Directed and written by Les Sekely (Vampire Time Travelers), this is similar to that film and this quote that I used to describe that one is even more accurate: “This movie feels less like a narrative movie and more like someone made a Dark Brothers or Rinse Dream adult movie mainstream, giving it constant blasts of words and images…” If I say Party Doll-A-Go-Go and you get it, you’re a pervert, and we should be friends, and you’ll know exactly what kind of strange editing and barrage of sound effects and dumb jokes that entails.

Years ago, students destroyed the life of their teacher. Most of them got over it, but only one still feels some empathy and wonders what happened to her, perhaps because his girlfriend is also a teacher. Yes, you now get that this is not a rip-off of I Know What You Did Last Summer, except for being close to the title.

I can see that as a movie that would anger many viewers, as it doesn’t even let up with being silly, even when it’s trying to be heartfelt. The sound effects, if anything, get louder and more repetitive, kind of like Max Headroom repeating himself. It was something in the way 90s and 00s movies could be edited and doesn’t seem to have survived until today. Yet here’s this film, rescued by Visual Vengeance, a little shot in Lakewood, OH effort about demons, classroom hijinks and the regret of growing up, mixed with male gaze rear-end shots and a Troma-like sensibility without nudity. I haven’t seen many movies like it, so you should try it at least.

You can watch this on Tubi.

Todd Sheets doesn’t just make movies; he stages low-budget massacres. While most directors would let a microscopic budget limit their scope, Sheets treats his lack of funds like an invitation to see how much corn syrup and latex he can cram into a single frame. He knows how to make things loud, bloody, and gross, a holy trinity of exploitation that deserves to be etched into the skin of every SOV devotee.

A vicious new street drug called Rapture is flooding New York Cit  and Jack (Mark Glover) is the cop on the case. But the Breeders gang isn’t human. No, they’re demons, cooking up something infernal for the streets, as well as giving birth to the Antichrist. But if Jack can get the young girl who has been impregnanted with the demon child baptized — by Pastor Williams, played by Rudy Ray Moore! — the world can be saved. Also: there’s relationship drama, as Jack’s ex-wife isn’t just sleeping with a drug-dealing demon, she won’t let our cop hero see their daughter Amy (Rebecca Rose). And, of course, strip clubs, demonic gangbangers and cowboys, angels fighting demons, maggots inside heads, worms inside bodies, even more gore galore and plenty of riffs. There’s also a demon who Xtro-style emerges from a woman as a full-grown man. There’s also a switchout of heroes at some point, as Steve (Nick Stodden) meets up with Amy to get this case solved.

Kansas City, Missouri isn’t NYC, but you wouldn’t know it. Sheets has a vision here and delivers with big crowds mixing it up with the in-your-face viscera. This has my highest recommendation.

Fistful of the Undead (2014): If Violent New Breed is the main course of glorious filth, Fistful of the Undead is the shot of cheap tequila you take right before the bar fight starts. Included as a standout extra on the Visual Vengeance release, this short is Todd Sheets stripping his style down to its most primal, lizard-brain essentials.

If you’ve ever wondered what would happen if Sergio Leone lost his mind, got on a plane and started filming in a Kansas sCity laughterhouse, this is it. Fistful of the Undead is a micro-budget love letter to the Spaghetti Western, but instead of staring contests and Morricone scores, we get high-velocity splatter and a total disregard for human anatomy, including no small amount of intestines being stretched out as if this were a tug of war or a taffy pull covered with goopy blood.

You should read that as “This is a great short that you totally need to watch.” Not much else happens, but why should it?

This is a new director-approved, remastered SD master version from original tape elements with the plternate original DVD version, an alternate R-rated version as aired on The Movie Channel and an alternate original VHS release version. There are three commentary tracks, interviews, behind the scenes docs, the Q&A from the Nitehawk Cinema showing, news coverage, uncut sequences, a booklet with liner notes by Tony Strauss of Weng’s Chop Magazine, Visual Vengeance trailers, a reversible sleeve featuring original VHS art, a folded mini-poster of original Ghana art by Heavy J, a Ghana poster by legend Heavy J and a birth announcement vintage reproduction. This has 12 hours of extras, so why are you reading this? Buy it now from MVD.

Back in 1986, there was a very real idea that we had broken the world. Or the ozone layer.

Discovered in 1913 by French physicists Charles Fabry and Henri Buisso, it absorbs most of the world’s ultraviolet radiation. This layer of protection for us was destroyed after years of pollution,  chlorofluorocarbons (CFCs) and bromofluorocarbons, which means unabsorbed and dangerous ultraviolet radiation was now hitting us at a higher intensity.

You can feel the effects now when there’s a bad weather quality day, as what they call bad ozone can cause harm those with respiratory illnesses such as asthma, COPD and emphysema. Code orange kids, unite and try to take over while hacking up your insides.

I tell you all this to inform you that in 1986, there was a hole in the ozone layer and that seemed like as good a reason as any to cause zombies to wander Texas.

Directed by Matt Devlen, who directed and wrote Tabloid, as well as the man who wrote The Invisible Maniac — and produced Crispin Glover’s What Is It?, which quite frankly blows my mind — Ozone: The Attack of the Redneck Mutants is the movie brave enough to answer the call to make an ozone-related mutant zombie shot on Super 8 epic.

The spiritual cousin or some family to The Abomination — which has a lot of the same cast and crew, as it was shot first and then this came next — this all starts with Kevin Muncy (Scott Davis, Cody from The Abomination, get ready for a lot of …from The Abomination mentions) sneaking into the trunk of the car of Arlene Wells (Blue Thompson AKA Carolyn McCormick, Bret’s wife; of course she was in the movie you already know I’m going to talk about, playing Kelly. She also edited his movies Blood On the Badge and Armed for Action as well as acting as the costume designer for Time Tracers). They’re on their way to Poolville, Texas — an incorporated community of around five hundred people in North Texas that’s close to the birthplace of Robert E. Howard — he was from Peaster, TX — and Mart Martin, as well as the final resting place of Chewbacca. No, really. Peter Mayhew lived in Boyd, TX.

Anyways, Poolville is at the junction of farm roads 3107 and 920, named for the big pool of water in the middle of town. There are five churches, one for every hundred people.

Back to Ozone. Get ready to meet characters with names like Outhouse Mutant, Car Mutant, Country Store Mutant, Granny Mutant, Big Fat Mutant and Melon Mutant. There are lots of melons. This movie has more watermelons than Mr. Majestyk. It also has effects that make me genuinely concerned for the actors in this, as the effects look like being tarred and feathered. I can only imagine that the zombie makeup stayed on their skin for days and that throwing up all of the multicolored liquids gave them all diarrhea.

This also has some kind of misplaced love story, as Wade McCoy (Brad McCormick, Ike from…yeah, repetition is the essential comedic device) has promised to pick up Loretta Lipscomb (Ashley Nevada AKA Barbara Dow who is in…actually a whole lot of movies, such as The Invisible Maniac, Mad At the Moon, Deathrow Gameshow, Curse of the Queerwolf, Nudist Colony of the Dead, Witchcraft IV: Virgin Heart, Cage II, Red Lipstick and G.I. Jesus) for the talent show down at the general store. We also meet his mother Ruby (Janice Williams), who at one point invites Kevin and Arlene to a picnic that turns into chaos. 

I asked Bret McCormick about this movie and he filled in a lot of the gaps for me.

“We agreed to do these two movies back to back. It was supposed to be like a one-month thing with ten days on each movie. He was supposed to go first. And at the last minute, he backed off and bailed out. So I went in and shot The Abomination first and we shot for 10 days and that was kind of it. The production of Ozone went on for like 22 days. And it got to the point where we just kind of had to say it’s time to stop because it could have gone on forever.”

As to how they were able to just shoot whatever they wanted and not be bothered, he said, “In Poolville, back in those days, I mean, you could shoot a scene on one of the dirt roads, run through the town and be out in the street for 30-40 minutes before a car came by. We were largely undisturbed with pretty much anything we wanted to do out there. The locals, some of them were curious and, you know, helped us out and played big parts in the movie.”

This is the kind of movie where puke and blood get on everything. That’s how they do it in Texas, the kind of place where a chainsaw massacre gets filmed in a way too hot shack filled with real animal guts and the sequel is made in a newspaper printing facility that had ink pouring down the walls and everyone had some mysterious respiratory illness. It feels handmade and not perfect and that’s how movies should be, messy affairs that make you laugh or throw up and sometimes that happens in the same moment.

The score is great, too. The music crew was Richard Davis (who also worked on Dear God No!, Amazon Hot Box, Monsters and, wow, Robin Hood: Prince of Thieves), John Hudek, Lasalo Mur and Kim Davis, who has worked as a location manager on movies like Alita: Battle Angel, Stone Cold, Problem Child, Ollie Hopnoodle’s Haven of Bliss and Don Henley’s video for “The End of the Innocence.”

Where The Abomination is a film about darkness within the light of religion and literal cancer coming to life to be a Biblical end times beast, Ozone is happier to just be people hooting and hollering, shotgun blasts blowing melons to bits and an ending that’s beyond deserved.

The Visual Vengeance release of Ozone: Attack of the Redneck Mutants has extras including a new director-approved SD master from original tape elements, plus two commentary tracks, one by producer Bret McCormick and star Blue Thompson and another with commentary with Sam Panico of B&S About Movies and Bill Van Ryn of Drive-In Asylum. Hey that’s me!

Plus you get a new Blue Thompson interview, an Ozone and The Abomination location visit, deleted scenes and outtakes from producer Matt Devlen’s personal archives, a Muther Video VHS intro reel, interviews with Devlen, a short film, acting reels, a public access review, a podcast, an image gallery, a trailer for Tabloid, Visual Vengeance trailers, a “Stick Your Own” VHS sticker set, a reversible sleeve featuring original VHS art, a folded mini-poster, a limited edition O-Card with alternate art by The Dude, a 12-page mini-comic book, an Ozone mutant puke bag and a Muther Video logo stick. You can get this from MVD.

I’ve said it before, I’ll say it again. Chris Stokes never lets you down. You know, when he and Marques Houston put together a Tubi Original, you’re about to get high entertainment, some level of sleaze, and the kind of viewing experience that quickly goes by. 

Sean Stevens (Nate Wyatt) is one of the world’s biggest pop stars. After being robbed and knocked out, he wakes up in an unfamiliar bed. That’s when he’s introduced to Stacy Freeman (Asia Holiday), who tells him he is in a safe place.” However, safety is an illusion; Stacy reveals herself as his biggest fan and claims she is the only one who can properly care for him. As you can imagine, she goes all Misery on him, keeping him locked up all for herself because she’s a megafan of his singing and makes him perform just for her. Sure, he only has one song, but come on. Just go with it.

Stacy isolates Sean from the outside world, gaslighting him by claiming his family doesn’t actually want him back, hoping to convince him that they only want to profit from his fame. While the world searches for the missing star, Stacy keeps him captive, driven by the fact that she has been waiting so long for this moment. Who can blame her when she builds a specialized room for Sean, not for his comfort, but as a studio where he is forced to write and record an entire album dedicated solely to her, Phantom of the Paradise-style.

Of course, like all Stokes’ projects, this ends with a cliffhanger, and I assume that the second — and third — films were all shot at the same time. I don’t see that as a bad thing. When a movie has a psychotic fake wedding ceremony, you can never hate on it.

I love that — like Italian exploitation directors of old — Stokes starts from a template, whether that be an erotic thriller, a child gone bad movie or, in this case, a kidnapping by someone with mental issues movie. Then, he fills his cast with people of color and goes from following the blueprint into his own thing, unafraid if things feel off or weird. These movies exist in their own universe, and if Tubi really were the mom-and-pop video store I dream it is, they would have their own shelf with his name above it. Kudos.

You can watch this on Tubi.