April 30: Weird Wednesday — Write about a movie that played on a Weird Wednesday, as collected in the book Warped & Faded: Weird Wednesday and the Birth of the American Genre Film Archive. Here’s a list.

The sequel to If You Don’t Stop It… You’ll Go Blind!!!, this makes me remember when HBO used to show burlesque, which was weird after porno chic, as it was all these old comedians telling the same jokes and girls barely getting naked yet at the same time, you could go see full penetration adult movies. But this film, well, it’s dirty joke after dirty joke with some minor nudity. It was re-released three years after it first dropped because Robin Williams happens to be in before he was a star. That said, he wasn’t in the 1977 version. They went and found the cut footage and put it back out, leading to a lawsuit.

Speaking of stars, L.A. billboard icon Angelyne, Ron Jeremy, Tallie Cochrane (AKA Viola Reeves, Kay Geddes, Grace Turlie, Talia Wright, Silver Fox and Chick Jones) and Uschi Digard all show up.

Director I. Robert Levy went from editing 70s TV to making these two movies, writing it with Mike Callie and Mike Price. There’s nothing like this today, just a total piece of junk with a great title, better poster and an audience that was looking for something, anything, in the days before cable adult films.

You can watch this on YouTube.

April 29: Screw the Medveds — Here’s a list of the movies that the Medveds had in their Golden Turkey Awards books. What do they know? Defend one of the movies they needlessly bashed.

A word from Roger Ebert: “John Phillip Law is pretty bored in The Love Machine. He plays an artifact only slightly more animated than the monoliths in 2001: A Space Odyssey and symbolizing a great deal less. He is surrounded by a galaxy (or perhaps gallery is the word) of Hollywood character actors who seem as desperate as he is, and the final effect is of Search for Tomorrow on downers.

My notion is that you’ve either got to handle this material all-out or avoid it. There’s nothing more disgusting than vulgarity done as if it were in good taste. It’s hypocritical and it’s dirty. When you give junk like this an expensive production, with two Dionne Warwick songs and only four glimpses of the sound boom, you’re missing the elementary kind of vitality it could have had.”

Jacqueline Susann received $1.5 million for this movie and had hoped that Brian Kelly would be the lead. He was hurt before filming started, so John Phillip Law is in this, wearing clothes made for Kelly, which explains why they look strange on him. He plays Robin Stone, a newsman in New York City who wants to make it on Gregory Austin’s (Robert Ryan) IBC Network. This puts him in a TV war with Danton Miller (Jackie Cooper) and on the side of Austin, but also wanting the man’s wife Judith (Dyan Cannon). And can you blame him? 1971 Dyan Cannon? Is there anything better in all the universes?

To undermine the newscast with Robin hosting being on prime time, Dan hires Christie Lane (Shecky Greene) to appeal to the viewers who are the lowest common denominator. There’s also Jerry Nelson (David Hemings) working behind the scenes, getting Robin’s girlfriend Amanda (Jodi Wexler) hired, but she soon catches him in bed with someone else and ends up in Christie Lane’s bed.

Oh, the soap opera of this! Robin and Judith sleep together just as her husband has a heart attack, Robin blows off Amanda so many times that she kills herself, and he beats a prostitute to death when she claims that he’s gay. And maybe he is, as Jerry cleans it all up if Robin wears a slave bracelet saying that he’s owned by the fixer. Judith later finds this and gets into a fight against Jerry and gay actor Alfie Night (Clinton Greyn), but she’s saved by Robin, who ruins his own career to save her reputation.

Director Jack Haley Jr. directed awards shows and That’s Entertainment!, which may give you a hint that this is non-stop craziness. It was written by Samuel A. Taylor, who has many better films on his IMDB, such as Sabrina and Vertigo.

Robin Stone was based on MGM executive James T. Aubrey, who worked hard to gain power and then ultimately destroyed the studio. But for me, the main reason to watch this was that it has Cannon, Anitra Ford, Claudia Jennings and the Collinson twins in it.

There are also not one, but two Dionne Warwick songs. They’re both so sugary that you may go into a coma listening. There is no taste in this movie, and that’s how I want it. Just 1970s cringe in every turn. Magic.

You can watch this on Tubi.

April 28: Nightmare USA — Celebrate Stephen Thrower’s book by picking a movie from it. Here’s all of them in a list.

Directed and written by Nathan Schiff when he was just 16 — following it with The Long Island Cannibal Massacre and They Don’t Cut the Grass Anymore — this is the best home movie you’ve ever seen, if the home movie had giant weasels in it.

What is it with those trips to space? This time, instead of a Jupiter probe, an errant NASA spacecraft on the way back from Venus transforms a rabid weasel into a giant that lives to kill.

Named for a Mothers of Invention album, this goes even further, as Dr. Sendam uses the weasel to kill his enemies while studying its regenerative blood. Also: Everyone has a mustache.

Also also: weasel men are made, I Drink Your Blood style, by injecting people with tainted rabies blood.

$400, high schoolers, making it their way with puppets and model kits. What else could you need? This moves fast, is pretty dumb in the best of ways and has giant weasels eating human beings and an ending that had to be stolen from My Brother Has Bad Dreams with a shark that came out of a garbage can.

You can watch this on YouTube.

April 27: Kayfabe Cinema — A movie with a pro wrestler in it.

Made between Scream of the Demon Lover and Hell Comes to Frogtown, Donald Jackson directed this pro wrestling mockumentary based around Big Time Wrestling in Detroit and super villain The Sheik. It states that this came out in 1985, but it was filmed in the 1970s, long before pro wrestling gained popularity — it never wasn’t, despite what accepted WWE history may tell you — in the mid-1980s.

If you’re unfamiliar with the Detroit area, Ed Farhat was known as The Sheik, starting in 1947, after serving in World War II. Despite being a Maronite Catholic from Lansing, Michigan, in the world of wrestling, he became an Arab Muslim from the Syrian Desert. Managed by Abdullah Farouk — The Grand Wizard in WWF — he was quite different than other stars of his day, as he rarely wrestled and instead used weapons, chokeholds and fire. His most famous feuds would be with Bobo Brazil, Fred Blassie, the Funks, and Abdullah the Butcher.

Unknown to many fans was the fact that he ran both Toronto and Detroit wrestling, with his father-in-law, Francis Fleser, as his business partner and kayfabe owner. Until Big Time Wrestling faced issues after the 1973-1975 recession, they were running weekly live events and two to three TV shows a week, all in Detroit.

For example, booking was the main reason why shows really lost their draw, as well as losing wrestlers to other promotions. You’ll pick up on that formula booking in this, as no one beat The Sheik, even ex-NWA champs like Terry Funk, big box office names like Dusty Rhodes, and even Andre the Giant, who lost to The Sheik in Toronto.

In this film, there is a storyline about the Stop the Sheik Society, which features Joyce Farhat, the Sheik’s real-life wife and former valet, Princess Saleema. They keep begging anyone to defeat the madma,n and the only reason helosese to Ox Baker (he’s in Escape from New York) is because he gets sold out by his manager, Eddie Creachman, bringing back Abdullah Farouk.

There’s also “Bulldog” Bob Kent, who says the main line of this movie, “I like to hurt people.” Plus, Heather Feather, who wants to wrestle men. There’s no storyline — this is almost a mondo movie where things just seem to happen.

According to an interview with director of photography Bryan Greenberg, this was initially intended to be a horror movie called Ringside In Hell. Continuity was impossible with wrestlers coming in and out, so they decided to make a documentary. In that SLAM! Wrestling story, it’s explained that Greenberg had no idea the movie was going to be released until he saw it for sale. The article goes on to say, “Donald G. Jackson, director and producer of the film, had struck a deal with New World Video to sell movies he produced for New World’s new laserdisc line. New World funded Jackson to shoot additional footage in 1984, which is when “Stop the Sheik” footage was shot (for those who have seen the movie, no explanation is needed).”

I also discovered that cameraman Dennis Skotak would go on to work on special effects for films such as The Abyss, Aliens, Forbidden World, Galaxy of Terror, and more. There’s also a therapist in this, Sonya Friedman, who would go on to have a show on CNN, Sonya Live.

Other wrestlers that appear include Dick the Bruiser, Al Costello, Don Kent, Luke Graham, Abdullah the Butcher, Andre the Giant, The Funk Brothers and so many more. In a world where the past of wrestling is controlled, this serves as a reminder that it has always been popular, consistently drawn crowds, and has always featured unforgettable characters like The Sheik.

You can watch this movie on Daily Motion.

April 26: Oh Giorgio! — Pick a movie with a Giorgio Moroder score. Here’s a list to get you started.

Also known as Cyber Eden, this movie is wild.

Gloria Ruckhauser (Carroll Baker) has enabled scientists to reverse the aging process. However, they have done their job too well, as all the old people are becoming children. And also — all of the scientists are little kids.

The budget for this movie had to be insane or maybe I just think Christopher Lee should cost more money.

Giorgio Moroder doing the music, Luciano Tovoli shooting, Pietro Scalia editing and a whole vault of cash and this movie, which gets into AI and virtual reality years before that was a thing…it’s just weird.

It’s also the last acting role outside of a TV mini-series for Adriano Celentano. IMDB says that he was “one of the most important singers of Italian pop music, but he’s also been a creator of a comic genre in movies, with his characteristic way of walking and his facial expressions. For the most part, his films were commercially successful, in fact in the 70s and part of the 80s, he was king of the Italian box office in low budget movies.”

This TCM write-up tries to explain the movie: “Special effects comedy about seven brilliant children, hidden away in a secluded laboratory where they are perfecting an anti-aging drug. To help them relax, a lovable “idiot” is engaged to teach them about “lunacy”, but the results are too much for one of the young geniuses who creates a fantasy city.”

It’s like Toys but even harder to understand.

This proves that I will watch anything with Carroll Baker in it.

You can watch this on YouTube.

April 26: Oh Giorgio! — Pick a movie with a Giorgio Moroder score. Here’s a list to get you started.

Also known as Mamba, this has video game designer Gene (Gregg Henry) get upset when Eva (Trudie Styler, soon to marry Sting) leaves him, so he injects hormones into a mamba to kill her.

Directed (and co-written with Lidia Ravera) by Mario Orfini, who also directed another Moroder-scored movie, Jackpot, this film also features Bill Moseley in the role of the man who sells the snake.

Then, in real time, we watch Eva get stalked by that mamba. Watch as she gets dressed and it slithers by. She takes a bath and there’s the snake. And then…it gets closer while she narrates everything in her brain. It’s no Venom.

It’s shot by Dante Spinotti, so it looks good. However, it doesn’t really go as hard as you want it to. That said, the Moroder score may make this worth watching.

You can watch this on Tubi.

April 25: Bava Forever — Bava died on this day 43 years ago. Let’s watch his movies.

ABOUT THE AUTHOR: Jennifer Upton is an American (non-werewolf) writer/editor in London. She currently works as a freelance ghostwriter of personal memoirs and writes for several blogs on topics as diverse as film history, punk rock, women’s issues, and international politics. For links to her work, please visit https://www.jennuptonwriter.com or send her a Tweet @Jennxldn

There’s been so much written about this early giallo that I almost didn’t want to take this one on. But after seeing a digital screening at London’s Prince Charles Cinema in March of 2025, I felt I needed to share the experience of watching the brutal murders of European models in a 1960’s Roman fashion house with a much younger audience. Would they be as enraptured by the mystery as I was when I first saw this movie in the early ‘90s on video? 

Many of the patrons that night had never seen the film and yet it was sold out. Initially, this filled my Bava-loving heart with joy. “A whole new generation will be introduced to Mario Bava’s creamy purple, green, and blue gels!”, I thought. My joy was quickly doused sounds of the young audience’s laughter. Most of the little pricks found the film hilarious and outdated. 

Yes, the film is old. Yes, it’s filled with meme-able moments where the camera zooms in to a close-up on a possible suspect’s gaze, accompanied by a classic Carlo Rusticelli music sting. Little did they know, it’s precisely because of films like this one that we know this to be a cliché in 2025. Yes, Cameron Mitchell is delightfully smarmy, and yes, the use of cocaine is over-dramatized. The moment that got the biggest laugh? The close-up of German text written in Isabella’s diary. 

This last point was apparently so confounding to one couple, they were still trying to figure it out in the lobby after the screening. That this was their focus was disappointing. The whole point of the diary isn’t what language it’s written in. The diary is the object that drives the murderer and makes every main character look guilty. Everyone wants to know whether Isabella wrote something about them in her diary as they each have skeletons in their closets next to their mink coats. Or perhaps even, wearing the coat. It gets chilly when you’re a skeleton. 

Here’s the Italian version: 

I walked out into the cool, early March night air hoping that this couple would look up the film and read a bit more about the film’s international co-production between companies in France, West Germany and Italy following Bava’s departure from Galatea Films. “Maybe…” I thought, “they liked it enough to seek out Bava’s other works, too.” 

I’m still trying to move past my disdain for that night’s group of morons and hold onto my gratefulness to the Prince Charles for screening the film in the first place. I’m happy they made money that night. Whether or not the brain-dead among that night’s audience liked it is not my nor their concern.  

This film is gorgeous on the big screen. Every murder is staged to perfection, with each shadow and highlight revealing only the details Bava wants us to see. Every trumpet note on the theme song is perfectly placed, accentuated with cues used in Bava’s 1963 supernatural thriller The Whip and The Body, creating a sultry soundscape for the beautiful actors and actresses to sway in and out of the lush backgrounds. 

In terms of story, I’ll not bother going over it again. If you’re here, you likely already know it. It’s the prototype for the Italian giallo, mixing elements of the German Krimis with the Agatha Christie novels, peppered with black-gloved killers, gorgeous, flawed, horny protagonists who literally and figuratively stab each other in the back the first chance they get until the final twist leads us to a downer ending. 

To those who laughed during the screening, I can only say, “Fuck You.” 

Blood and Black Lace is the base of the giallo pyramid, on which stands everything that came after it. Perhaps someday, someone will write a giallo about a group of shallow, disrespectful audience members who get murdered one by one after a screening of one of the greatest giallos ever made. 

In the meantime, you can watch the entire film here: 

April 25: Bava Forever — Bava died on this day 43 years ago. Let’s watch his movies.

Known in Italy as Gli invasori (The Invaders), this is the story of two Vikings, Erik (George Ardisson) and Eron (Cameron Mitchell), who are separated when Sir Rutford (Andrea Checchi) of England makes a surprise attack on their father, King Harald (Folco Lulli). In the battle, Eron is rescued, and when King Lotar (Franco Ressel) becomes angry that Rutford has gone against his orders, he is also killed. His wife, Queen Alice (Françoise Christophe), rescues Erik and raises him.

Twenty years later, King Olaf (Jean-Jacques Delbo) has made Eron his warrior of choice, ready to take the fight back to England. Meanwhile, Erik is made Duke of Helford and leader of the English Navy, but Rutford sabotages his ship and sets it on fire. In the battle to come, brother fights brother, brother discovers sister, and Eron dies, naming Erik to his title.

Together, the Viking, English, and Scottish armies defeat Rutford. At the same time, Erik becomes King of the Vikings with vestal virgin Rama (Alice Kessler) while her twin sister Daya (Ellen Kessler) sails alone with the body of her lover, Eron.

Shot in Rome’s Titanus Studios, this is director Mario Bava making use of all his camera tricks while also having good acting and amazing sets to work with. This is only the second movie he’d directed, and already you could see his power. There’s an incredible spider death trap and a mesmerizing beauty in the story of two brothers, long kept apart, first enemies and the twin sisters who love them. Yes, it was inspired by The Vikings, but the best Italian movies start with another movie and then do something all their own.

You can watch this on Tubi.

April 23: Regional Horror — A regional horror movie. Here’s a list if you need an idea.

Yes, there’s the 2011 direct-to-video film Boggy Creek and The Legacy of Boggy Creek, as well as this unofficial sequel. Still, the only real continuation of The Legend of Boggy Creek is Boggy Creek II: And the Legend Continues. And, wow, that movie isn’t good.

Throughout this movie, we’re told just how terrifying Boggy Creek is and if you don’t respect it, you’ll die. So why not allow children Evie-Jo (Dana Plato), her brother John-Paul (David Sobiesk) and their non-speaking friend T-Fish (Marcus Claudel) to get in a canoe and paddle down that creek? Sure, a hurricane is on the way and the monster that lives in the waters, Big Bay-Ty, only killed Evie-Jo and John-Paul’s father. How could anything bad happen?

A lot of this movie is about a fishing competition and Cat-Fish Kool-Aid, which allows our child heroes to win. And as for Big Bay-Ty, it turns out that he didn’t kill their dad after all. A snake did. And their mom is played by Dawn Wells, who at least didn’t get chased through the night by the Phantom Killer again this time in Arkansas.

I don’t know why so many regional horror movies decided to make Bigfoot movies for the kids, because even the idea of Bigfoot and that grainy Patterson–Gimlin footage made me terrified as a kid. Even more frightening is that these movies often use a gorilla costume for their monster.

Directed by Tom Moore, who also directed the much better movie “Mark of the Witch,” and co-written by John David Woody, this film didn’t involve Charles B. Pierce. I bet he sent a Bigfoot to everyone’s house.