Hollywood Chainsaw Hookers (1988) Blu-Ray Review

hchdvd1Hollywood Chainsaw Hookers (1988) Blu-Ray Review

Dir- Fred Olen Ray

Starring – Jay Richardson, Linnea Quigley, Michelle Bauer & Gunnar Hansen

88 Films Slasher Classics Collection 06

UK Blu-Ray Release from 88 Films – 23rd March 2015

The CHAINSAWS used in this movie are REAL and DANGEROUS! They are handled here by seasoned PROFESSIONALS . The makers of this Motion Picture advise strongly against anyone attempting to perform these stunts at home. Especially if you are naked and about to engage in strenuous SEX. My Conscience Is Clear!”  Fred Olen Ray

And with that so begins the 1988 schlockfest that is HOLLYWOOD CHAINSAW HOOKERS .

Private Investigator Jack Chandler (Richardson) is hired by the mother of a young runaway (Quigley) who has left home due to her step-father’s nightly visits. Chandler gets a call from the local PD who have a girl fitting the runaways description in custody, she is charged with the murder of a client and two police officers with a chainsaw.

Unfortunately for Chandler this is a dead-end , and now as the film progresses and we see more prostitutes do away with their ‘Johns’ using a chainsaw as the weapon of choice. Mercedes (Bauer) sees of a burly client whilst Lisa (Elise) strikes out baseball loving perv Hermie (Fox Harris). At each killing there is a mysterious dark stranger in the background , but who is he and why are these sexy sexy party girls butchering their clientele ?

hchdvd2Well Jack is handed a book of matches found amongst some grizzly body parts tossed away in a bag, and on the book is a number. This leads Jack to an encounter with the lovely Mercedes and much much more.

Now where to start with Fred Olen Ray’s seminal work on safe sex ? Well I (unlike some who pretend to be) am old enough to remember the UK release on VHS, in fact I did own a copy until ‘The Culling’ back in the mid 90’s when I had to get rid of most of my VHS collection (insert tears of sadness). Anyway without going into massive detail as this review is for the new 88 Films release, the UK VHS release had the word ‘Chainsaw’ deleted from the cover and artwork and it was replaced by a picture of a chainsaw instead, so we ended up with Hollywood ‘pic of a chainsaw’ Hookers. Yes that was the crazy days of 1980s moral panic Thatchers Britain.

So before even watching HCH it already had the ‘BBFC’ factor , now add to this Michelle Bauer in red underwear wielding a phallic chainsaw, one of the most iconic images of 1980s horror , and you have a cult classic in the making. But even with all of the above you still a good film, don’t you?

hchdvd5Firstly director Fred Olen Ray is the king of Eighties & Nineties pulp cinema, and he was pumping out 5-10 features a year. There are many of varying quality , but what you will get (mostly) is laughs and babes, in fact I think Fred is almost hitting 20 films of his own that feature the word bikini in the title. He may not be to everyone’s taste but if you are a fan of the Eighties the do yourself a favour and check out his work , especially his earlier titles.

Well HCH is an absolute classic, it embodies everything that I love in Eighties cinema. Made over just 5 days pulp director Fred Olen Ray managed to get horror icon Gunnar Hansen, scream queens Linnea Quigley and Michelle Bauer and introduced Jay Richardson , who he would work with on numerous later features.

HCH is a full on riot, it has blood, gore, tits, laughs, violence, tits and fucking chainsaws. What is not no like? Running as a film noir comedy , HCH has a running narrative from lead Jack Chandler that gives us an insight into the mind of an LA private detective. And it is absolutely hilarious, and in fact HCH is one of the greatest horror comedies you will ever see. Jack Chandler is just full of side-splitting one-liners that just crease me up each and every time I hear them , and I have listed a few at the end of the review.

But as usual I am waffling and the review is all over the place, but I love HCH so much that it is very difficult for me to maintain a steady cognitive stream as images keep flashing in my brain. Bauer doing her amazing sexy nude dance (and miming the wrong song – points to ring), Chandler’s one-liners, Gunnar Hansen just smouldering, Linnea Quigley in a double chainsaw dance and lots and lots more.

hchdvd688 Films must be continually applauded for their releases. The quality of the films chosen, transfers and extras are exceptional and at the moment they are second to none in my opinion in the UK re-release market. They are also not just bringing these films back to us seasoned older horror hacks but also introducing these gems to a new, younger audience.

The restoration looks fantastic and the sound is superb, real care and love has gone into this and it can be seen throughout the complete presentation.

So if you are looking for one of the most iconic and influential no-budget horror films from the decade that brought us poodle perms and care bears then look no further because 88 Films have just knocked this out of the park. And I haven’t even started on the extras yet!!

Essential Viewing 9/10

You can purchase HCH from ** Films own shop – http://88-films.myshopify.com

The Extras

lqhwLINNEA QUIGLEY’S HORROR WORKOUT – Bonus feature directed by PUPPET MASTER’s Kenneth Hall and starring the beautiful blonde icon of HOLLYWOOD CHAINSAW HOOKERS in an alluring, creature-packed, fear-fitness video! Join former PLAYBOY pin-up Linnea as she whips zombies and other monsters into shape with all of the cheeky and sexy charm that you would expect from the legendary Scream Queen! -With Bonus Audio Commentary!! A unique piece of trash gold and the audio commentary from Linnea & Kenneth is brilliant.

SPECIAL FEATURES

Brand New Director overseen Restoration

5.1 DTS-HD MA soundtrack

LPCM Stereo Soundtrack

Audio Commentary with director Fred Olen Ray and David DeCoteau

Audio Commentary with genre experts Calum Waddell, director of SLICE AND DICE: THE SLASHER FILM FOREVER and Justin Kerswell, author of TEENAGE WASTELAND: THE SLASHER FILM UNCUT.

Original Theatrical Trailer (HD)

Fred Olen Ray’s Nite Owl Theater

hchdvd3Remembering Chainsaw Hookers 27 years later (HD) – Which is a lovely piece starring Fred Olen Ray, Michelle Bauer and Jay Richardson. They talk with great fondness about the filming of HCH and Michelle Bauer definitely still has that twinkle in her eyes!!

Archive Making of Documentary – Again another nice docu but this one from back in the day starring Fred Olen Ray, Michelle Bauer and Linnea Quigley.

Reversible sleeve with original poster art -88 Films Trailer Reel

Booklet notes by Calum Waddell featuring an extensive, career spanning interview with star Gunnar Hansen

TECHNICAL SPECS

Region Code: B
Picture Format: HD 1080p 1.78:1
Audio Format: DTS-HD MA Stereo 5.1 / LPCM Stereo
Language: English
Certification: 18
Running Time: 75 Mins Approx

 

The Jack Chandlers Quotes

chandler

Chandler – “Being a Dick is a 24 hour-a-day job”

Bartender – “What’s it to be”? Chandler – ” Bourbon with a Bourbon chaser”

Chandler – “If my head wasn’t hurting so much I’d have sworn I was in heaven – heaven for guys who like big tits!”

Chandler – “The girl talked like a frosted flake, but she had the nicest set of knockers that I had seen in a long time!”

Graduation Day (1981) Blu-Ray Review

GRAD 001GRADUATION DAY (1981) BLU-RAY

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

Extras:

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

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.

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For more ramblings, follow Matty on twitter @mattybudrewicz

 

 

 

 

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