EDITOR’S NOTE: As the journey through Cannon continues, this week we’re exploring the films of 21st Century Film Corporation, which would be the company that Menahem Golan would take over after Cannon. Formed by Tom Ward and Art Schweitzer in 1971 (or 1976, there are some disputed expert opinions), 21st Century had a great logo and released some wild stuff.

Thanks to Temple of Schlock, I now know that this movie — originally known as Long Hu Feng — was also titled The Needle Avenger, Dragon Tiger Phoenix and under the title Dragon vs. Needles of Death was released on both Planet Video and licensed to Continental Video for a double feature with Snake Fist Ninja/Shake Fist Fighter.

Directed and written by Kuo-Heng Chung, this is all about Chung(Kou Feng), a martial artist who skips training to teach himself how to throw needles. After running off with his master’s daughter Mei Lei (Wang Ping), he falls out of favor with the school — obviously — and starts smuggling salt before he has to work for the triads battle his former romantic rival Sammy (Chu Jun).

“Deadly Spikes Challenge Super Kung-Fu!” “A New Kung-Fu Demon is Unleashed!” Yes, this got all the 21st Century hype.

I’ve never seen a movie where someone learns how to throw nails at people before or one that presents him as the anti-hero, forced by his station in life to have to work for the enemy. Much like several other 21st Century kung fu releases, if you saw this in the theater, you may have been given a disco album

You can watch this on Tubi.

EDITOR’S NOTE: As the journey through Cannon continues, this week we’re exploring the films of 21st Century Film Corporation, which would be the company that Menahem Golan would take over after Cannon. Formed by Tom Ward and Art Schweitzer in 1971 (or 1976, there are some disputed expert opinions), 21st Century had a great logo and released some wild stuff.

When will the kids learn? When an old man in a town warns you of great evil, perhaps he knows what he’s talking about. When your college professor does the same thing, perhaps you should listen to him as well. But no, these kids just meander along and unleash the spirit of Black Claw and then all die one after the other.

Well, I guess we wouldn’t have a month of slashers if these kids knew what they were doing.

This Fred Olen Ray written and directed film isn’t bad. It’s a different location for a slasher, the Native American mythos are intriguing and hey — that’s Superman as the professor! No, really, that’s Kirk Alyn, the original movie serial Kal-El, as Professor Machen*, who works alongside Forest J. Ackerman, who plays Professor Trentwood. And oh yes — Dr. Sharon Reynolds is Carroll Borland, whose look as Luna, the daughter of Bela Lugosi’s Mark of the Vampire inspired plenty of undead femme fatales.

I don’t know of too many other movies that have a lion-headed ghost, much less a moment where the image of an old man inside a bowl of soup causes someone to slice their own throat, but there you go. Scalps is there for you, answering the call of a movie you never knew you wanted but now you will always feel like you need.

*Aldo Ray and Robert Quarry were also up for this role. I mean, those are great picks too.

21st Century licensed this to Continental Video for a double feature with The Slayer.

EDITOR’S NOTE: As the journey through Cannon continues, this week we’re exploring the films of 21st Century Film Corporation, which would be the company that Menahem Golan would take over after Cannon. Formed by Tom Ward and Art Schweitzer in 1971 (or 1976, there are some disputed expert opinions), 21st Century had a great logo and released some wild stuff.

After mutilating and murdering a family, George Tatum has been jailed for years. Now, he has been given the opportunity to be reprogrammed and returned to society. That said — he still has nightmares of his childhood and a trip to a Times Square peep show unlocks flashbacks that make him a killer all over again.

En route to Florida — where his ex-wife, daughters and son live, George follows a woman home and kills her. Meanwhile, his doctors have no clue that he’s left the city.

Imagine his wife’s surprise when she starts getting all manner of threats over the phone. All she wants to do is carry on with her new boyfriend, Bob. She has enough to deal with, as her son C.J. is the worst of all horror movie kids. He often plays pranks that go way past the line of good taste, like covering himself in ketchup and pretending to be dead. So when the kid says that a man is following him, everyone thinks he’s just up to his normal young serial killer in training mischief.

After killing some of C.J.’s fellow students, George breaks into their house and kills the babysitter while mom is at a party. But C.J. calmly and cooly deals with it — he shoots his father with a revolver while dad has a flashback of catching his dad engaging in BDSM games with his mistress before he decided to kill them both with an axe.

The movie closes with C.J. sitting in a police car, mugging for the camera, while his mother returns to see her ex-husband’s body being removed from the house. How does C.J. know the camera is there? Has he learned how to break the fourth wall? Will he soon be able to hear his own theme song, much like Michael Myers? And when I’m asking questions, isn’t the full title, Nightmares in a Damaged Brain, way better than just Nightmare?

Director Romano Scavolini started his career in porn, which might explain the incredibly casual nudity in the film and its devotion to giving the viewer exactly what they want from a slasher. It knows exactly why you’re here and gives you what you need. He stated about the film that he wanted to tell a story that has roots in reality and not just fantasy. A story of no hope, because mankind is at the mercy of its own demons. And, perhaps most importantly, a story where a young boy is unable to deal with the fact that his parents might just happen to be down with BDSM.

According to Matthew Edwards’ Twisted Visions: Interviews with Cult Horror Filmmakers, Scavolini claimed that prior to receiving distribution through 21st Century Film Corporation, Warner Bros. and Universal Pictures had both wanted to buy the film, but only if the gore was cut down. Scavonli refused, feeling that “the strongest scenes had to remain uncut because the film should be a scandalous event.” Yeah, I’m gonna call bullshit.

This is a scummy, down and dirty affair. C.J. is an annoying kid, but who can blame him, He has the worst parents possible — one’s a serial killer and the other would rather party on down with Bob than deal with the wretched fruits of her ex-husband’s loins. Remember those 20/20 exposes on how horrible slasher movies were? This is one that lives up to those warnings.

You can get this on blu ray or 4K UHD from Severin.

EDITOR’S NOTE: As the journey through Cannon continues, this week we’re exploring the films of 21st Century Film Corporation, which would be the company that Menahem Golan would take over after Cannon. Formed by Tom Ward and Art Schweitzer in 1971 (or 1976, there are some disputed expert opinions), 21st Century had a great logo and released some wild stuff.

In 1976, William Shatner was seven years away from the end of Star Trek and three years from the theatrical movie, so he was taking whatever work he could get, which meant The Tenth Level, A Whale of a Tale and the TV series Barbary Coast.

And oh yeah — Mysteries of the Gods.

Let me tell you, the seventies were a weird time to be alive. People had biofeedback machines in their plants so they could talk to them, everyone was recovering from Vietnam and Watergate, and aliens were everywhere.

Harald Reinl (who also directed The Return of Dr. Mabuse, The Torture Chamber of Dr. Sadism and Chariots of the Gods) directed the German version of this movie, with the American parts directed by Charles Romine (Behind Locked Doors). This is based on the work of Erich von Däniken, whose ancient astronaut theories now form the basis of so much of basic cable alien shows while he himself has been seen as a charlatan for some time.

Shatner wears some astounding clothes that have huge collars and often bare his chest, like some lusty Doc Savage flying all over the world to interview old women about crystal skulls and debate with scientists. Man, for that reason alone, this movie is worth a watch, plus there’s plenty of synth music and a short running time. This is a good start if you’ve just getting into 20th century carny paranormal documentaries.

And if you did grow up at that time, you’re like me and you’re freaking out the Jeane Dixon is in it.

This was originally distributed in the U.S. by Hemisphere Pictures but 21st Century got it a few years later. I love that some places got this movie as William Shatner’s Mysteries of the Gods. Captain Kirk will prove it to you!

You can watch this on YouTube.

EDITOR’S NOTE: As the journey through Cannon continues, this week we’re exploring the films of 21st Century Film Corporation, which would be the company that Menahem Golan would take over after Cannon. Formed by Tom Ward and Art Schweitzer in 1971 (or 1976, there are some disputed expert opinions), 21st Century had a great logo and released some wild stuff.

Ms. Johnson (Jacqueline Cole, director Grayden Clark’s wife) has perhaps the smallest cheer squad ever at Benedict High School. Just four girls — Debbie (Alisa Powell, The Toolbox Murders), Sharon (Sherry Marks), Patti (Kerry Sherman, Eyes of Fire) and Chris (Hillary Horan, Young Doctors In Love) — who are more interested in playing touch football and getting scored on by the football team than doing their routines.

After their car breaks down on the way to their big game, Billy the janitor and bus driver (Jack Kruschen, The Apartment) rescues them. And by rescue, I mean sacrificing them on an altar to Satan. They’re saved again by a hobo (John Carradine), the sheriff (John Ireland) and his wife (Yvonne De Carlo) and you know what I always say: never trust Old Hollywood. Or a lawnman with a name like Sheriff B.L. Bubb.

Shot in ten days with no permits, Satan’s Cheerleaders is mindless fun with an entire town devoted to the Lord of the Flies and a cheerleader with a secret of her own. Sure, it could be better, but this is the kind of movie that was meant to either get drunk to or get laid during at the drive-in. As such, it did its job.

You can watch this on Tubi.

EDITOR’S NOTE: As the journey through Cannon continues, this week we’re exploring the films of 21st Century Film Corporation, which would be the company that Menahem Golan would take over after Cannon. Formed by Tom Ward and Art Schweitzer in 1971 (or 1976, there are some disputed expert opinions), 21st Century had a great logo and released some wild stuff.

Note: While this didn’t come out when 21st Century announced it — there’s an ad that has it listed in their films — it’s still worth inclusion as I cover their movies.

New York Ninja was filmed in New York City in 1984. Don’t worry if you didn’t see it at your mom and pop video store, because its original distribution company 21st Century Distribution Corporation — before Menahem Golan was given the name — went bankrupt. Years later, the footage was acquired by Vinegar Syndrome, except they had no final script, audio or idea of what the movie was about. Thanks to new director — “re-director” — Kurtis M. Spieler, the movie came together, including new dialogue from an amazing cast.

Each film reel — six to eight hours in length — was put together to match what Spieler thought the film was meant to convey at the time. All he had was a shooting script that even mentioned a character named Detective Dolemite, who may have been planned to be played by Rudy Ray Moore. We may never know.

The cast is a literal who’s who of genre cinema:

Don “The Dragon” Wilson is the voice of John Liu, who is also the New York Ninja, and who is also the original director, writer and star of this film. He made three other vanity kung fu movies — Dragon Blood, Ninja In the Claws of the CIA and Zen Kwan Strikes Paris — that are all worth tracking down and watching.

Michael Berryman is the Plutonium Killer, which is where the majority of this movie’s effects budget went.

Linnea Quigley is Randi Rydell, John’s co-worker and love interest.

The cops on the case, Detective Jimmy Williams and Detective Janet Flores, are voiced by Body and Soul star Leon Isaac Kennedy and martial arts legend Cynthia Rothrock. And yes, that is Ginger Lynn’s voice as John’s wife!

The film starts with John finding out that his wife is pregnant. As he runs to work as part of a news crew, she sees another woman getting abducted. In moments, she’s dead and he’s decided to become a white ninja on rollerskates, keeping New York City safe.

If you thought the gangs in Italian post-apocalyptic movies were wild, well, the ones in New York Ninja challenge even Mexican cinema like La Venganza de Los Punks for how colorful the gang members can get. The Plutonium Killer also likes to expose himself to radiation before assaulting women, which is something I’ve never seen as a plot element before.

There are also people cashing in — kind of like the merchandise sales out of nowhere in Yeti Giant of the 20th Century — with people selling I Love The New York Ninja shirts. And there’s also a gang of precocious ninja kids who show up and save our hero every now and then.

I always wondered if another movie could make me feel as much joy as Miami Connection. This is it.

You can get the 35mm trailer from Vinegar Syndrome, as well as the movie itself on VHS and a comic book.

If you saw The Assistant, you know that Dr. Raven Fields (Erica Mena) hired an assistant named Annie Dotson (Parker McKenna Posey) who ended up nearly taking away everything she held dear. But hey — did Annie get killed at the end of that movie? Well, when Dr. Raven delivered Annie as a baby, it turns out that her sister Heather actually survived, as a nurse stole her body and brought it back to life. She’s been raised without ever knowing she had a sister.

Now, Heather — who is now known as Raven (also Parker McKenna Posey) — is coming after the killer of her sister, Tiyana (Erica Hubbard), who has twins of her own with Mark. Seeing as how they need a nanny, our antagonist decides to become a childcare expert and I guess she’s an assistant, because that’s what this movie is called.

This is the kind of movie where adopted kids yell at biological children while only caring about shopping with their adopted father’s Amex card. The last movie is also referred to as “The Assistant Massacre” and we get to see a flashback of Raven being saved before her mother tries to explain how she stole her from the hospital. Oh man, she even says, “Your mom was diagnosed with multiple personality disorder. She was schizophrenic. She was also bipolar.” Mom gives Raven a file with all the info as I wonder, how did they ever get a social security number for this dead baby?

Now, just like the last movie, Raven wishes she had Annie for a twin sister. So Raven stops taking her pills and starts seeing her twin sister as a ghost. And of course, she puts together a plot where she puts Tiyana at odds with everyone, from her husband to his ex-girlfriend and now best friend Savanna, all to get the babies and have the life she’s always wanted. Now Raven is the nerdy Donna, here to make everyone’s life easier but, of course, also here to have spectacular fistfights through the mansion. Seriously, these are the best fisticuffs that director Chris Stokes has captured and really make the end of this movie off the charts.

This is also the most meta movie he’s made so far, as Mark works as a film executive for Tubi.  Raven responds by saying, “What? I love Tubi. I cannot get enough of those Stepmothers.”

The way this ends, this needs one more movie. The only bad thing about that moment of mentioning that Tubi exists in this universe is that we now feel further away from Stokes bringing his cinematic universe for an Avengers: Endgame on Tubi crossover.

You can watch this on Tubi.

Chris Stokes changes up his normal relationship drama in this, a film where Robbin (Serayah) has succeeded in getting out of her old neighborhood, going to a good school and moving on up to the kind of job she can be proud of at a bank. Yet when she’s accused of stealing money, she learns that the people who had her back when she was young — and who she left behind — were more trustworthy than the businesspeople she worked for.

She assembles a team that includes the pregnant Camilla (Leli Hernandez), Trina (Gavin Turek), Q (Jadah Blue) and Shawna (Erica Pinkett), who took over as the leader of the gang after Robbin went legit. They all have their own problems, too. Shawna is about to be evicted and if she gets busted one more time, even their friend on the police force Kelli (Robinne Lee) won’t be able to keep her out of prison.

For as smart as Robbin is supposed to be, she plans a maskless and gloveless heist, which seems to be a recipe for going back to jail. That said, she doesn’t, so maybe she really is as smart as this movie claims that she is.

This is very much like a less depressing — and well-made — Set It Off. But hey, Stokes will be back next month with something new and I will — as always — give him another chance.

You can watch this on Tubi.