Findlay Week (August 18 – 24) Husband and wife Michael and Roberta Findlay made mean-spirited films. They collaborated on films like Take Me Naked, The Ultimate Degenerate, and the notorious Flesh Trilogy, plus they actually looked like criminals – walking mug shots! You expect to see them glowering on the cover of one of those tabloids next to a headline like “KIDNAPPER COUPLE COLLECTED VICTIMS FINGERS.” Instead they were pornographers which did make them like criminals in their day. A lot of the filmmakers of their era would claim they only made this kind of movie because there was money in it, but Michael and Roberta were sincere adherents. Even when audience tastes changed and the couple were divorced they continued to make their own films that mixed in elements of kink and cruelty. 

Richard Jennings (director Michael Findlay) is a weapons book author — yes, really — who catches his exotic dancer wife Claudia (Angelique Pettyjohn) in bed with another man (Ron Skideri). Unable to handle it, he runs into the street and gets hit by a car so hard that his eyeball pops out. This traumatic incident convinces him that all woman of loose morals must die by his hand.

And so begins The Flesh Trilogy.

After watching the credits projected on a nude female body and the incident that destroys Richard’s life, we watch as he alternately views near-pneumatic New York City women, from exotic dancers to street walkers, and then kills them with poisoned thorns, a dart gun or a crossbow. It’s rough and raw and later installments would become more technically proficient while nevertheless being even more sadistic and just plain scummy. I do not say these words in a bad way.

Meanwhile, Richard is barking out dialogue like “Once a man’s locked within the hot vice of love that is their thighs, he can never escape.” and grabbing his wife’s chest before trying to kill her, sputtering “Let me see them again and feel them again before they die!” Sure, he starts as a victim and he’s castrated in a way by being trapped in a wheelchair for much of the film, sadly wheeling down 42nd Street, chugging bourbon as he exclaims stuff like “I will slash open the very core of your perversion! Your blood will be testimony of your depravity!” And then he attempts to escape the very sexual vortex of the female being, which sounds very high falutin but keep in mind that as gorgeously grungry as so much of this black and white film looks, there are also people who definitely masturbated in theaters to this.

The credits claim that this was directed by Julian Marsh,which is the name of the character in 42nd Street who is directing the show. Suzanne Marre is final girl Janet, Vivian Del Rio and Sally Farb are two of the dancers and Peggy Steffans (AKA Cleo Nova) appears. That final girl thought is appropriate, as this is as much a slasher as it is a roughie. Actually, it’s such a slasher that Richard dies at the end of it and comes back for the sequel.

Speaking of those James Bond-ish projected credits, that’s Roberta Findlay lying there. And from what I heard, this is where Claudia Jennings got her stage name, transforming from Mary Eileen Chesterton from suburban Illinois into the type of “soft pink trap” that would terrify Richard.

You can get all three of these movies in one set from Vinegar Syndrome.

Findlay Week (August 18 – 24) Husband and wife Michael and Roberta Findlay made mean-spirited films. They collaborated on films like Take Me Naked, The Ultimate Degenerate, and the notorious Flesh Trilogy, plus they actually looked like criminals – walking mug shots! You expect to see them glowering on the cover of one of those tabloids next to a headline like “KIDNAPPER COUPLE COLLECTED VICTIMS FINGERS.” Instead they were pornographers which did make them like criminals in their day. A lot of the filmmakers of their era would claim they only made this kind of movie because there was money in it, but Michael and Roberta were sincere adherents. Even when audience tastes changed and the couple were divorced they continued to make their own films that mixed in elements of kink and cruelty. 

No matter what Charlie Sheen and Black Emanuelle tell you, snuff movies are urban legends. This movie is probably the reason why so many people think they’re real.

Starting out as a low-budget exploitation film called Slaughter — made by the husband-and-wife team of Michael and Roberta Findlay — it was filmed in Argentina for the low, low price of $30,000. Shot with no sound and concerning a Manson-like cult, it made the film’s moneyman Jack Bravman some money before it was released, as AIP paid to use the title for its Jim Brown blacksploitation vehicle of the same name.

Allan Shackleton, who produced Misty and Blue Summer, had shelved the film for four years when he released with a new ending, shot to look like actual footage, based on an article he had read about South American snuff films. This led to the film’s tagline: The film that could only be made in South America… where life is cheap!

The new ending shows the crew of Slaughter killing one of the actresses for real, with the abrupt ending and lack of credits all planned to make the movie appear legitimate. Then, Shackleton hired fake protesters to picket movie theaters showing the film. That blew up, as even though the fact that the film was exposed as a hoax in a 1976 issue of Variety, it kept getting more popular. At one point, protests reached such fervor that New York District Attorney Robert M. Morgenthau investigated the movie.

The plot of this movie is paper-thin. Actress Terry London (Mirta Massa, Miss International 1967) and her producer Max Marsh visit South America. She gets pregnant by another man and a female-filled biker cult led by a man named Satan stalks and murders her.

As for the infamous murder sequence, shot in the New York production studio of adult film director Carter Stevens (who made movies for the Avon Theater chain as well as the adult film Punk Rock), it’s very tacked on. But if you’re coming to see someone get murdered, do you even care about art?

You can get the blu ray of this from Blue Underground or watch it on Tubi.

Findlay Week (August 18 – 24) Husband and wife Michael and Roberta Findlay made mean-spirited films. They collaborated on films like Take Me Naked, The Ultimate Degenerate, and the notorious Flesh Trilogy, plus they actually looked like criminals – walking mug shots! You expect to see them glowering on the cover of one of those tabloids next to a headline like “KIDNAPPER COUPLE COLLECTED VICTIMS FINGERS.” Instead they were pornographers which did make them like criminals in their day. A lot of the filmmakers of their era would claim they only made this kind of movie because there was money in it, but Michael and Roberta were sincere adherents. Even when audience tastes changed and the couple were divorced they continued to make their own films that mixed in elements of kink and cruelty. 

There are tons of Bigfoot films to watch. Trust us, we know. We have an entire Letterboxd list packed with the ones we’ve made it through. And we know that Scarecrow has an even larger section in the store that’s all Yeti, skunkape and Sasquatch-based.

We decided to go back to the classics and rewatch this 1974 Michael Findlay film, in which Professor Ernst Prell takes four of his graduate students — Keith Henshaw, Karen Hunter, Tom Nash and Lynn Kelly — into the woods to discover if the Yeti really does exist.

Despite a mysterious dinner the night before — their dish of gin sung is broken up by a drunken former student and his wife who loudly proclaim that the last trip to see a Bigfoot got everyone killed — everyone decides that going into the brush to find the beast is a dandy idea.

As if that isn’t enough, that lout keeps drinking and decides to cut his wife’s throat with an electric turkey knife before she responds in kind by dumping a toaster into the bloody bathwater as he tries to clean himself up.

When the students get to Boot Island, they have more gin sung, meet a mute Native American named Laughing Crow and listen to Tom strum a little tune he wrote about the Yeti, who liked that song so much that he rips Tom apart, leaving only his leg as evidence.

The professor isn’t someone I’d like to have as a teacher, as he’s willing to use that leg and the body of another of the students, Lynn, as bait to catch his white whale. Or white Yeti, you get the allusion.

That said, the reveal of this all — spoiler warning for a 46-year-old movie — is that there’s no Bigfoot at all, but a big society of cannibals looking for either victims to be fresh meat or those willing to help them consume the flesh of their fellow man.

If you’re a big film geek like me — seeing as how you’re reading about a Sasquatch film from the last century when you could be doing something much more productive, I get the feeling that you are — you’ll wonder, did the print Sam saw have Hot Butter’s “Popcorn” in the soundtrack? Yes. It did. It sure did.

In 1982, if you were lucky enough to still have a drive-in around ou, chances are you could have seen this movie as part of an event named 5 Deranged Features. Don’t be fooled by some of these titles, as you may have seen them all before! They’re Coming to Get You is not All the Colors of the Dark, but instead Al Adamson’s Dracula vs. Frankenstein. House of Torture is The Wizard of Gore. Night of the Howling Beast is The Corpse Grinders. And Creature from Black Lake wasn’t so lucky as to get a name change.

Here’s a drink to enjoy while watching this.

Yeti

• 1 1/2 oz. gin
• 1/2 oz. blue Curaçao
• 3 oz. lemonade (you can make it yourself or just go off the shelf)
• Club soda
• Lemon wedges

1. Combine gin and the lemonade in a glass with ice.
2. Add blue Curaçao and top with club soda. Stir using a mixing spoon and garnish with lemon wedges.

Watch it on Tubi.

Findlay Week (August 18 – 24) Husband and wife Michael and Roberta Findlay made mean-spirited films. They collaborated on films like Take Me Naked, The Ultimate Degenerate, and the notorious Flesh Trilogy, plus they actually looked like criminals – walking mug shots! You expect to see them glowering on the cover of one of those tabloids next to a headline like “KIDNAPPER COUPLE COLLECTED VICTIMS FINGERS.” Instead they were pornographers which did make them like criminals in their day. A lot of the filmmakers of their era would claim they only made this kind of movie because there was money in it, but Michael and Roberta were sincere adherents. Even when audience tastes changed and the couple were divorced they continued to make their own films that mixed in elements of kink and cruelty. 

You know, I find myself loving the films of Roberta Findlay more and more. They never have a great budget. They rarely have anything even approaching bad acting. And yet every time, I stick with them because she knows how to make a cheap exploitation movie. Isn’t that what it should all be about?

This movie has a Pieces style opening, as a young boy is called a pervert because he doesn’t have a dad. What he does have is a prostitute for a mother who lives in a big mansion with plenty of other ladies of ill repute. Moments after we process that, our friend the little boy walks in on his mom making money-assisted love to one of her johns before they both get shotgun blasted and we fast-forward ten years and change.

I’m in. You did it again, Roberta.

Now, that very same house is supposedly haunted and the girls of an Edmonson College sorority must enter it as part of a scavenger hunt. This is when, you guessed it, people start dying.

Before that, it takes a long time to get there, but Findlay pulls off that rare trick of making us learn and believe in these characters instead of rushing them into the gaping maw of death, you know? Pretty neat for a movie she made just to pay her taxes.

Amy Brentano, who plays one of the girls named Linda, also shows up in Findlay’s even better Prime Evil. Shannon McMahon, who is Alice, is also in Screwballs and Pledge Night. McMahon would go on to direct her own film, 2016’s Waking the Wild Colonial, which had Brentano in the cast.

Speaking of filmmakers, Larry is played by John Fasano, the man that made two of the most metal movies ever, Black Roses and Rock ‘n’ Roll Nightmare.

Of all the lessons that Findlay can teach us of how to make a great small time horror film. perhaps the best is that she certainly knows how to hire the right poster artist.

Findlay Week (August 18 – 24) Husband and wife Michael and Roberta Findlay made mean-spirited films. They collaborated on films like Take Me Naked, The Ultimate Degenerate, and the notorious Flesh Trilogy, plus they actually looked like criminals – walking mug shots! You expect to see them glowering on the cover of one of those tabloids next to a headline like “KIDNAPPER COUPLE COLLECTED VICTIMS FINGERS.” Instead they were pornographers which did make them like criminals in their day. A lot of the filmmakers of their era would claim they only made this kind of movie because there was money in it, but Michael and Roberta were sincere adherents. Even when audience tastes changed and the couple were divorced they continued to make their own films that mixed in elements of kink and cruelty. 

Roberta Findlay knows how to make movies that entertain me and here, she takes a possession movie, sets it during the holidays and fills it with berserk set pieces and man, this movie got me through the day before all the family Christmas craziness begins and you know, Roberta has never let me down with a single thing she’s made.

Parker Brothers wouldn’t let this movie use Ouija, so there’s a stone hand that writes from the spirit world but who cares? This is so many times better than the Ouija films that got made by Hasbro years later and that’s because this is so strange. Jennifer (Caroline Capers Powers, in the only movie she ever made) and her husband Ray (Roger Neil) have moved into the apartment of a dead psychic who has left behind that fortune telling object which allows Jennifer to be taken over by industrialist William Graham who gets her to figure out who killed him.

You can’t destroy that hand. A garbage man tries and strange creatures appear all over his body and he ends up stabbing himself in a scene that kind of destroyed my mind and when Ray tries later, he literally loses his head. All this happens while Findlay shoots in the New York City apartments that could be next door to The Sentinel or Inferno and certainly have the Argento lightning style intact from that movie. Plus there’s a gender switching killer played by Pam LaTesta on the loose like a John Waters character in a Bill Lustig movie and there’s even a scene set in the legendary occult store The Magickal Childe.

I realize that Roberta hates her own movies but I won’t hold that against her. I always find something to enjoy, like how the heroine has the wildest clothes, all berets and puffed-out sleeves and even a pair of red overalls. She dresses like a lunatic and it’s frankly charming, plus she screams nearly as much as a woman in a Juan López Moctezuma movie.

There are people who will say that this movie is trash and boring and those are people you want nothing at all to do with. Yes, this is trash, but it’s glorious. It’s the kind of movie I leave on when people come over and hope they ask me what it’s all about so I can talk about it with them. Just writing about it now I want to go back and watch it again. Will you sit down and check it out with me?

You can watch this on Tubi.

Here’s a drink recipe!

Princess of Moscow (from the book Tarot of Cocktails)

• 3 oz. ginger beer
• 1.5 oz. vodka
• .25 oz. lime juice
• 1 scoop lime sherbert

1. Pour ginger beer, vodka and lime juice in a glass and stir.
2. Add the sherbert and enjoy your fortune.

Findlay Week (August 18 – 24) Husband and wife Michael and Roberta Findlay made mean-spirited films. They collaborated on films like Take Me Naked, The Ultimate Degenerate, and the notorious Flesh Trilogy, plus they actually looked like criminals – walking mug shots! You expect to see them glowering on the cover of one of those tabloids next to a headline like “KIDNAPPER COUPLE COLLECTED VICTIMS FINGERS.” Instead they were pornographers which did make them like criminals in their day. A lot of the filmmakers of their era would claim they only made this kind of movie because there was money in it, but Michael and Roberta were sincere adherents. Even when audience tastes changed and the couple were divorced they continued to make their own films that mixed in elements of kink and cruelty. 

I’m still trying to figure out what to call the genre where a woman goes back to her childhood home or has a memory from her past or who inherits some family plot or goes away on a vacation to find herself and always, always, always runs directly into the supernatural.

This is one more to add the the list.

When Cathy (Christine Moore, Prime Evil) was young, her mother murdered her father right in front of her. Now, her life is dominated by the nightmares of that memory, which leads her back to her childhood home.

Cathy has no idea, but her boyfriend Bob got into her life just to lure her back to the apartment building that she grew up in so that he and his friends can shove her off the building to die. That’s because Vathy’s old home really is Hell and everyone born there must be destroyed and come back as a spiritual being referred to as a lurker. And once Bob has a new woman, can Cathy save her?

Man, Roberta Findlay movies have really been a theme this week, but that’s just because every one I’ve seen has totally entertained me. This one seems to pull from her bad childhood, which she also referenced in Tenement. This is a dark film in the most entertaining of ways.

You can get this on a double blu ray set from Vinegar Syndrome. You also get Prime Evil, which is so close to this that you can consider them spiritual sequels to one another.

Findlay Week (August 18 – 24) Husband and wife Michael and Roberta Findlay made mean-spirited films. They collaborated on films like Take Me Naked, The Ultimate Degenerate, and the notorious Flesh Trilogy, plus they actually looked like criminals – walking mug shots! You expect to see them glowering on the cover of one of those tabloids next to a headline like “KIDNAPPER COUPLE COLLECTED VICTIMS FINGERS.” Instead they were pornographers which did make them like criminals in their day. A lot of the filmmakers of their era would claim they only made this kind of movie because there was money in it, but Michael and Roberta were sincere adherents. Even when audience tastes changed and the couple were divorced they continued to make their own films that mixed in elements of kink and cruelty. 

One of the few movies to be rated X for just plain violence, Tenement reminds me of exactly why I love Roberta Findlay. I’m not expecting high art. I’m expecting sheer spectacle and entertainment, which this movie overdelivers.

Also known as Game of Survival and Slaughter in the South Bronx, this movie is another that didn’t need a budget, just a Bronx high rise and a cast willing to do whatever it takes to make the movie, which involves rampant, bloody and over the top destruction of human beings.

A gang starts making their way from floor to floor of the building, acting like they’re the bad guys in a John Carpenter-style defend our home turf film. Imagine of the sad sacks in Death Wish 3 didn’t have Paul Kersey on their side to shoot people for stealing his camera.

Writers Joel Bender (Gas Pump Girls) and Rick Marx (Wanda Whips Wall Street, Warrior Queen, Gor, Doom Asylum) bring the sleaze, Findlay brings the sleaze, the actors bring the sleaze, man, everyone is on their highest volume and it just works.

The poster for this is by John Fasano, who was all over the place when it came to talent. In addition to art directing the magazines Muscle and Beauty, Race Car & Driver, Wrestling Power and OUI, he rewrote and appeared in Findlay’s Nightmare Sisters, directed Rock ‘n’ Roll Nightmare and Black Roses, and wrote  and script doctored movies like Another 48 Hrs., Tombstone, Color of Night and the Brian Trenchard-Smith directed Megiddo: The Omega Code 2.

Findlay has referred to this movie as a revisualization of her childhood, which is beyond wild. Man, Findlay is something else, doing everything from working in adult as a cinematographer under the name Robert Norman (she worked on CJ Laing’s ‘Sweet Punkin’ I Love You…. which she also wrote), photographed Shriek of the Mutilated and Invasion of the Blood Farmers (using the name Frederick Douglass), acted in several films as Anna Riva, provided Claudia Jennings’ voice in The Touch of Her Flesh and even composed music as Harold Hindgrind and the Cosmic Seven and Robin Aden. She rivals Aristide Massaccesi for alternate names!

You can watch this on Tubi.

Findlay Week (August 18 – 24) Husband and wife Michael and Roberta Findlay made mean-spirited films. They collaborated on films like Take Me Naked, The Ultimate Degenerate, and the notorious Flesh Trilogy, plus they actually looked like criminals – walking mug shots! You expect to see them glowering on the cover of one of those tabloids next to a headline like “KIDNAPPER COUPLE COLLECTED VICTIMS FINGERS.” Instead they were pornographers which did make them like criminals in their day. A lot of the filmmakers of their era would claim they only made this kind of movie because there was money in it, but Michael and Roberta were sincere adherents. Even when audience tastes changed and the couple were divorced they continued to make their own films that mixed in elements of kink and cruelty. 

Man, Roberta Findlay made some incredibly scummy movies. This is just another example of her talents, a movie in which Janie (Mary Jane Carpenter, Sex Family Robinson, How to Succeed with Sex, Double Initiation) tells her daddy — who yes, she’s sleeping with — about all the people that she’s killed. After each murder, she makes love to herself as shes covered with blood.

This movie is fuzzy and scuzzy and the audio is all over the place and the music is way too loud and everything looks like a mess and yet, it’s exactly right. Roberta directed most of this, although some credit Jack Bravman (Zombie Nightmare, Night of the Dribbler and the producer of the Findlay’s Snuff).

Everyone has on outfits that Robert Crumb would be crazy for and Roberta does the borderline maniac narration for the nudie cutie gone slasher footage that we watch, where sound rarely matches up with voices. This is a dirty movie with no sex, a film that promises titilation and only delivers strangeness.

I would compare this movie to something else, but there really isn’t anything else like it. Man, Roberta Findlay inspires me more and more with each of her films I see, because she was out there in the 60’s and 70’s making mindbending pieces of trashy art even if she had to use a man’s name to make it happen.

The other night, I had a tooth infection and the only way I could sleep was to lie my face on a heating pad until it felt like it was scalding my flesh and I fell asleep finally, fitfully, and when I awoke I was totally covered in sweat and afraid from the dreams that I had. That’s exactly what watching this movie is like, so beware.

Findlay Week (August 18 – 24) Husband and wife Michael and Roberta Findlay made mean-spirited films. They collaborated on films like Take Me Naked, The Ultimate Degenerate, and the notorious Flesh Trilogy, plus they actually looked like criminals – walking mug shots! You expect to see them glowering on the cover of one of those tabloids next to a headline like “KIDNAPPER COUPLE COLLECTED VICTIMS FINGERS.” Instead they were pornographers which did make them like criminals in their day. A lot of the filmmakers of their era would claim they only made this kind of movie because there was money in it, but Michael and Roberta were sincere adherents. Even when audience tastes changed and the couple were divorced they continued to make their own films that mixed in elements of kink and cruelty. 

Directed and written by Roberta Findlay, this is the story of Punkin (C.J. Laing), a country girl who works as a maid for the rich Jason Crean-Smith (Marlow Ferguson). When that dirty old man dies, Punkin gets all of his money, if not the respect of the rich people she must now be around. People like Deidre (Jennifer Jordan, Abigail Leslie Is Back in Town) and Diana (Crystal Sync, Punk Rock), who we meet as they judge who has the largest member, Russian rich guy Peter the Great (John Holmes) or Southern gentleman The Great Peter (Tony “The Hook” Perez).

The story is told by Dixon the butler (Jeffrey Hurst, The Tiffany Mynx), who is more into bread and pastries — to an absurd degree — than any of the gorgeous women around him. It all ends with Laing encountering Holmes, Perez and Eric Edwards, which is the kind of athleticism that should make you an Olympian.

Supposedly, Roberta was frustrated by lack of acting Laing did in this, but the actress famously said, “I purposely would not act. I despised the people in these films that said they were actors. I was like, “You’ve got to be kidding me! This is about fucking and sucking!”” That scene where she’s rolling around naked, covered in money? Yeah. That’s still acting.

There’s also a scene with Marlene Willoughby that is edited from a lot of versions of this. She’s an adult actress who crossed over into the mainstream, appearing in Married to the Mob, Trading Places and I, The Jury. She was married to Sonny Landham, Billy from Predator.

The music in this comes from Slim Pickins, an Allentown, PA rock band that appeared or did music for several other of Roberta’s films, including Sweet, Sweet Freedom, The New York City Woman, Dear Pam and Fringe Benefits. Speaking of Findlay and music, I’m always amazed that Sonic Youth recorded at the Reeltime Distributing Corp. studio that she owned with Walter Sear.

Rene Bond week (August 11 – 17) Rene Bond could brighten up even the most dreary productions, and she was in plenty of them. In the early adult scene she was one of the better actors, particularly when it came to comedy, though she could squeeze into some leather and throw the whips around when the role called for it. Bond appeared in somewhere near 100 films, thanks to her affable professionalism she worked with many filmmakers multiple times and regularly performed with her boyfriend Ric Lutze. Her career received an enhancement when she became one of the first stars to get a boobjob. She retired from film in the late-70s just as the porno chic era was dying down, but before the video era. You can find her in a ton of SWV titles, so take yer pick!

Somehow, this is one of the better shot movies I’ve seen in some time and I was shocked that it was an adult movie. It also has some generally creepy moments in it to the point that if this was a mainstream movie, it would definitely have a cult audience.

Constance Money, fresh from The Opening of Misty Beethoven, is Mary and the movie opens with her swimming, filmed with underwater cameras and creating some arty ways of exploring her. Soon, she and her husband Ned (John Leslie) are making love poolside and he finishes too soon, enraging her. It seems he has a habit of this, but you know, he’s married to Constance Money. Ned screams to Heaven for help, then when there’s no answer, to Hell. He’s soon met by the shadowy Arranger (a man only listed as Andre), who is almost always in shadowy and constantly doing tai chi moves. He gives Ned a special paste that can be put on his body or eaten and soon, he’s able to satisfy Mary. The problem is that he can’t stop being aroused, which leads to him passing on this Satanic ingredient to so many of his friends and everyone starts having the kind of sex that even makes the Devil jealous.

Soon, Eric (Jon Martin), Jane (Sharon Thorpe, Sodom and Gomorrah: The Last Seven Days), Bonnie (Sandy Pinney, Long Jeanne Silver), Kate (Angela Haze, Devil’s Playground), Briscoe (Tyler Reynolds), Ben (Kent Hall), Diane (Lucia Lenki), Helene (Kristine Heller, Confessions), Ned and Mary are all having an orgy, devouring a pink cake and smearing it all over a table, mixing it with the occult powder and basically doing coke with it and smearing it all over one another.

This is a strange one as it starts happy and full of free love, but there are quirky moments that suggest that this could become a horror movie at any time. By the last two minutes, that’s what it is, as the colors start to warp, people start to have little deaths and big deaths during a gigantic lovemaking session between the cast and the Arranger dances around all of them to the bongo beat of Hands Benedict. Then, as everyone lies dying or dead, he picks up Mary and tells her that he saved her, as he has plans for her as they disappear into the Hollywood hills.

Mary! Mary! was directed and written by Bernard Morris, which is a pseudonym. Another alter ego is cinematographer Hans Kristian, who is really Henning Schellerup, the cinematographer of Silent Night, Deadly Night; Kiss of the Tarantula and The Lincoln Conspiracy, as well as the director of In Search of Historic Jesus and Beyond Death’s Door.

Most incredibly, this has the kind of car chase that should be in a 70s action movie instead of pornography. As Hank, Bonnie and Kate speed to the party nude, they’re nearly arrested by the police, played by a blink and you miss her Rene Bond and Ken Scudder from Thundercrack! I couldn’t believe just how amazing this film gets in this scene and in the psychedelic ending, as each person dies and the screen looks like a black light poster. There’s even a scene where Mary and Ned eat steak while having sex, rubbing greasy cuts all over one another. It’s just weird and I mean that in the way that this movie becomes fascinating and even disturbing as they Ned showers her with red wine, making it seem like the two are devouring raw flesh.

This movie blew me away.