robots.

This is pure B movie fodder but has a charm and innocence that endears the viewer into 71 minutes of pure fun and total silliness. The walls shake , the robots are hilarious especially in one scene when arguing with each other. Just not a film to take to serious, but a must for any fan of proper women in very little clothing for the main. And if you like your men tall(ish) dark and handsome in very tight leather pants then Zed is for you!!


slave288 Films have a lovely release here it is very sharp on screen, the sound was spot on and just looked fantastic.

Now I didn’t know the extras when I received the DVD , so after watching Slave Girls I was flicking on to the extras when I saw a special feature of Famous T&A . Now I was in shock as I has this on VHS back in the very early 1990′s , it was purchased from a store in the sale section and I still remember the woman behind the counter questioning my viewing tastes ” Do you really want to buy this erm Famous Tits and Asses”? . And by god I did , and when I returned home I opened it in anticipation only to find the wrong video was in the box.

I never did return to the shop and lived with this for over 20 years. So when I saw on screen Famous T&A I was almost overcome with excitement. And it was the one , the fantastic Sybil Danning introduces 75 minutes of topless and nude scenes from famous actresses with hilarious commentary and some wonderful trailers too.


famoust&aFamous T&A was also directed by Ken Dixon which is why it features on the extras. And can I just thank 88 Films for putting an end to my 20+ year wait to see that particular feature.

A great release here by 88 Films as part of their *Grindhouse* collection , they have got a really good selection of straight to video classics and more info is available here .

So it is a lovely release with fantastic extras , making it a much deserved 8/10 !!


Sorority Babes in the Slimeball Bowl-O-Rama (1988) Review


sororitybabesSorority Babes in the Slimeball Bowl-O-Rama (1988)

Dir. David DeCoteau – 80 minutes .

Well I had decided to watch some Christmas based horror films , but after watching Silent Night Deadly Night I decided to catch another film starring the lovely Linnea Quigley.

After much deliberation I decided on the 1988 feature Sorority Babes in the Slimeball Bowl-O-Rama , which I have always known about but never got round to watching. So it was time to put that right.

It starts with 3 college guys just wasting time in their room . Bored and (of course for the 1980s) very horny they decide to go to the local female sorority house where at midnight the new pledges will be having their initiation ceremony . You never know they might even be able to get a look at the goings on inside!

The guys turn up just in time to see the two new pledges Lisa (Michelle Bauer) and Taffy (Brinke Stevens) at the mercy of the nasty and wannabe prison warden Babs (the late Robin Stille) who puts them through their paces in an initiation ceremony that involves them bending over a sofa whilst she paddles their fannies and then she sprays them in whipped cream (which of course they have to shower off).

Wanting a closer look our 3 nerdy oafs sneak inside the house where they are caught peeking at the pledges who are of course cleaning off the cream in the shower.

Babs decides that the final part of their initiation will be to break into the local mall and steal a trophy from the bowling alley , BUT they have to take the three guys along too.

Inside the mall they meet the bad mannered biker chick Spider (Linnea Quigley) and also by accident free a captive Imp who traps them inside the mall but also grants them each a wish.

This is great fun in a 1980s kitsch way , and it has some of the most lovely scream queens of the time . The tall , elegant Brinke Stevens , the sultry and curvaceous Michelle Bauer and of course the petite , lean and stunning Linnea Quigley.

sorority2And with this in mind you can forgive the crappy script and poor acting from the male cast as this is pure 80’s cheese . It is a fun 80 minutes , so sit back and remember a time when films like this were made just for the hell of it.

Also it is fun to remember that at the time of filming Bauer and Stevens were playing teenage pledges and were 33 and 36 years old respectively.

On a final note it is fantastic to see that Bauer , Quigley and Stevens have all been in over 100 films each and David DeCoteau has directed 100 features and all are still active. And DeCoteau’s next film Nightmare Sisters (1988) stars all three of the above in another epic cheesefest (which I must review soon).

A real fun-packed piece of nostalgia 7/10