EDITOR’S NOTE: Caddyshack was on USA Up All Night on November 16 and 17, 1990 and October 12, 1991.

I ask you this: why did they keep making movies after Caddyshack? This is as perfect as film gets, quite literally a movie that you can drop into and out of at any time without damaging the timing or spirit of the film. It has never failed to lift my mood or improve my outlook on life. It is all that movies should endeavor to be.

It’s based on the memories of writer and co-star Brian Doyle-Murray, as he worked as a caddy at the Indian Hill Club in Winnetka, Illinois, alongside his brothers Bill and John. Director Harold Ramis had also worked as a caddy and even been hit in the genitals with a golf ball once, just like the film. Even better — that Baby Ruth candy bar in the pool came directly from Murray’s high school.

Is there a plot? Sure, Danny Noonan is supposedly the hero, and it’s all about how he wants to escape his huge family and attend college. But really, it’s the personalities that this movie is all about, like Ty Webb (Chevy Chase), the son of one of the club’s founders who has turned slack into zen. Then there’s, Judge Elihu Smails (Ted Knight), who is perhaps the best bad guy ever in a comedy. Or newly rich construction boss Al Czervik (Rodney Dangerfield) who is a buffoonish man out to annoy every , wealthy person in the club. And of course, there’s Carl Spackler, the groundskeeper who is at war with a gopher.

It’s also the only movie where Chase and Murray appear in a scene together. Famously brawling on the set of Saturday Night Live once, where Murray referred to Chase as “medium talent” before punching him — the best insult ever — they got along here and wrote a quick moment where Ty’s golf ball ends up in Spackler’s ramshackle hovel.

Murray’s dialogue in the film is completely unscripted, including his Cinderella scene. There, he was told only to act as if he were a child announcing his own imaginary golf moment. He was only on set for six days.

The constant improv really bothered Knight, an actor who prided himself on knowing his lines. Dangerfield never did the same take twice, so their continuous battling has its roots in reality. In fact, Rodney would never begin doing anything when Ramis yelled “Action!” Instead, he had to be told, “Rodney, do your bit.”

The original cut of this film was approximately 4.5 hours long, with Bill Murray’s Cinderella speech lasting around half an hour. No one was happy with the second cut, so the gopher was added at the last minute to give the movie some structure. It was shot on a soundstage, which is why the film stock in these scenes appears completely different.

Caddyshack was a commercial failure upon release and was widely disliked by critics. It’s gone on to show them all the error of their ways.

Sadly, writer Doug Kenney would never see this movie be embraced. At the press conference for this film, he drunkenly yelled at reporters, convinced it would be the end of his Hollywood career. A trip soon after to Hawaii with Chase lifted his spirits, but only for a brief time. He either slipped on a rock or jumped while there and was dead at 33, leaving behind work with the National Lampoon and the film Animal House, along with this one. You can learn more about Kenney in the movie A Futile and Stupid Gesture.

From Vinegar Syndrome: “Italian horror in the 1960s and 70s went through several popular tonal and thematic phases. From Gothic thrillers in the early to mid-1960s, psychedelia and monster mayhem in the late 1960s and early 1970s, and, of course, all manner of gialli and other assorted murder thrillers. But what of those films that offer a form of narrative bait and switch, luring the viewer in with the pretense of one genre while slowly revealing themselves to be something else entirely? Presented here are a trio of 70s Italian horror features which play with, combine, subvert, and surprise with their genre leanings, all newly and exclusively restored from their 35mm original negatives and all presented on English-friendly home video for the very first time, from Vinegar Syndrome.”

Obscene Desire (L’osceno desiderio) (1978): Obscene Desire is the story of Amanda (Marisa Mell, a goddess if there ever were one and someone who immediately changes any movie from maybe to definitely; my favorite of her films are Marta, Danger: Diabolik and Perversion Story, a movie in which she has one of the most fabulous outfits not only in the history of Italian film but perhaps all movies ever), an American woman ready to marry the rich Andrea (Chris Avram, Enter the Devil) and move into his vast mansion.

Within the walls of that gothic expanse lies something evil, something that has possessed Amanda’s soon-to-be husband to indulge in black magic and ritual murder. In fact, the only way that he can keep his soul from being taken by his domicile is to keep killing prostitutes.

This movie should teach you to never trust a gardener (Victor Israel) and that the Italian film industry would keep on making Rosemary’s Baby rip-offs ten years after that movie was unleashed. Or The Exorcist five years later. Or The Omen two years later.

Look, I’m a simple man. Marisa Mell, with short, dark hair, looking not unlike Mariska Hargitay, is possessed by the devil and writhes on a bed, revealing that her tongue is superhumanly long. Do I even care that this movie has no real story and really goes nowhere?

No, not at all.

What were we talking about?

Laura Trotter (Dr. Anna Miller from Nightmare City) and Paola Maiolini (Cuginetta, amore mio!) are also in the cast for this film directed by Giulio Petroni (Death Rides a Horse) and written by Joaquín Domínguez and Piero Regnoli (the director of The Playgirls and the Vampire and writer of 117 movies including Demonia, Voices from Beyond, Burial Ground and Patrick Still Lives).

Extras on the Vinegar Syndrome release include a commentary track with film historians Eugenio Ercolani and Troy Howarth, interviews with director/writer Giulio Petroni, daughter of Giulio Petroni and script supervisor Silvia Petroni, grandson of Giulio Petroni and film historian Eugenio Ercolani, censorship expert Alessio Di Rocco and director Pupi Avati, as well as alternate and extended scenes from the Spanish version and the original Italian trailer.

The Bloodstained Lawn (Il prato macchiato di rosso) (1973): The Red-Stained Lawn, also known as The Bloodstained Lawn, was initially titled Vampiro 2000 and combines science fiction, Gothic horror, and giallo genres in a wacky package with a bloodsucking robotic twist.

EDITOR’S NOTE: Beneath the Planet of the Apes was on USA Up All Night on November 19, 1993 and March 22, 1996.

Nothing succeeds like, well, success.

After Planet of the Apes, producers considered several treatments before finally hiring Paul Dehn to write the movie, making him the primary writer for the films.

They didn’t use the sequel suggested by Pierre Boulle, author of the original novel, whose Planet of the Men script had Taylor as a messiah leading humans against the apes.

However, he eventually agreed, only if his character died and all of his salary went to charity.

Dehn altered the script to center on a new character, Brent, played by James Franciscus. And with original director Franklin J. Schaffner unavailable, as he was making Patton, Ted Post was hired. He’d go on to make one of my favorite movies ever, The Baby.

Immediately after Planet of the Apes, Taylor (Heston) and Nova (Linda Harrison) ride through the Forbidden Zone. Suddenly, fire emerges from the ground and Taylor disappears into a mountain.

That’s when a second ship — looking for Taylor — emerges. It crash lands and only Brent (Franciscus) survives. He soon meets Nova and sees that she wears Taylor’s dog tags. She takes him to Ape City, where he watches General Ursus (James Gregory, who went on to play Inspector Luger on Barney Miller) rally his soldiers into conquering the Forbidden Zone. Brent is discovered and wounded, which brings him to the home of Cornelius (David Watson takes over for Roddy McDowall for this installment, as the star was in Scotland directing a movie) and Zira (Kim Hunter).

Orson Welles almost played Ursus. I wish that had happened. Plus, Gregory Sierra, who played Verger, was also on Barney Miller as Detective Sergeant Chano Amenguale. And for some real ape trivia, while Normann Burton played a human and an ape in the films (he was the Hunt Leader in Planet of the Apes and an Army Officer in Escape from the Planet of the Apes), only Natalie Trundy (who was the wife of producer Arthur P. Jacobs) played all three groups across four sequels. She’s the mutant Albina in this movie, then plays Dr. Stephanie Branton in Escape and then finally the ape Lisa in Conquest and Battle.

Soon, they’re back in the Forbidden Zone, where psychic voices tell Brent to kill Nova, voices that come from telepathic mutants who worship an atomic bomb. Either this is going to make you check out — as many critics did — or love this movie as much as I do.

In the ruins of St. Patrick’s Cathedral, these humans who survived the bomb and became mutants are ready to go to war with the apes, ready to use their Divine Bomb as a last resort. Then, you get to witness their religious ceremony where they remove their faces to reveal their true form — skinless faces praying to a nuclear god. This set is reused from Hello, Dolly! if you can believe that.

Oh yeah — Victor Buono shows up too!

Brent is separated from Nova and taken to a cell where the mutant Ongaro (Don Pedro Colley, who would later play Sheriff Ed Little on The Dukes of Hazzard) forces him to battle the still-alive Taylor to the death. Nova utters Taylor’s name and the humans kill the mutant.

Just like Shakespeare, everyone dies. Seriously, most of the mutants commit suicide, Nova gets killed, Menedez is shot, Taylor gets gunned down and Brent gets murked, too. Luckily, Brent took out Ursus and Taylor says screw it and nukes everyone and everything. The end of this movie is amazing, so astounding that Electric Wizard used a sample from it on the song “Son of Nothing.”

“In one of the countless billions of galaxies in the universe lies a medium-sized star, and one of its satellites, a green and insignificant planet, is now dead.”

An alternate ending was written where Taylor, Brent and Nova escape and return to Ape City. With the help of Zira and Cornelius, they release the humans from the cages and a new order of peace begins. Hundreds of years later, the Lawgiver is teaching a group of ape and human children when a mutated gorilla appears and shoots a dove.

Before Richard Zanuck was fired as studio president during production, he is the one who gave the thumbs up to using the bomb to end this series. It was another Charlton Heston idea, who really didn’t want to be in these movies it seems. That said — this isn’t the end. Not at all.

How many movies keep going after the entire world gets blown up?

EDITOR’S NOTE: The Beach Girls was on USA Up All Night on February 19, October 14, 1991 and July 14, 1995.

Bud Townsend directed Terror at Red Wolf Inn. For this, we should not make too much light of The Beach Girls, a movie with little to no plot and frequent appearances of the boom microphone. We should also realize that this movie is a lot like other beach films, mostly Malibu Beach, which was also a Crown International Picture.

Sarah (Debra Blee, Savage Streets), Ginger (Val Kline in her only movie) and Ducky (Jeana Keough, now a Real Housewife of Orange County) are staying in a beach house. Ginger and Ducky are pretty much degenerates, but Sarah is a virgin. Suddenly, a whole bunch of marijuana washes up and their house becomes an even bigger party palace.

Uncle Carl, who owns the whole place, is played by Adam Roarke from Frogs and Dirty Mary, Crazy Larry. So there’s that, you know?

Honestly, I’ve watched a million of these movies and they’re the cinematic equivalent of smoking the sticky green that these girls found on the beach, then eating like seven bowls of cereal. They used to make so many of these movies and I think I watched them all. Now that I’m way older than all of the kids in this movie, I think, “Man, this would have been a fun movie to make.” So maybe you should think thoughts like that instead of thinking how sex comedies are problematic — all exploitation movies are problematic, that’s why they’re exploitation movies — and just inhale.

EDITOR’S NOTE: American Drive-In was on USA Up All Night on February 23 and 24, August 31 and November 17, 1990 and May 31 and December 14, 1991.

Krishna Shah made Hard Rock Zombies, which was supposed to be the movie within this movie, which is a movie all about a drive-in, in case you couldn’t figure that out from the title. The film moves from car to car, with each one telling a different story that all adds up to a very low-end version of American Graffiti.

That may not prepare you for the fact that the movie is also about a country girl who continually gets near-assaulted by some greasers and her boyfriend gets put in the hospital but the tonal shifts in this movie are all over the place, so humor intertwines with a female revenge movie and none of it really adds up.

Also, Hard Rock Zombies basically plays in real-time, so since I already saw it, this felt like being forced to watch that movie all over again.

I’m not mad that I bought this movie nor that I’ve endured it. Emily Longstreth, who plays the country girl named Bobbie Ann, was also in Star Crystal, Hardbodies, Gimme an F, Pretty In Pink, Private Resort and Wired to Kill, which is a B&S About Movies all-star list if I’ve ever written one. Speaking of great resumes, another actress who was in this, Mika, is also in Candyman, Hard Hunted, Girls Just Want to Have Fun and Sword of Heaven.

EDITOR’S NOTE: Alligator II: The Mutation was on USA Up All Night on December 16, 1995, along with Jaws 3 and Orca. You can watch the host segments on the Internet Archive.

More remake than sequel, Alligator II starts with rich villain Vincent Brown (Steve Railsback) dumping some of the Future Chemicals into the sewers, which goes right to the baby alligator from the end of Alligator.

Detective David Hodges (Joseph Bologna) and his wife Chris (Dee Wallace, forever battling against eco horror) realize that all the parts of people are coming from an alligator and try to get a big party at Brown’s casino on the lake cancelled, but you know how it goes. When your mayor is Major Healey from I Dream of Jeannie (Bill Daily), these things happen. Actually, watching movies where small-minded governments ignore ecological terror and shout down people and ruin lives really feels on topic. Maybe a bit too much.

With Hodges and Officer Rich Harmon (Woody Brown) on one side and alligator hunter “Hawk” Hawkins (Richard Lynch!) and his team, which includes his brother Billy (Kane Hodder!), on the other, you know that there’s going to be a lot of people torn apart and wolfed down.

What I did not expect was the lengthy pro wrestling scene, which is filled with movie and wrestling crossover actors, like Professor Toru Tanaka, Alexis Smirnoff, Chavo Guerrero, Count Billy Varga, Gene LeBell and Bill Anderson. The man who would be the next Hulk Hogan, Tom Magee, is also here as a strongman who gets launched by the alligator’s tail.

Director Jon Hess made Watchers, while writer Curt Allen wrote Bloodstone. This movie is pure junk in the best of ways, just scenes and people chewing, Richard Lynch breaking down over the loss of his crew and rocket launches against a monstrous alligator. Watch it in the pool.