WEIRD WEDNESDAY: The Muthers (1968)

Posted on by

Kelly (Jeanne Bell, the second black Playboy Playmate in October 1969, the first to be on the cover in January 1970 — with four other black Playmates — and also the first to be on the cover by herself in October 1971; she’s also TNT Jackson) and Anggie (Rosanne Katon, Playboy Playmate September 1978; The Swinging Cheerleaders) are pirates who steal from rich tourists and give to poor people. Then, the Justice Department finds Kelly and lets her know that her sister Sandra has been taken by drug dealer Monteiro (Tony Carreon). If the pirates can get into his plantation and get info, they’ll get immunity for all their past crimes.

They break in, join up with a prisoner, Marcie (Trina Parks, Darktown Strutters), and the bad guy’s woman, Serena (Jayne Kennedy, Body and Soul), then work on blowing the base up real good. That’s because Sandra had already been killed when she tried to escape. Well, the girls try to make it out, but not everyone is on the right side.

Cirio Santiago directed this, Cyril St. James wrote it, and Dimension Pictures released it in the U.S. It’s a combination of women-in-prison and blaxploitation films. I wish it had more tension or reasons to tell you it’s a must-see, but it’s interesting for the leads all being black and otherwise. It has long scenes of padding when you want all the madness of a WIP film. The chase kicks some of that off, but this seems to have all of the ingredients of a firecracker — speaking of Firecracker, that’s a much better Santiago film — but then the fuse sputters.

You can watch this on Tubi.

WEIRD WEDNESDAY: Murder In a Blue World (1973)

Posted on by

Depending on where you found this tape in the 70s, it went by a dozen different names. In Spain, it was the poetic Una gota de sangre para morir amando (A Drop of Blood to Die Loving); in France, the nonsensical Le bal du vaudou (The Voodoo Ball); and in the UK, it was slapped with the grindhouse titles Clockwork Terror or Murder In a Blue World.

It’s director and co-screenwriter Eloy de la Iglesia’s take on a future world that at times may feel very 1973 but also feels way more 2022 than we may want to admit.

To understand this movie, you have to understand De la Iglesia. A member of the Spanish Communist Party and an openly gay man living under the iron-fisted censorship of dictator Francisco Franco, his films weren’t just entertainment. They were Molotov cocktails. He specialized in Quinqui cinema, focusing on delinquency, social protest and the grit of the marginalized. Murder In a Blue World is another of his assaults on the status quo.

Sue Lyon (yes, Kubrick’s original Lolita) stars as Anna Vernia, a dedicated nurse by day who spends her nights acting as the “adistic homosexual killer the police are panicking over. In a stroke of brilliant irony, Anna collects pop art and even owns a copy of the novel Lolita. When she isn’t working, she lures gorgeous young men back to her apartment, sleeps with them and then—inspired by the rhythm of their post-coital heartbeats—slices them open with a scalpel.

She’s dating Dr. Victor Sender (Victor Sorel), a man convinced he can cure the rampant crime in their futuristic city through aggressive electroshock therapy. It’s a classic battle of ideologies: Victor wants to lobotomize the violence out of society, while Anna is the violence society created.

De la Iglesia doesn’t just tip his hat to Stanley Kubrick; he steals the hat and wears it. Early in the film, a family settles in to watch A Clockwork Orange on TV before being brutally attacked by a motorcycle gang.

Enter David (Chris Mitchum), a gang member with a conscience who gets beaten and expelled by his peers. After witnessing Anna disposing of a corpse, David decides to play a dangerous game of blackmail. He doesn’t want to turn her in; he wants her money to buy a motorcycle. It’s a strange, psychosexual cat-and-mouse game between a survivor of the streets and a high-society predator.

When David’s old gang leaves him for dead, he ends up in Victor’s hospital, slated for the doctor’s redemption treatment. Anna, having developed a twisted affection for the boy, realizes she can’t let the state take his soul. In a haunting finale, she reads Edgar Allan Poe to him, choosing to end his life on her own terms while Victor’s patients lose their minds in the background. It’s a bleak, beautiful bath in some dystopian dread.

I love how this movie somehow combines the ancient future of the 70s with the trapping of giallo. This is a strange and wonderful film that I plan on going back to several times.

WEIRD WEDNESDAY: Mr. Mean (1977)

Posted on by

If there is one thing you need to know about The Hammer, it’s that Fred Williamson doesn’t wait for permission. While most actors are content to sit in their trailers waiting for lighting setups, Fred was busy staging a cinematic heist.

The story goes that while filming Enzo G. Castellari’s The Inglorious Bastards (the one Tarantino loved so much he borrowed the title), Fred realized he had a crew, a camera and a weekend. Every Friday, he’d essentially kidnap the production equipment and go shoot his own movie. He spent the weekdays writing the script on the fly and Saturdays and Sundays playing the baddest man in Italy.

In Mr. Mean, Fred plays the titular character, a high-stakes hitman hired by a former Cosa Nostra heavy to take out a guy named Ranati (Stelio Candelli). Ranati is the kind of low-life even the Mob can’t stand. He’s running fake charities to steal from the poor. It’s bad for the brand, see? But once the job gets moving, Mr. Mean finds out he’s being set up by the very people who cut him the check.

This has that greasy, gritty Euro-crime aesthetic thanks to the Italian locations, but it’s injected with the soul of a Blaxploitation epic. Speaking of soul, The Ohio Players show up as themselves and provide a soundtrack that absolutely drips with funk.

Is the plot a little messy? Sure. That’s what happens when you write a movie on a Tuesday and film it on a Sunday. But you aren’t watching this for a tight screenplay; you’re watching it for Fred Williamson looking cool in a leather jacket, Raimund Harmstorf as a heavy named Rommell and the sheer audacity of a film made behind the backs of another production’s producers.

Mr. Mean is the ultimate DIY action flick. It feels like a beautiful accident, a collision between the Italian Poliziotteschi genre and the American badass archetype. 

You can watch this on Tubi.

WEIRD WEDNESDAY: Mr. Billion (1977)

Posted on by

Before Jonathan Kaplan was racking up critical acclaim for Heart Like a Wheel or The Accused, he was a king of the drive-in circuit. We’re talking a blistering run of exploitation gold: Night Call Nurses, The Student Teachers, The Slams, Truck Turner and White Line Fever. But even the best directors have a car crash moment. On an episode of  Trailers From Hell, Kaplan didn’t mince words, calling this movie “the biggest failure of his career.“

Written by Ken Friedman (who also wrote several other Kaplan films, such as Bad Girls and Death By Invitation), this was an attempt by Dino De Laurentiis to make an American movie starring Italian actor Terence Hill, who was already well-known to American audiences for They Call Me Trinity.

The plan? Put Hill in a big-budget, globe-trotting action comedy. The result? Total box office poison. Variety reported that Radio City Music Hall actually sued 20th Century-Fox for over $100,000 because ticket sales were so pathetic. When the Rockettes are looking for a refund, you know you’re in trouble.

”When a simple garage mechanic suddenly inherits a billion dollars, he gets more action, excitement, romance, and riotous adventure than money can buy!” Yes, Terence Hill is Guido Falcone, an Italian mechanic who is the only relative not to have begged his rich American uncle for money. When he gets the entire estate, his uncle’s business manager, John Cutler (Jackie Gleason), flies to Italy to try to con him. Despite his sweet nature, Guido is way smarter than he appears and wants to look over the estate; he has to be in San Francisco on a certain date to accept the offer. Cutler, wanting the money for himself, hires Rosie (Valerie Perrine) and her friend Bernie (Dick Miller) to distract Guido and keep him from signing his estate papers.

The movie was originally supposed to feature Lily Tomlin, but the studio gave her the thumb. Enter Valerie Perrine. As the urban legend goes, Perrine introduced herself to the famously modest and sweet-natured Hill by claiming she could light a cigarette with her vagina. Unsurprisingly, the chemistry evaporated instantly. The two supposedly despised each other, making the falling-in-love scenes feel about as romantic as a root canal.

The supporting cast includes R.G. Armstrong as a Southern sheriff, Chill Wills as a military leader, Slim Pickens as a rancher, William Redfield as a company lawyer, Sam Laws and Johnny Ray McGhee as a father and son with differing views on life, and even Leo Rossi as a kidnapper. As I say, it’s the kind of cast I personally would call an all-star, even if no one else would agree.

Hill would also appear in another box-office bomb that year, March or Die, which also starred Gene Hackman and Catherine Deneuve.

I have no idea why Hollywood would hire Hill to play in a movie that’s nothing like what he does best. At least he was able to work with Bud Spencer again and make plenty of late 70s and 80s buddy movies, as well as Super Fuzz as a solo movie three years later.

You can watch this on YouTube.

WEIRD WEDNESDAY: The Molesters (1963)

Posted on by

Der Sittlichkeitsverbrecher is a Swiss social issue film that aims to educate but often feels like a dark, unsettling drama, blending documentary elements with a grim narrative filled with trench coats and grimacing character actors.

Zurich is under siege and we follow the tireless Swiss police and the high-tech (for 1963) wizards at INTERPOL as they hunt down a rogue’s gallery of voyeurs, fetishists and sadists. Once these guys are caught, the movie shifts from a police procedural into a sterile, white-walled nightmare of psychological testing and the ultimate cure: voluntary brain surgery. 

Director Franz Schnyder was usually known for wholesome Swiss village stories, so seeing him dive into the muck of sex crimes is like finding out your favorite kindergarten teacher moonlights as a bouncer at a dive bar.

The film spends a lot of time on rehabilitation. It treats the human brain like suburban dads treat their old cars. If it’s not running right, just get under the hood, play with the timing belt, and see what happens. Except, you know, they’re cutting into human brains.

CULTPIX MONTH: The Blonde Witch (1956)

Posted on by

If you ever wondered what would happen if you took the DNA of a classic tragedy and stirred it up in a bucket of mid-century French existentialism and Scandinavian folklore, you’d get André Michel’s The Blonde Witch. It’s a film that feels less like a traditional narrative and more like a haunting B-side on a psychedelic folk record. It’s ethereal, earthy and destined to end in a feedback loop of misery.

Drone on, Blonde Witch.

Our protagonist is Brulard (Maurice Ronet), a French civil engineer who arrives in the Swedish backcountry to teach the locals how to chop down trees more efficiently. He’s the embodiment of civilization with a capital C: he’s got the blueprints, the logic and the smugness that only a man in a crisp dress shirt can bring to a primeval forest.

Then he meets Ina (Marina Vlady, The Conjugal Bed). She lives in the woods with her grandmother, talks to animals and possesses a wild, barefoot energy. Vlady plays her with a luminous, otherworldly intensity that makes it entirely believable that a man would throw away his career and his common sense to follow her into the brush. I get it, man.

The central conflict here isn’t just boy meets girl.

It’s industry meets magic.

Brulard falls hard, but because he’s a man of the modern world, he can’t just love Ina for the forest spirit she is. He has to fix her. He wants to scrub the dirt off her feet, put her in a dress, and drag her into the 20th century. It’s the ultimate colonialist romantic move: I love you, now let me destroy everything that makes you unique.

As their affair heats up, the local villagers start sharpening their pitchforks. These aren’t your friendly neighborhood Swedes. They’re a superstitious, insular mob who view Ina as a literal witch. The tension hums like a low-frequency bass note throughout the second act, building a dread that you can feel in your teeth.

Without spoiling the gut-punch, let’s just say that Brulard’s attempt to “civilize” Ina goes about as well as you’d expect. His insistence on bringing her into the village leads to a collision between ancient fear and modern arrogance, and Ina pays the ultimate price.

The ending isn’t just sad. It’s heavy like the sound of a beautiful melody being cut short by a broken string. Brulard is left with his blueprints and his civilization, but the soul of the forest nd the woman he claimed to love is gone, extinguished by the very world he tried to force her into.

I’m shocked this hasn’t shown up on an All the Haunts Be Ours set yet.

You can watch this on Cultpix.

WEIRD WEDNESDAY: Moonlighting Wives (1966)

Posted on by

While the rest of the exploitation filmmakers were busy filming grainy loops of women peeling oranges, Sarno was busy being the Ingmar Bergman of 42nd Street. He didn’t just want to show skin; he wanted to show the quiet, desperate rot behind the picket fence.

Moonlighting Wives follows Mrs. Joan Rand (Tammy Latour), a woman who realizes that the American Dream is expensive and her husband’s paycheck isn’t cutting it. She goes from being sexually harassed at a stenographer job to organizing a stable of neighborhood wives into a call-girl ring. But this isn’t a girl power heist movie. It’s a Sarno film, which means everyone is miserable. Even when they’re making money, they’re staring into the middle distance, wondering where their souls went.

Based on an actual scandal that took place in Nassau County, NY, in February of 1964, this finds Joan using everyone in her way and paying for it, because when this was made, the bad had to go to jail. Today, she’d be getting away with it and moving on to an even bigger scandal.

Tammy Latour was a staple of Joe Sarno’s early black-and-white “adults only” dramas. This film was thought lost for decades until a print was famously discovered in an eBay film lot and restored. Latour also appears in Sarno’s Flesh and Lace.

The cast also includes Joe Santos, playing one of the detectives. He went on to become a legendary character actor, most famous as Sgt. Dennis Becker on The Rockford Files. He was actually Joe Sarno’s cousin, which is how he ended up in these early “roughies” like this one and The Panic in Needle Park.

As for the belly dancer, that’s Fatima, who was a real-life professional dancer. Sarno often included “floor show” segments in his films to pad the runtime and add “production value” without needing to record synchronized dialogue.

Gretchen Rudolph, who plays Nancy, is also in everything from Fantasm and My Body Hungers to Bed of Violence and Run Swinger Run!

What makes Moonlighting Wives a cut above the usual is that it actually has something to say about the 1960s domestic trap. It’s about the commodification of the Happy Housewife archetype. Joan isn’t a villain; she’s an entrepreneur in a world that gave her no other outlets.

CULTPIX MONTH: Color Correct My C. Can F. Off! (2017)

Posted on by

I love trailer compilations. I don’t care what the opening sequence is, I only am here for the movies. And here they are. I’ve also compiled a Letterboxd list for this.

Sex With the Stars: The stars here aren’t celestial bodies; they’re a collection of 1970s British sitcom regulars and starlets, including Sherrie Hewson and Sylvia Kristel in archival footage, getting caught in various states of undress and nudge-nudge, wink-wink scenarios.

Parasite: Long before Bong Joon-ho, Charles Band was giving us 3D monsters in a post-apocalyptic wasteland. It’s gooey, it’s sweaty, and it’s got Demi Moore fighting a lemon-shaped organism.

Breakin’ 2: Electric Boogaloo: The ultimate Cannon sequel. It’s less a movie and more a neon-colored fever dream where dance can literally save a community center from developers.

Black Deep Throat: If you’re looking for a sequel to the Linda Lovelace classic, you’ve come to the wrong grindhouse. This is actually a bizarre Italian export (originally Gola profonda nera) that tries to capitalize on two different crazes at once: the Deep Throat name and the Black Emanuelle phenomenon starring Ajita Wilson.

Franchesca’s Sexual Whirlpool: A woman finds herself caught in a cycle of longing and liberation, navigating a series of encounters that are filmed with that soft-focus, hazy glow that makes everything look like it’s happening inside a bottle of cheap perfume. While it lacks the gonzo energy of the Mitchell Brothers or the high-gloss production of a Gerard Damiano joint, it’s an example of the porn chic goal of blending narrative prestige with hardcore in and out.

Heroes of the East: Also known as Challenge of the Ninja, Shaolin vs. Ninja and Shaolin Challenges Ninja, this Lau Kar Leung-directed film has more Japanese martial arts on display than you usually see from a Hong Kong movie. The Japanese characters are also treated with respect, unlike many of these movies, and Lau insisted that none of the fights ended in death.

St. Ives: Charles Bronson stars as Raymond St. Ives, a crime reporter turned novelist hired by an eccentric billionaire to recover stolen ledgers. This sleek 1970s thriller weaves a web of double-crosses, murder, and high-stakes intrigue. Bronson swaps his usual vigilante grit for sophisticated wit in this stylish, star-studded neo-noir mystery.

10 to Midnight: Charles Bronson versus a naked serial killer. This is the peak of Cannon’s law and order obsession, where the mustache of justice finally snaps. Shot both as a hard R rated and TV-friendly film — in which the killer’s nudity is covered — this movie is wild, with director J. Lee Thompson fully unleashed and Bronson waving masturbatory devices in criminal’s faces screaming, “You know what this is for, Warren? It’s for jacking off!” while Wilford Brimley tries to get him to simmer down. I mean, Roger Ebert called it “a scummy little sewer of a movie” and that seems like him telling me to watch it as many times as I can.

Telefon:Charles Bronson plays Grigori Borzov, a KGB agent sent to America to stop a rogue official from activating brainwashed sleeper agents. These telefons are triggered by lines of Robert Frost poetry to commit sabotage. Bronson teams up with a double agent in a tense, cross-country race against time.

Vigilante Force: Kris Kristofferson and Jan-Michael Vincent go to war in a small town. It’s a gritty 70s explosion-fest that doesn’t hold back.

The Wizard: Corey (Fred Savage) runs away with his gifted younger brother, Jimmy, and Jenny Lewis to compete in a high-stakes video game championship in California. Along the way, they dodge their family and a bounty hunter, culminating in an iconic tournament showdown featuring the debut of Super Mario Bros. 3.

Detroit 9000:After a $400,000 heist at a political fundraiser, a street-smart white detective anda college-educated black sergeant must solve the case. This gritty, on-location blaxploitation classic blends hard-boiled police procedural with explosive action and a cynical, twist-filled ending.

The New York Ripper: Lucio Fulci goes to the Big Apple and leaves a trail of duck-voiced mayhem behind. It’s mean, it’s sleazy and it’s pure Italian soul-crushing horror. It’s also weirder to hear the duck quack in German on this trailer.

Savage Beach:Dona and Taryn are back again, this time flying missions as federal drug enforcement agents based in Hawaii. After a successful drug bust, they are asked to fly a vaccine from Molokai to Knox Island. However, they soon run afoul of nefarious forces within the Philippine government and some double agents at home, who are searching for a sunken World War II-era ship loaded with gold.

Swamp Thing: Wes Craven takes on DC Comics. It’s a rubber-suit romance that feels like a Saturday morning cartoon with a slightly higher body count, David Hess and Adrienne Barbeau.

The Return of Swamp Thing : Jim Wynorski takes over, adds more camp, and gives us a mutant montage set to “Born on the Bayou.”

Vice Versa: Judge Reinhold and Fred Savage swap bodies via a magical skull. It’s the 80s. Just go with it.

Relentess: A William Lustig big budget movie! Sam Dietz (Judd Nelson), a rookie detective and transplant from New York, who is partnered with a cynical, veteran LAPD detective, Bill Malloy (Robert Loggia). They are tasked with hunting down a serial killer who chooses victims at random from the telephone book.

Captain America: Albert Pyun directed this, a film in which Captain America is played by Matt Salinger, the son of the writer of The Catcher In the Rye, and fighting Scott Paulin as the Red Skull, who was a child prodigy that the Axis experimented on, sending Dr. Maria Vaselli (Carla Cassola, Demonia) to America where she creates the Super Soldier Syrum

Overexposed: Catherine Oxenberg stars as a soap opera actress who becomes the target of a deadly stalker. As the obsessed fan’s threats escalate, the line between her television role and reality blurs.

Beyond the Door: There are rip-offs of The Exorcist. And then there are rip-offs where copyright infringement lawsuits lead to Warner Brothers getting a cash settlement and a portion of the film’s future revenue. Beyond the Door would be the latter. It’s $40 million worldwide gross meant that this film would a film draw the ire and call of that most Satanic of all monsters, the suits and the lawyers.

The Sister-In-Law: Despite being called The Sister-In-Law, she disappears halfway through this movie and we never see her again. Instead, this becomes a heroin movie. Yes, there’s a cat fight, but this is really the story of two brothers — one who wants to be rich, another who is hitchhiking across the country — and the women are just in the way. And banjo music. So much banjo music.

Winter Love: A young woman finds herself swept up in a passionate affair with her ski instructor. As their relationship deepens against a snowy backdrop, the film explores the complexities of desire and emotional vulnerability. It remains an obscure relic of early seventies sentimental psychodrama.

The Working Girls: Stephanie Rothman proves once again she was the best director in the Roger Corman stable, giving us a smart, funny, and subversively feminist look at survival.

Porky’s 2: The Next Day: After the success of Porky’s — success is a small way to describe how influential it was on the movies that would follow in its wake, even if it owed so much to Animal House and Lemon Popsicle — the next film was in production quickly. Directed and co-written by Bob Clark, who worked with Alan Ormsby and Roger Swaybill, the results may not live up to the original, but it’s way better than the teen sex comedies that would arise after the first movie.

Evel Knievel: George Hamilton stars as the man who defied gravity and common sense. It’s a self-mythologizing biopic that’s as loud as a Harley.

Won Ton Ton: The Dog Who Saved Hollywood: A movie about a dog that features approximately 700 cameos from Golden Age stars who probably needed the paycheck.

Salon Kitty:Directed by Tinto Brass, Salon Kitty is a stylized 1976 controversial drama set in Nazi Germany. It follows a high-class brothel used by the Gestapo for espionage, where sex workers are trained to extract secrets from officials. A family film!

Namu, The Killer Whale:A naturalist tames a grieving orca in this 1966 family adventure. Rather than a bloodthirsty beast, Namu becomes a gentle companion to a biologist, defying a fearful fishing community. It’s a scenic, heartwarming precursor to Free Willy, showcasing the bond between man and whale against a beautiful Pacific Northwest backdrop. That said, the trailer is frightening.

The Libertine: Catherine Spaak discovers her late husband’s secret “playroom” and decides to out-degenerate him. Stylish, 60s Italian psychodrama sexiness at its best.

Black Belt Jones: Jim Kelly. A car wash. A karate showdown in soap suds. If you don’t love this, you don’t love movies.

Audrey Rose: Is it reincarnation or just Anthony Hopkins being very intense in the rain? A classy, creepy supernatural drama that avoids the usual shocks for real dread.

Body Talk: Directed by Anthony Spinelli, this 1982 adult feature stars Sharon Mitchell as a fitness enthusiast caught in a web of erotic encounters. Set against the backdrop of the early 80s aerobics craze, it combines high-energy workout sequences with explicit scenes, capturing the neon-soaked, synth-driven aesthetic of pre-VHS era adult.

Fearless Fighters: Wuxia madness that feels like it was edited in a blender. It’s the kind of kung-fu flick that fueled a thousand 42nd Street dreams.

High, Wild and Free: Filmmaker Gordon Eastman captures the rugged splendor of the British Columbia wilderness. It’s a high-altitude journey featuring breathtaking wildlife footage, daring mountain climbs and incredible fishing. For anyone who loves the great outdoors, it’s a pure, scenic escape into the untouched heart of nature.

Tom Thumb: In this George Pal musical, Russ Tamblyn stars as a tiny boy granted to a childless couple by the Forest Queen. Featuring Oscar-winning special effects and Puppetoons, the film follows Tom as he outwits bumbling thieves Peter Sellers and Terry-Thomas.

Popi: Alan Arkin stars as a hardworking Puerto Rican widower in New York who concocts a wild scheme to secure a better life for his sons. He sets them adrift off Miami, hoping they’ll be adopted as wealthy refugees.

Ginger: Ginger McAllister takes on a job of infiltrating a gang of criminals. This often means sleeping with men and women, which can often mean using piano wire on a dude’s tallywhacker and threatening to cut it off. This feels like porn without penetration, the kind of porn that was playing the Avon and the rougher theaters, as Ginger is tied up and assaulted several times, yet always comes out on top, even when bad guy Rex Halsey (Duane Tucker) rapes her. After all, the cut to her face assures us that she likes this.

You can watch this on Cultpix.

BLOODSICK PRODUCTIONS BLU-RAY RELEASE: Busted Babies (2024)

Posted on by

Released by Blood Sick Productions, this isn’t just a movie. It’s an analog artifact that feels like it was recovered from a psychic VCR in a basement that hasn’t been opened since 1992. The film follows “______” (played by director Kasper Meltedhair), a character sporting horns, bat wings and polka-dot skin. She possesses a secret capability to turn flesh, specifically babies, into glass.

The narrative (which operates on slippery, non-linear logic kicks off when she trips in the BBQ Salon. This clumsy moment causes “immortal goop” to splatter across the faces of _____ , Movie Star (Erin Caywood) and Character Name (Cody Brant).

From there, the film descends into a party-murder plot involving a green amulet, body-melting chewing gum, and a wood chipper that eventually reveals a dusty trick.

One of the most surreal elements involves a group of men in suits led by Gartan Galtar (Brewce Longo). They don’t just walk; they dance “preciously” through liminal spaces, on a mission to steal glass babies so they can shatter them over themselves and achieve immortality.

At 90 minutes, Busted Babies is a marathon of non-narrative, confrontationally strange imagery. It’s a movie that doesn’t just want you to watch it; it wants to stain your brain with its rusting, immortal goop.

Extras include a short film by Kasper Meltedhair, Behind The Scenes, Outtakes, The Donald Farmer Viewing Experience and trailers. You can buy it from MVD.

BLOODSICK PRODUCTIONS BLU-RAY RELEASE: Blood Bitch Baby (2024)

Posted on by

Blood Bitch Baby relocates Elizabeth Bathory from 17th-century Hungary to modern America. The story follows a specific, dark trajectory. Played by Jessa Jupiter Flux, Bathory is depicted as a servant of Satan seeking to bring his heir into the world. She ensnares Jenny (Angel Bradford), granting her demonic powers that Jenny eventually uses to get revenge on her abusive boyfriend, Kevin (Joe Casterline). The goal? Impregnate Jenny with the Blood Bitch Baby, an unholy, monstrous creature.

Along the way, there’s also a paranormal investigator, some cops who barely get anything done and the always alluring Mel Heflin as a potential love interest for Jenny. Eyeballs will be consumed, women will be assaulted by dark forces, and there will be plenty of gore and perhaps some flesh, as well.

Like many of Donald Farmer’s movies, this utilizes real-world, gritty American locations that contrast sharply with the ancient evil of the Bathory name. Plus, at 68 minutes, it moves quickly and won’t overstay its welcome.

The Bloodsick Productions Blu-ray of this movie includes extras such as a behind-the-scenes photo album, a director’s introduction by Donald Farmer with Kasper Meltedhair, and trailers. You can get it from MVD.