The Forest is unlike any other slasher you’ve ever seen. Sure, it has murders in the woods, campers and stalking scenes. But it gets weirder than almost any other slasher would dare, pushing itself to the edge of absurdity while subverting anything you’d expect.
The killer — John — is played by Gary Kent, a stuntman whose work extends from his debut in Battle Flame through the films of Al Adamson and Roger Corman, emerging as the inspiration for Cliff Booth in Once…Upon A Time In Hollywood and the subject of the documentary Danger God. He’s not just a killer in this. He’s not just a cannibal. He’s a killer cannibal haunted by the wife and children that he murdered in a fit of rage.
Two couples — Steve and Sharon plus Charlie and Teddi — have decided to go into the woods for a vacation. The girls meet the ghosts the first evening, as they first meet the kids and then are confronted by their mother. If a ghost can be insane, hers definitely is.
When they were all still alive, the woman slept around on her husband to the point that he killed her, took off for the woods with his kids and watched them commit suicide, which was finally made him lose his mind and became the hermit human flesheater we meet in this film, the kind of maniac who’d feed a man his girlfriend.
The craziest thing about this movie is that Sharon ends up being the real hero — not just a final girl — and the two men are shown to be, at best, victims and at worst, total morons. Only she is capable, strong and able to survive, perhaps because she has connected to the dead children of the killer.
Even stranger, she was played by Tomi Barrett, who was the wife of Kent.
Shot in 13 days, this movie doesn’t get mentioned enough. Don Jones, the writer and director, would also Who Killed Cock Robin?, The Love Butcher, Schoolgirls In Chains and Sweater Girls — all quality films.
Look, not every slasher has Tom Hanks in it. Actually, this would be the only one. So if you’re ready to see America’s favorite actor in a movie that is directly inspired by Halloween, then this would be your one and only chance to get it done.
This was Armand Mastroianni’s first movie, way before he’d start making TV movies. It’s all about young brides getting killed before they even make it to the altar, so at least it isn’t a holiday-centric slasher. That means that the film is free to explore all of the parts of the wedding, from the home of the bride to a dressmaker’s shop and, of course, the wedding chapel itself.
Our heroine is Amy Jensen (Caitlin O’Heaney, Savage Weekend), a bride-to-be who is in the crosshairs of whomever the killer ends up being. This movie takes the typical loose woman must die formula of the slasher to a ridiculous degree, as the main character is unsure of her fiancee while her best friend is having an affair and they all pay, along with nearly everyone else they come in contact with putting together this wedding.
Sure, the killer is Ray Carlton, a man left at the altar, but this movie decides to do the “it’s not over” ending as well, so when I say “whomever the killer ends up being,” I’m playing it coy.
While Mastroianni originally wanted to make a movie based on the urban legend “The Hook,” he sold the movie as containing a self-referential film-within-a-film. That would form the start of the movie, where a couple watching a horror movie are soon killed by the movie’s villain. If you’re saying. “Isn’t that exactly how Scream 2 begins?” Good news. You’re learning just how original those movies — which proclaimed to be the most original slashers in years — really were.
Hanks’ character was supposed to die, but everyone liked him so much, they kept him alive. See, even in his film debut, he was already everyone’s favorite.
DAY 2. SLUMBER PARTY: Watch one with a sleepover in it.
If you’re going to watch a slumber party, why not one that promises to be the final one?
I mean, just listen to this sell copy: “The plot is twisted inside out, leaving you stunned and clinging to your chair as you witness shock after horrifying shock. The ending will leave you breathless. And now, the blood flows like wine.”
Six popular teens and a science nerd plan on spending three months of partying when a parent goes away, but said parent is also a doctor who was planning on lobotomizing a mental patient who has stolen a scalpal and headed to get some pre-emptive payback. Steve Tyler wrote, directed and stars in this and it’s the only movie where not one, but two maniacs in scrubs wipe out teenagers.
It’s also among the worst movies I’ve ever seen, which seems like an astounding effort after the double digit Jess Franco movies that I’ve put myself through.
Also the killer’s name is Mr. Randles, which does not randle off the tongue quite like Jason Vorhees or Michael Myers.
This is a movie that has three endings while also being shot on video and film at the very same time. No, it’s not going for a mixed media effect. It’s just inept, which makes me kind of love it in the way you fall for the biggest charity case in the dog pound. But man, it does have a nice poster.
You may be astounded by the sheer volume of anti-homosexual slurs in this movie. And guess what — the ones saying it are supposed to be the heroes! And then there’s the dream sequence which has nothing to do with anything else before or after that seems like it could be one of the many endings to this movie.
You can watch the Rifftrax version of this on Tubi. Bring all the alcohol and drugs you have to survive this last slumber event or perhaps just watch Slumber Party Massacre II. The movie comes and goes from You Tube, but here’s non-age restricted sign-ins HERE and HERE.
“Necessity or chance approach not me; and what I will is fate.” — poet-philosopher John Milton
A “classic” is in ye eye of the beholder; it’s a subjective adjective that’s slash n’ swung much around these ‘ere wilds of Allegheny County with these old, emulsion-scratched outdoor ditties we hail under the big white screen’s twilight’s last gleaming. And, as with most of those “classics” reviewed at B&S About Movies—such as Eyes of Fire, Brotherhood of Satan, and Messiah of Evil—those films, even after B&S About Movies’ Chief Cook and Bottle Washer, Samuel, spins the reels and fingers the keys to ’em, they’re so f-in’ friggin’ good that they need to be reviewed a second time (Sam’s The Redeemer review) to implore upon ye, the B&S surfer-reader, of the majesty of the work.
Make no mistake, ye B&S’er: This lone directing effort by Constantine S. Gochis and lone writing effort by William Vernick is a ‘70s horror classic that (for this lowly reviewer) ranks right alongside Herk Harvey’s Carnival of Souls, John Hancock’s* Let’s Scare Jessica to Death, and Don Coscarelli’s Phantasm. And while Harvey’s lone opus discovered its posthumous popularity among horror aficionados in the digital wilds of the public domain, and Coscarelli scored one of the biggest drive-in and theatre horror hits of 1979, Gochis-Vernick’s equally phantasmagoric feast of the senses found itself lost somewhere between the space gate and the red planet of the dwarfs.
I’ve watched this film several times over the years: it was one of those go-to films you rented every October from the local mom-and-pop VHS repository—under its mid-‘80s shelf life as Class Reunion Massacre. Oh, how I remember those pulpy, black and white ads and newsprint reviews in my cherished movie mags of yore that featured that skull and cowl-faced grim reaper pressed against the diamond pattern of a wrought-iron gate. I can’t recall an October that I didn’t watch The Redeemer, Phantasm, Sam Raimi’s Evil Dead (sorry, forget part deux; the original does it for me), and Rocktober Blood in a same-day marathon or within the same Hollows’ Eve week; they just warm the ol’ VCR’s electronics so well!
Sadly, while the analogously weird Phantasm was blessed with a well-financed advertising campaign that came complete with radio and TV ads (that I remember hearing and seeing on my local rock stations and UHF stations), The Redeemer, aka The Redeemer, Son of Satan, didn’t become known to a mass audience as result of its poor drive-in and (select) theatre distribution—and I envy those who had the opportunity to encounter The Redeemer in 1978 on the big screen. (These ‘ol bastard who claim that they did, you’d fill a 50 K football stadium; so I doubt they did. It’s like all of those people who “saw” U2 at the Hope and Anchor in Islington, England, in December 1979—when only nine people were in attendance (about the same number of people at The Crucifixion). It’s like all of these fire n’ brimstone preachers hawkin’ splinters of Christ’s Cross as your donation “gift”—there’d be enough wood spinters to manufacture a thousand crosses. So, how that’s tap “holy water” vial workin’ for ye? Have thou been “redeemed,” dear child?)
Anyway . . . when we look back at all of the mindless, post-John Carpenter Giallos**-twice-removed body parts n’ plasma slop making bank in the slasher ‘80s, how in the Sam Hill did this intelligently-written WTF*˟-is-going-on slice of brilliance die on the overgrown crypt vines?
Double-billed with John “Bud” Cardos’s Kingdom of the Spiders.
Ah, but ye must not be duped by Continental Video’s seven-years later 1985 VHS release under the title Class Reunion Massacre—for this Virginia-shot slasher we-don’t-know-what-the-f-it-is, is not a post-In the Year of Our Carpenter, A.D. production: The Redeemer began production in 1975, filmed for six weeks in the summer of 1976, completed reshoots in January 1977, and completed its three-month post-production between April 1977 and July 1977.
And here’s the film noir-cum-giallo plot twist: Halloween completed its twenty-day shoot over a four-week period in May 1978—The Redeemer was in the can, first. And the yellowed-cover turns again: expectations were low for John Carpenter’s˟* follow up to Assault on Precinct13; aimed primarily at secondary markets (duplex theatres) and drive-ins, it quietly opened in Kansas City October 25, 1978. Meanwhile, halfway across the country in Los Angeles, The Redeemer opened—on October 25, 1978. During its drive-in run, ironically, The Redeemer played on the bottom half of double bills with Damien: Omen II (1978). (Phantasm premiered June 1, 1979.)
“Thy is the common fate of all; Into each life some rain must fall.” — Henry Wadsworth Longfellow
Sadly, everyone remembers the madcap hijinks of ol’ Crospy in The Burning(1981) and Madman Marz in Madman (1982), (sorry, both are craptastica slices of crapola, even though they’re based on the Cropsey urban legend; Sam delves into the NYC legend in his reviews)—and no one remembers the lake-unleashed exploits of “The Redeemer” (a very good T.G. Finkbinder in his only acting role). It wasn’t until Johnny C. reinvented the admittedly dying horror genre with Halloween (ol’ Carps was the “Nirvana” of horror world, if you will)—and some confounded contraption called the VCR appeared on retail shelves—did the (retitled) The Redeemer finally find an audience courtesy of the hungry-for-product home video market.
So, what gives with that lame title VHS title?
Ah, the “Big Box” slip cover I remember.
Well, retro-peruse those brick-and-mortar VHS shelves, ye dear reader—look at all of those films with the word “Class,” “Reunion,” and “Massacre” in the title—and all of the horror films centered around a bunch of dopey high school kids-cum-asshole adults meeting their comeuppance years later. New title x new shelf life √ new audience = we can finally make bank on our cursed movie.
This is one of those films where—and we’ve discussed this several times in the reviews of truly oddball movies (such as Harry Hope’s Smokey and the Judge and Harry Hurwitz’s Nocturna, Granddaughter of Dracula)—it seems, the producers didn’t have a locked script and made it up as they went along. Or they had a couple of unfinished scripts and/or movies and spliced them together into a feature. (God Bless, Dr. Shagetz from 1974 becomes 1977’s Evil Town, aka also a 1985/1987 VHS; the unfinished films Scream Your Head Off and The Dark Side to Love (1984), and Cataclysm (1980), becomes the 1985 John Phillip Law-starring Night Train to Terror, comes to immediate mind.) Or they just went “female” and changed their minds for no godly-earthly, logical reason. (Wow, now that’s really sexist; Sam, pencil that transgression alongside my file’s other faux pas. I’ll see you at the bi-annual review.)
Seriously . . . how else can we explain the majesty of this Felliniesque, surrealistic horror?
First, we have a fully-clothed kid, his fist-raised in some sort of afterworld Heil Hitler-salute rising from the primordial stew of a rocky cliff-locked lake. And he hops a ride on church bus. Okay, so . . . we’re getting a crazy kid of The Omen variety, you know, like theatrical one-sheet tease. But wait . . . the kid’s fellow church choir mates are picking on him. Okay, so we’re getting a Prom Night knock off with a little kid extracting adult hood revenge. But wait . . . what’s the deal-e-o with this fire and brimstone preacher with two thumbs on one hand? Okay, so we have a troubled priest of the Jason Miller from The Exorcist variety, and the priest sidelines as child molester . . . and he goes “Jason Vorhees” after services have concluded . . . is he a clerical collared Freddy Kruger? And who’s the building inspector that kills the abandoned high school’s caretaker and makes a mask of his face to masquerade as the caretaker? And how did he decorate that basketball auditorium—complete with catering—all by his lonesome? Not to mention the gothic, “death trap” stage production complete with a graveyard and a giant clown marionette that’s hosted by a stovepipe-hatted magician spouting gothic poetry? Who is the poetry-quoting, camping duck hunter who just blew away one of the ne’er-do-well adults who escaped into the woods? Why the clowns? Why the masks? Why a different costume change of the The Abominable Dr. Phibes-inspired variety for each of the deadly sins-themed death trap-kills that reminds of David Fincher’s later SE7EN (1995)? Why this school? Why are these six, unrelated people sucked into this FUBAR’d version of Agatha Christie’s And Then There Were None, aka The Little Indians (see Stallone’s D-Tox)? And there’s seven deadly sins, so is the Priest suffering one of the sins? Is the kid Satan himself, who contracted the Priest to kill these people to atone for his own sin—and his occult-driven double-thumb deformed hand is his retribution, and it “vanished” because he was “atoned” for his sins?
What in the Lords of Kobol frack is going on here?
Who’s the kid and what’s his relation to the priest? Who’s “The Redeemer,” the kid or the priest? Is priest the adult version of kid and we’re in a twisted afterlife where the past and present exist as one? Was the priest part of the same graduating class as The Redeemer’s victims? Is this his revenge? Why did his double-thumb suddenly vanish and appear on the kid’s hand! We need to know!
Now, do you see why the Phantasm analogy; for this more Coscarelli than Carpenter. Like J.H Hood from Ghoul Inc Productions—who once swore to himself that he’d never, ever watch The Redeemer again (for Bill Van Ryn of Drive-In Asylum is the true “Redeemer”)—pointed out during the September 5 Drive-In Asylum Double Feature Watch Party (Beyond the Door and The Redeemer): You go into this thinking . . . okay, this is another pseudo-slasher, light parody like Slaughter High (1986) . . . and you end up with a flame thrower totin’ clown roasting a guy’s meat and two veggies, and, as Sammy Panico pointed out: a sink drowning (that couldn’t have been Jeannetta Arnette; it had to be a body double-stunt actress) that goes on way, way, way too long. In the end, you can’t get a handle on where it’s all is going—and there’s not even a space gate or Tallman morphing into the Lady in Lavender or flying Chinese cuisinart harmony balls to leave you scratching your head.
My Kobol Lords, this movie is Galactica-tastic!
So graphic a scene, you’ll flinch.
You can watch it with-ads on Tubi Tv or ad-free on You Tube. If you want it in the library: Copies of the 1985 VHS original released by Continental Video and the VHS re-issues via Victory Media in 1995 are can be found in the online marketplace. There are two versions of the DVD out there: Code Red’s October 2010 release (also as a Blu) as The Redeemer and Desert Island Films put it back into the marketplace under the old VHS Class Reunion Massacre title in 2012.
The Where Are They Now Post-Script: The Redeemer is one of those movie where, not only the writer and director dropped off the face of the earth, all of the actors disappeared from the business, sans one: Washington D.C.-born Jeannetta Arnette, who made her acting debut in producers Sheldon Tromberg and Stephen M. Trattner’s feature film debut, 1977’s Washington, D.C.-shot Teenage Graffiti (VHS image via Paul Zamarelli’s VHS Collector site; theatrical one-sheet image via IMDb; trailer via You Tube). Marketed as a soft core porn movie to get those speakers hangin’ off the car windows, it’s really just another one of those light-weight, drive-in T&A’ers about a Midwestern teenager dealing with the problems of growing up and deciding what he wants to do with his life (you know, like American Graffiti, only pseudo-pornier). Stephen Trattner actually gives some insight to the film via the You Tube’d trailer’s comment threads—and, good luck finding a copy: he doesn’t even have one. Screenwriter William Vernick, who got his start as a film editor for TV, transitioned into the unheralded world of script doctoring, for both horror and mainstream films, which he does to this day.
Makin’ it! Whow, whow, whow! (Do I have to explain the David Naughton in-joke?)
As for Jeannetta Arnette, she became a go-to guest star in the network TV series Three’s Company, Laverne and Shirley, St. Elsewhere, and The Fall Guy, which culminated with her 114 episode co-starring role as Bernadette Meara in the 1986 to 1991 run of Head of the Class. You want to see real acting: seek out her role as Sarah Jean Dawes in “Ride the Lightning,” a 2006 episode of CBS-TV Criminal Minds (outstanding, Jennetta!). You also know her theatrical co-starring roles alongside Rodney Dangerfield in Ladybugs (1992), the Oscar-winning Boys Don’t Cry (1999), Snow Angels with Sam Rockwell (2007), and James Franco’s˟˟ PineappleExpress (2008). Her latest work, Walking Up Dead, is currently in production.
** We had a huge Giallo blowout in June 2019, which we recapped and explored with our “Exploring: Giallo” featurette. So, get to hyperlink-a-clickin’, ye have lots of reviews to read!
*˟ There’s more WTF flicks to be had with our “Ten WTF Movies” featurette.
Based on the 2010 comic of the same name by Jimmy Palmiotti and Justin Gray, this film stars Jesse Williams as a comic book creator whose work is being used to create real-life murders, which is concerning, as the comic itself is based on the unsolved killings of a maniac named the Slasherman.
After nearly a decade in production, this film has finally emerged. Written, produced and directed by Jay Baruchel, who usually shows up in much more comedic fare, this is a dark journey into being a creator and what happens when your audience takes things too far.
Jordana Brewster (TheFast and the Furious films) is in this as Kathy, Todd’s girlfriend and Niamh Wilson (SawIII and Saw V) as Aurora, Todd’s assistant, who are all brought into a world of horror that spills from the comic pages and into their waking lives.
I like the juxtaposition between Kathy writing about the victims at the same time that Todd is glorifying their deaths through his work, which he just can’t figure out an ending to.
This hasn’t received many good reviews, but it’s not all that bad. You may be put off by the comic scenes or some of the pretentious voice-overs, but it does deliver on the gore and at least makes you think about the people that get killed way more than most slashers ever would.
This week, our drive-in goes on the road — err, the rails — to deliver four different horrific tales that take place on a train. All aboard!
1. Terror Train (Roger Spottiswoode, 1980): Jamie Lee Curtis’ third entry into the early days of the slasher, Terror Train may not have a unique plot, but it does have an original mask-changing killer, a great location and literal magic. By that, we mean the stage magic of David Copperfield.
2. Horror Express (Eugeno Martin, 1972): Also known as Pánico en el Transiberiano (Panic on the Trans-Siberian Express), this film unites three great actors — Peter Cushing, Christopher Lee and Telly Savalas — and puts them aboard a train that is being stalked by an alien being.
3. Dr. Terror’s House of Horror(Freddie Francis, 1965): The first of the Amicus series of anthology films, this film allows us to stay on board with the Lee and Cushing team. In this one, Cushing plays the tarot-card reading Doctor Schreck, whose fortunes to the other passengers include killer vines, voodoo trumpet music, disembodied hands, werewolves and vampires.
4. Last Stop on the Night Train (Aldo Lado, 1975): I love that this ad promises that there will be no happy ending for this steam-powered version of Last House on the Left. Also known as Night Train Murders, The New House on The Left, Second House on The Left, Don’t Ride on Late Night Trains, Late Night Trains, Last House Part II and XmasMassacre, this movie ended up on the list of video nasties long after it was made.
Are you loving the idea of terror on a, well, train? Good news. We’ve got more track for next week. We’ll pick you up at the same time and same station.
If any film earned being a video nasty, it would be this one, a movie that has a man who was abused as a child growing up to be a serial killer obsessed with burning people alive. There is no one to root for or cheer for, only mayhem, malice and murder.
In short, the kind of movie that Gene Siskel would have a conniption over.
When Donald (Dan Grimaldi, a math professor who also played Philly and Patsy Parisi on The Sopranos) was a kid, his mother would use a stove to burn the evil out of him. Now fully grown, he seeks out women that remind him of her and kills them with a flamethrower in relentlessly graphic detail.
While the killer tries to confess his sins, he can’t stop. Even a simple double date ends with him smashing a candle over a woman’s head. And get this, it even has an ending very similar to Maniac, another movie that offers no easy answers or way out.
First off, the fact that one of the posters for this film rips off Night School‘s art makes me love it before I’ve even seen one second of footage.
Second, when I did watch it, it so shamelessly takes from other slashers that you’d very nearly be convinced that it was made in Italy.
Originally released as The Scaremaker, this was shot over the weekend at New Jersey’s Upsala College. That means that most of the scenes were shot in two takes or less.
After Dickie Cavanaugh kills his girlfriend in a jealous rage, gets committed and then hangs himself, all hell breaks loose. The men trying to bury him are killed and the school’s all-night scavenger hunt could not come at a worse time. Yes, I had no idea that when your college basketball team wins the big game that everyone has to engage in just such a contest.
There’s a killer on the loose wearing the school’s bear costume, using serrated knives as if they were bear claws. There are lots of POV shots as if you’re being attacked by the bear and I always enjoy being the participant in a bear battle.
For a movie made on a shoestring, they got some big names. Hal Holbrook is on hand! Julia Montgomery from Revenge of the Nerds and Stewardess School (yes, she’s a star in my world)! Lauren-Marie Taylor (Vickie from the second Friday the 13th)! Page Mosely (who is something of a scream queen, with appearances in Open House, Edge of the Axe and this movie)! And most importantly Rutanya Alda, who makes this film all hers in the last few minutes, despite the fact that this movie rips off Mrs. Vorhees’ motivation, as all lower level slashers must. I love Rutanya, who claims that she still hasn’t been paid her $5,000 fee for this movie.She should get way more than that, as the close is literally made so much better because of her commitment to more than one role.
If you’ve seen the trailers or poster for this, you may wonder, “Where are the girls in the artwork? Who is this girl in the trailer?” You are right to question these things, as the sales material was made reverse-Corman, in that it was created years after the film was complete.
DAY 1. FAMILY TIME: Tired of seeing the same faces every day? Look at a movie instead! Rated PG or less. Ease in to it!
In the days before the internet, we could build our own cults. Amongst my family, we were obsessed with Pee-Wee Herman. Just imagine, in a time that could only be predicted by TV Guide, Pee-Wee would randomly show up in movies like Cheech & Chong’s Next Movie and Nice Dreams, where he was only known as “The Hamburger Guy.” As the 80’s began, Pee-Wee started by performing five months of the live The Pee-wee Herman Show at the Roxy Theater in LA and getting a taped special on HBO.
That special dominated my eight-year-old mind, presenting a world that at once childlike and at the other end, strangely sinister and adult. I watched it so many times that I could recite every single word and still can. The end, where Pee-Wee finally learns to fly, can often reduce me to tears.
In the five years between that special and this movie, Paul Reubens pretty much became Pee-Wee, even asking his parents to go by the names Honey and Herman Herman. His David Letterman appearances — major surprises, as we stated before — were riotous bursts of anarchy on a show that was already breaking nearly every rule of television. So when a Pee-Wee movie was announced, we lost our collective minds.
Somehow, Pee-Wee Herman is the rarest of cases of someone who became famous without losing a single ounce of his weirdness. And much like the HBO show that came before, I can still recite every word of this movie, quote it at will throughout the day and get misty-eyed just thinking of moments within it.
The story is incredibly simple: Pee-Wee’s most prized possession — his bike — has been taken by Francis. Now, he must get it back. A psychic tells our hero that his bike is in the basement of the Alamo, so we’re off to adventure.
That’s it. It’s that easy.
From wrestler Silo Sam chasing Pee-Wee around dinosaurs to his speech to Dottie (I actually gave this exact same “I’m a rebel, a loner” speech to a date once and was convinced she was going to slap me; she cried and told me it was the saddest thing she’d ever heard, somehow never seeing this movie before), dancing to “Tequilla” at a biker bar while Satan’s Helpers (look for Elvira) look on and so much more, there are so many moments in this film that simply listing them would take on the feel of Chris Farley talking to Paul McCartney.
I mean, without this film, you may not have Danny Elfman and Tim Burton making big budget movies.
To write the film, Reubens, Phil Hartman and Michael Varhol purchased the book Syd Field’s Screenplay and were as literal as possible. “It’s a 90-minute film, it’s a 90-page script,” said Ruebens. “On page 30 I lose my bike, on page 60 I find it. It’s literally exactly what they said to do in the book.” In my crazed mind, I also wish that Ruebens had followed through with his plan to remake Pollyanna with Pee-Wee in the lead.
There are so many easter eggs in this film, like the magic shop owned being named after Mario Bava, the Chiodo Brothers animating Large Marge, the Aleister Crowley head in the aforementioned magic shop, James Brolin playing Pee-Wee, the start of my crush on E.G. Daily, Professor Toru Tanaka as Francis’ butler and even the first acting role for Darla the dog, who was Queenie in The ‘Burbs and Precious in The Silence of the Lambs.
There are so many lines in this, too. I leave you with my favorite:
Simone: Do you have any dreams?
Pee-Wee Herman: Yeah, I’m all alone. I’m rolling a big doughnut and this snake wearing a vest…
PS: I have just one more ridiculous Pee-Wee story to tell. In 1989, Pee-Wee exchanged fake marriage vows with Chandi Heffner — the adopted daughter of Doris Duke, the richest little girl in the world. Chandi was a Hare Krishna devotee and sister of the third wife of billionaire Nelson Peltz and all of 35-years-old when she was adopted, as Duke believed that she was the reincarnation of her only biological child Arden, who died days after being born. Chandra and Pee-Wee were “married” by Imelda Marcos at Duke’s Honolulu mansion Shangri-La. If you think the world is not amazing and special, you’re a fool.
Before we get started, here’s our schedule for October!
This Saturday, October 3, we’ll be live at 8 PM on the Groovy Doom Facebook page with two films — which we’ll get to in a bit.
We’re off the next week.
Then, we’re back Saturday, October 17 at 8 PM with two more movies to be named later.
Then off the next week.
And finally, we’ll be doing one movie on Halloween night at a different time, 11 PM! That’s also a surprise!
We don’t want to burn anyone out (and real life — like weddings, new houses, getting Drive-In Asylum the zine to print and so much more are happening), but we love the show and will be trying to stick to two shows a month.
Thanks for listening. Now let’s talk about this week! Two of Mario Bava’s films — Baron Blood and A Bay of Blood — and two of our favorite films!
What can you drink during this one? Good question.
B&S About Movies 
You must be logged in to post a comment.