Sizzlin’ Summer of Side-Splitters 2025: Monty Python’s The Meaning of Life (1983)

June 30- July 6 Puke Week!: Throwing up isn’t very funny, but making your internet friends watch a puke movie is!

The Meaning of Life was the last feature film to star all six Python members before the death of Graham Chapman in 1989 and it’s pretty perfect because it has no interest in a story to connect anything. It’s just life, from the miracle of birth to a Catholic man reminding you that “Every Sperm Is Sacred” in a song that I quote from often, including most of this speech that follows it:

Harry Blackitt: That’s what being a Protestant’s all about. That’s why it’s the church for me. That’s why it’s the church for anyone who respects the individual and the individual’s right to decide for him or herself. When Martin Luther nailed his protest up to the church door in fifteen-seventeen, he may not have realised the full significance of what he was doing, but four hundred years later, thanks to him, my dear, I can wear whatever I want on my John Thomas. And Protestantism doesn’t stop at the simple condom. Oh, no. I can wear French Ticklers if I want.

Mrs. Blackitt: You what?

Harry Blackitt: French Ticklers. Black Mambos. Crocodile Ribs. Sheaths that are designed not only to protect, but also to enhance the stimulation of sexual congress.

Mrs. Blackitt: Have you got one?

Harry Blackitt: Have I got one? Uh, well, no, but I can go down the road any time I want and walk into Harry’s and hold my head up high and say in a loud, steady voice, “Harry, I want you to sell me a condom. In fact, today, I think I’ll have a French Tickler, for I am a Protestant.”

Mrs. Blackitt: Well, why don’t you?

Harry Blackitt: But they – Well, they cannot, ’cause their church never made the great leap out of the Middle Ages and the domination of alien Episcopal supremacy.

School, war, finding an elusive fish, live organ surgery, man’s place in the galaxy — “The universe itself keeps on expanding and expanding In all of the directions it can whizz As fast as it can go, at the speed of light, you know Twelve million miles a minute, and that’s the fastest speed there is So remember, when you’re feeling very small and insecure How amazingly unlikely is your birth And pray that there’s intelligent life somewhere up in space ‘Cause there’s buggerall down here on Earth!” — Christmas in Heaven, The Crimson Permanent Assurance, choosing how you wish to die and, of course, Mr. Creosote.

This sketch was filmed at Porchester Hall in Queensway, where hundreds of pounds of fake vomit had to be cleaned due to a wedding being scheduled hours later. There’s so much puke and it’s beyond gross — ribs sticking out of an exploded man — starting with this order:

Maitre d’: Would monsieur care for an apéritif, or would he prefer to order straight away? Today we have, uh, for appetizers: Excuse me. Mhmm. Uh, moules marinières, pâté de foie gras, beluga caviar, eggs Benedictine, tart de poireaux– that’s leek tart,– frogs’ legs amandine, or oeufs de caille Richard Shepherd– c’est à dire, little quails’ eggs on a bed of puréed mushroom. It’s very delicate. Very subtle.

Mr. Creosote: I’ll have the lot.

After all of this death and destruction and, well, puke, Maria arrives to clean up the dead body and again, all the puke. She reveals to us the meaning of life: “I used to work in the Académie Française, but it didn’t do me any good at all. And I once worked in the library in the Prado in Madrid but it didn’t teach me nothing I recall. And the Library of Congress, you would have thought, would hold some key, but it didn’t, and neither did the Bodleian Library. At the British Museum, I hoped to find a clue. I worked there from nine till six, read every volume through, but it didn’t teach me nothing about life’s mystery. I just kept getting older, and it got more difficult to see. Till eventually my eyes went, and my arthritis got bad. So now I’m cleaning up in here, but I can’t really be sad. You see, I feel that life’s a game. You sometimes win or lose, and though I may be down right now, at least I don’t work for Jews.”

I grew up obsessed with Monty Python in a non-Internet time when you never knew when you would get the chance to watch it again. I love that this won the Grand Prix at the 1983 Cannes Film Festival, which suggests that even though this movie is ridiculous, it still has something to say through all the death and vomit.

It all ends with this: “The Producers would like to thank all the fish who have taken part in this film. We hope that other fish will follow the example of those who have participated, so that, in future, fish all over the world will live together in harmony and understanding, and put aside their petty differences, cease pursuing and eating each other and live for a brighter, better future for all fish, and those who love them.”

JUNESPLOITATION: The Torturer (2005)

June 30: Junesploitation’s topic of the day — as suggested by F This Movie— is Italian horror!

“A dark and gloomy theatre set for strange castings. An awful and neglected villa. A stage writer who pushes young actresses to put themselves at risk in morbid auditions thick with physical pain and pleasure. Around the writer stir his ancient and sick mother, his agent/stepfather, the aspiring actors and a young actress with whom he falls in love. Who is the torturer who tears to pieces the bodies of the implausible actresses?”

Shot on digital video and directed by Lamberto Bava, this film was written by Bava, Diego Cestino, and Andrea Valentini. It was based on a story by Dardano Sacchetti, Luciano Martino, and Michele Massimo Tarantini.

It’s as if Lamberto saw all the torture porn being made and said, “This is pretty much giallo with more violence. Maybe more nudity. Maybe we make this more sleazy! Hey — I know how to do these films. My dad made The Whip and the Body!”

Ginette Cazonni (Elena Bouryka) auditions for the new movie by director Alex Scerba (Simone Corrente) and ends up in bed with him. When she wakes up in the morning, she finds an earring that resembles the one her missing friend, Marzia, used to wear. It turns out that she also had an audition with the director before she disappeared. And oh yes, Alex’s mother and stepfather are both weird in their own ways. And if you’re looking for that other missing earring, well, Alex’s mother is wearing it.

Look, no matter how handsome a director is, if he’s off camera using a voice box to tell you to get naked and do things for him, perhaps you’re in a movie like this. And man, this movie! Lamberto must have gone down to Argento’s basement under Profundo Rosso and communicated with Fulci, because this sees New York Ripper and raises it a lunatic with a blowtorch and a barbed wire whip, all shown in full detail. I can only imagine Lamberto laughing at the young kids like Eli Roth and saying, “This isn’t so difficult.”

Ladies — in the world of Giallo and in the real plane of existence that we live on — if your boyfriend goes insane when he sees toy cars but then immediately wants to have sex with you, please get out.

This is way late in the Giallo film cycle, but it gets the memo right. You want gorgeous women, you want a nonsensical plot, you want family issues and this has it all. You may not want to watch naked girls get torn up with whips, but it was 2005, after all. At least Lamberto was still out there making movies, the last of a dying breed.

You can watch this on YouTube.

Murder, She Wrote S1 E21: Funeral at Fifty-Mile (1985)

Jessica has to unravel the secrets and threats at the funeral of a friend in Wyoming.

Season 1, Episode 21: Funeral at Fifty-Mile (April 21, 1985)

Tonight on Murder, She Wrote

We’ve made it through the whole first season of Murder, She Wrote. Jack Carver has died, Jessica is in town to pay her respects, and of course, there’s a mystery.

Who’s in it, outside of Angela Lansbury, and were they in any exploitation movies?

Doc Wallace is played by Noah Beery Jr., Grandpa from Walking Tall; he also was Mordecai in the Sunn Classics’ Greatest Heroes of the Bible TV series.

Mary Carver is Kathleen Beller, Prince Alana in The Sword and the Sorcerer and Gail from Are You In the House Alone?

Bill Carmody is played by J.D. Cannon, Peter J. Clifford from McCloud and the D.A. in Death Wish 2.

Carl Mestin, who shows up with a hot new wife, is Clu Gulager. Man, Clu! Do I even have to expound on how incredible this man was?

Tim Carver is Donald Moffat, Garry in The Thing.

Art Merrick is Jeff Osterhage, who was in the 1989 version of Masque of the Red Death.

Sheriff Ed Potts, who shows off his gun to Jessica like he’s about to unleash his penis, is played by Cliff Potts.

Sally Mestin? Stella Stevens! Stella Stevens on Murder, She Wrote, I do declare!

Attorney Sam Breem is William Windom, the President in Escape from the Planet of the Apes.

In minor roles, Brooke Alderson is Alice, Edith Diaz is Emma, Efrain Figueroa is Jesus (not The Son of Man, a man named Jesus), Archie Lang is a minister, and Larry Carr and Charles Cirillo are funeral guests.

What happens?

Jessica attends the burial of Wyoming rancher Jack Carver with his family, friends and fellow war vets, but soon learns from lawyer Sam Breen that Jack died without finalizing his will. This means that his brother Tim won’t get the ranch, and his daughter Mary gets everything. But then Carl Mestin and his wife show up, and he claims that when he saved Jack’s life in Korea, he was given all of this in the will. But guess what? He’s soon swinging from a noose, and the cops think it was Mary’s fiancé, Art, who did it.

Can our girl Jessica just enjoy one vacation without having to put in some work?

Man, this one has some twists and turns. There’s even a Giallo moment when someone leaves a noose outside JB’s window. She totally doesn’t sell it, because she figures out who the killer was pretty easily.

Who did it?

Everyone. Carl was a rapist who got Mary’s mother pregnant and her father did the honorable thing by marrying her and raising her daughter. When he came back to town to try and get the money, they decided to finally kill him. They confess to Jessica, and she promises not to tell Mary the truth.

Who made it?

Another episode for Seymour Robbie. This was written by Dick Nelson, whose career was mainly in TV.

Does Jessica get some?

I’m getting tired of these episodes where no one tries to give Jessica back shots, and I’m not shy about it.

Does Jessica dress stupidly or act drunk?

Not yet!

Was it any good?

A satisfactory ending for the season, if a downer ending.

Any trivia?

Of course, William Windom is familiar. Starting next season, he’ll be a regular as Jessica’s friend Dr. Seth Hazlett.

Give me a reasonable quote:

Attorney Sam Breen: But there’s no way on God’s green earth Mary will ever know the reason why, not from any of us.

Jessica Fletcher: Nor from me, Sam. She’s been hurt enough already.

What’s next?

The show has been running regularly until now, but once it’s a proven success, it’s time for Jessica to get wacky. Like next week, episode one of season two: She masquerades as a wealthy widow at a luxurious tropical hotel in order to trap a murderer. John Phillip Law shows up!

Sizzlin’ Summer of Side-Splitters 2025: Fritz the Cat (1972)

June 23-29 Cat Week: Cats! They’re earth’s funniest creatures (sorry chimps, you’re psychos).

Directed and written by Ralph Bakshi, and based on Robert Crumb’s comic, this was an attempt by Bakshi to expand cartoons beyond just being for kids, while creating an independent alternative to Disney for animated movies. Crumb and Bakshi met, during which time the animator showed Crumb drawings that had been created as a result of his learning the cartoonist’s style. Crumb gave him a sketchboard for reference. A good start, but by the end, Crumb felt this movie was making fun of hippies and Bakshi would call the comic artist “one of the slickest hustlers you’ll ever see in your life.”

Crumb said of the movie that it was “really a reflection of Ralph Bakshi’s confusion, you know. There’s something real repressed about it. In a way, it’s more twisted than my stuff. It’s really twisted in some kind of weird, unfunny way.  … I didn’t like that sex attitude in it very much. It’s like real repressed horniness; he’s kind of letting it out compulsively.”

Animated by several Terrytunes artists and the first cartoon to be rated X, this finds Fritz (Skip Hinnant) on several adventures, from making love to three female cats in a bathtub to a raid by cops, starting a riot, surviving the carpet bombing of Harlem and then getting blown up real good, somehow surviving that to make love to even more ladies on what should be his death bed.

Ralph’s voice is Phil Seuling, who started some of New York City’s first comic conventions and ran an early comic book distributor, Sea Gate.

Crumb killed off Fritz in a comic called Fritz the Cat Superstar to prevent further films from being made, but The Nine Lives of Fritz the Cat was still produced, even without Bakshi and Crumb being involved.

JUNESPLOITATION: Double Edge (1985)

June 29: Junesploitation’s topic of the day — as suggested by F This Movie— is ‘80s Action!

Years ago, Jack Maraccio (Anthony East) killed the parents of Mark Quinn (Rom Kristoff). Mark didn’t grow up to be Batman. No, he’s a cop and working with his partner Ty Jackson (Jim Moss), he’s keeping the Philippines safe.

Imagine if you took Rambo: First Blood Part IIRocky and Cobra, threw them in a cup with raw eggs and drank it before running up some steps and blowing things up. That’s this movie, which has a cover that looks just like Marion Cobretti, which was totally an accident and no one meant for it to look that way. Nor did they intend for Jim Gaines’ pimp character named Sly to make you think of anyone else by that name. As for our hero, Kristoff never takes his glasses off, was raised by a ninja and is now a ninja himself, something Stallone never did.

This was directed and written by Teddy Page, who also made FirebackJungle Rats, Blazing Guns and so many more movies like this before using the name Teddy Chuck as a first assistant director for movies like The Love Nights of Anthony and Cleopatra (Hakkan Serbes is in that and if you got excited, you’re a pervert), Samson in the Amazon’s LandRaidersSodoma & Gomorra and Showgirl. Yes, Joe D’Amato adult films. I would call that making it.

You can watch this on YouTube.

CHATTANOOGA FILM FESTIVAL 2025: Even More Dangerous Visions

My last round of shorts.

Chickenboy (2024): When a lonely farmer accidentally makes a chicken-human hybrid by jerking off in the chicken coop, he must decide what their fate will be. Directed by and starring Matthew Rush — as both the farmer and the chickenboy — this is something else, a world where humans and chicken can create something together that is ready for sideshows. Are those still a thing? I want them to be a thing.

Human Resource (2025): A financial horror comedy, this is all about Shae, a millennial HR manager who has brought her total self to work, giving everything to her beloved company. In return, she has been given purpose, friends, bountiful perks and an on-staff barista. But when the market crashes and her company is taken over, will she still matter? As a private equity firm begins to restructure, Shae soon learns that by saving the company, she may be damning their souls. This short, directed by Henry Chaisson and written by Max Coyne-Green, rings so true to me after a week spent at a company retreat. I went through a similar ripping of a company to pieces and I still have PTSD. Thanks for making me have flashbacks.

Tether (2025): On the first day of her job manning an isolated space station all by herself, Mickie (Geffri Maya) receives an emergency transmission and has to decide whether or not she should put her career on the line by answering it. This has the voice of Ming-Na Wen as another captain and offers several lessons for viewers and the lead. This was directed and written by Meredith Berg. It could be a full movie with the universe that has been created here.

Wake (2024): Directed and written by Sean Carter, this is one dark and tight short. As a hurricane grows in power outside the hospital, two nurses have one last job before evacuating. They must put a DOA corpse on ice in the downstairs morgue as the hospital floods. However, that will be anything but easy, as one of them is the caretaker for their grandmother, who claims that the dead woman is the same person who stole her purse. Man, this was awesome!

Slow (2025): A field recorder meets a sinister being that can change her perception of time. How can you run when your ability to feel reality has gone away? Directed and written by Rebecca Berrih, this is the kind of thing I often worry about walking into.

Arson (2025): Once a popular boy band — maybe — Actual Size — Drake (Jai Benoit), Nick (Thomas Johnston), Leo (Jeff Pearson), and Kenny (Jerik Thibodeaux) — can’t seem to reach the level of stardom they think they had. Or maybe feel that they deserve. Stuck gigging at pizza joints and dive bars, they sell their souls to Ms. Black (Olivia Peck) for success but forget to read the contract. Directed by Erin Broussard, who wrote it with Donny Broussard, this balances some awesome music numbers with plenty of humor and practical effects. Awesome!

OK/NOTOK (2024): Loretta (Bairavi Manoharan), a working-class British Asian woman, has a new man in her life. Unfortunately, he soon breaks down and she learns that even customer service in the future will be AI. Maybe it’s easier to just have a robot that doesn’t work sitting on the couch in silence than a partner that doesn’t understand you. Directed and written by Pardeep Sahota, this film creates a future universe that feels so close to now that it’s naturally where we’re going. Do androids dream of electronic sheep or do they get sent back in for repairs? This film attempts to answer that question. I’m not sure what I would do.

Daughters of Evil (2024): In 1966, a girl group — Mary Sue (Ariel Ditta), Mary Jane (Natasha Pascetta) and Mary Beth (Jenessa Michelle Soto) — consults a spirit board to come up with the best band name ever: The Daughters of Evil. Then they got possessed by His Unholy Darkness Beleth, who can play a mean tambourine, and who became their manager. Directed by Pascetta, who also wrote it, and Adam James Taylor, this is shot as if it’s a YouTube video and has some fun moments, even if I’ve been spoiled by Late Night With the Devil and Pater Noster and the Mission of Light, two movies that walk the same left hand path and do it with more style. Still, this is a fun watch.

Howl If You Love Me (2023): This new short from John R. Dilworth, the beloved creator of Courage the Cowardly Dog, is a romantic horror comedy about a man named Jim and his werewolf girlfriend Jules. Werewolf hunters show up and almost ruin everything buty our couple figures it out. This world is so sweet and nice that the Twin Towers never got hit by a plane. And there are werewolves! How can I go to this place? Are they taking applications? Do I need a Real ID? Are all werewolves this nice? Man, I have so many questions. One more: when do we get more of this? This seems like such a fun idea for a series and we always need more cartoons.

The Flacalta Effect (2024): Keesha (Rochée Jeffrey) and Toya (Tristina Lee) are black sisters whose house is being infiltrated by the undead who have been created by an anti-aging diet drug called Flacalta. Now, the beautiful undead are ruining their lives. Yet Keesha doesn’t really want to live, because as she sees it, being a black woman in America was never that great. Toya is an optimist who wants a better world and to have an orgasm. Directed and written by  Jeffrey, this definitely needs to be a full-length film. And they both need to survive!

Sempre Avanti (2023): Two U.S. soldiers — known as tunnel rats — plunge into a suspected enemy combatant tunnel system during the Vietnam War only to awaken unparalleled horrors. Like Shelter Half, this was directed by the Barber Brothers, written by Nathaniel Barber and shot by Matthew Barber. Both brothers appear in the story, unlike the above mentioned short.

This is appropriately claustrophobic and has a monster in it that looks like it was a lot like the one in Shelter Half, which if that’s true, props to these guys for extending their budget. It’s less a story than a framework to get said monster up against some soldiers, but it looks great and would probably make a great extended film.

The Traveler and the Troll (2025): Directed and written by Adam Murray, this has a traveler who has stopped to rest in a haunted forest. They soon learn they are not alone and have stumbled upon the lair of a terrifying troll who demands gifts for passage.

With no coin or treasure to give, the traveler must answer three of the troll’s riddles to survive the night and leave the forest with their soul intact.

Riddle 1: I have no fangs, yet I bite: The wind.

Riddle 2: I rise from the sea, I rest in the hills only to rise again from the sea: The sun.

The troll doesn’t have a third riddle because no one gets these right. The traveler makes the troll sad because, well, he is so used to these questions and doesn’t come off as frightening when he has memory lapses.

The filmmakers said that they were inspired by Legend, Pan’s Labyrinth and The Dark Crystal. You can see that in this as well as a great mix of animation, puppetry and live action. Troll law doesn’t work out as well as the steel of a sword in the end, though. I totally loved this!

Her House (2024): Gina (Taylor Joree Scorse) and her estranged mother Helen (Gloria Gruber) have to go back to the home of Gina’s grandmother (and Helen’s mother) Jane (Lexa Gluck) to put things in order after the funeral. What’s my first rule of horror? Don’t go back home and definitely don’t go back home if you hate your family. Directed by Will Lee, who wrote it with Ian Hedman, this has the grandmother wanting to take Gina and Helen revealing where this cycle of mother and daughter trauma has begun. This short does so much in ten minutes. Definitely hunt it down and watch it.

Forever Yours (2024): Following a devastating accident that leaves the love of her life, Sebastian (James Tuft), paralyzed, Valeria (Andrea Ariel) becomes his caretaker. But is she devoted or obsessed? Directed by Elliott Louis McKee, who wrote the story with Andrea Ariel, this really is something else, a movie told by Valeria, who tells the entire story of how they met and we learn just what she tells us. I have to say, at least the human got it and Benny the dog was safe. I can forgive human being violence, but Benny is a good boy.

All Kinds of Animals (2024): Hannah (Carmen Sage) is an experienced hiker who is working her way up to the summit when something unexpected happens. Directed and written by Becky Sayers, this brings up the question of whether most women would rather face a man or a bear in the woods. Or maybe the guys should worry about our heroine and her bear mace. What a great and unexpected close to this! I feel like I see things like this happen on true crime shows all the time — often to women — so I am not sad at all when I watch it happen to men in movies. Ladies, get your revenge, at least in cinema. Seems like mom was all in on this plan too!

Are You Fucking Kidding Me?! (2025): When a broke birthday party clown named Bobo (Zachary Solomon) finds out in the middle of the gig from hell that his mother is on her deathbed, he has to figure out how to get home. “Stupid, we’re going to use magic!” is a great line in this. Also: Laura (Rivkah Reyes), the other clown who randomly called him a homophobic name with a hard g — wow. Everyone is against Bobo and why is he even at this party dressed like Porky Wiggles the pig and why are kids punching him Directed by Zen Pace and written by Zachary Solomon, this is the kind of short that I love. Strange, otherworldly and weirder as it goes on. I had to do a birthday party once where I was hired as a pro wrestler — which I was — and there was no ring. I just had to come out in full costume and talk about wrestling. Another time, I had to do one and actually have a match in a public park and get thrown into a tree. None of those things are as upsetting as the things that happen in this.

You can watch this and many other films at CFF by buying a pass on their website. Over the next few days, I’ll be posting reviews and articles and updating my Letterboxd list of watched films.

CHATTANOOGA FILM FESTIVAL 2025: Fun Sized Epics vol. 2

Almost through all the shorts!

DID YOU REMEMBER THE CAT? (2024): Directed by Daniel Foster, who wrote the script with Autumn Olson, this has Tara (Angelique Maurnae) and Mitch (Jonny H Lee) escaping a house party turned horror movie. But then they realize that they forgot the cat and not even a monster can keep a cat lover from going back, right? Unless Mitch wants to be single. A fun start to this block!

radiation (2025): Directed and written by Peter Collins Campbell, who said, “there’s something out there. radiation is a special little experiment I made with the help of a lot of amazing people all across the country, and my cat.” What a gorgeous film! If you have trouble with strobing, consider closing your eyes for this one. Some magnificent scenery and use of music.

Bananahead (2024): After her mother’s disappearance, Andi Sanger (Sally Maersk) tries to get the lead in the movie of her missing mother’s novel, Bananahead. However, her mother’s legacy — both in life and in the house her grandmother left behind — is filled with dread. If you find a key to a room in a family house and you’ve never been in it, you know that you don’t have to go inside it. Directed and written by Christopher Greenslate, this asks why a grandmother and mother would disappear and what damage that would do to everyone left behind. The closer Andi gets to understanding who her mother was, the further she drifts from reality. Also: major points to Andi’s Fugazi shirt.

Disfigura (2025): All I needed was Doug Jones as the host of this Twilight Zone-inspired movie, and I could already say that I loved it. Promising “a world of 1950s suspense,” this is all about Anya (Alexa Cappiello), who is forward-thinking for the time but worries about how her husband George (Alexa Cappiello) is acting. Directed by Toni Blando, who also wrote the script, and Jake Bradbury, this film features Anya being told she’s becoming too muscular and rugged. Just let the Light Trim tablets make you thin or she has to go to Disfigura. I don’t want to give much away, but this was just perfect.

Hi! I Just Moved Here (2024): New divorcee Kat has moved into a new home in the hills. Two things quickly happen: she bonds with her neighbor Hannah and finds a VHS tape outside her house. Kat has nightmares after watching the tape, which opens her mind to the horrible secrets of her house. Directed and written by Alessandro Pulisci, this grows dark and proves to me that if you find a tape in the street, you shouldn’t watch it. I have learned a great deal from this year’s CFF shorts. Great acting in this, the colors are gorgeous and it’s directed so well. It also has a shout out to Jack N. Green, who directed Speed 2: Cruise Control.

Your Husband Was a Good Man (2025): Orla (Jamie Alvey)’s husband William (Deaton Gabbard) died in a school shooting a year ago and she’s still taken by grief. She can barely raise their daughter together. But does she miss her husband enough to resort to magic to raise him from the other side? Directed and written by Jamie Alvey, this is primarily about the lack of consent that comes with reviving someone who didn’t consent to it. Haven’t we learned enough from movies that death can’t be screwed with? Guess not.

DESTROYER (2024): Directed by Judd Myers, who co-wrote the script with Kyle Montgomery, this film follows a man who is certain that his wife has a secret, as he attempts to uncover the truth, which soon leads him into a terrifying occult realm and perhaps something inhuman. I really loved how this was built, as well as the quality of the shooting and colors throughout. There’s a message in this, but it doesn’t hit you over the head. Instead, it slowly takes over and changes what you expect.

Any Last Words (2024): A crook trying to flee town, but he’s now staring down the barrel of a gun and in a room with multiple people who want him dead. Directed and written by Isaac Rathé, this taught me something very important: when confronted by people with weapons on me, make fun of their dick sizes.

The Girlies (2024): Antics! Estrogen! Escapades! That’s what is promised, as well as hijinks ensue! Oh wow! The Girlies are forced to face the unexpected in this short directed and written by Natalie Couture. This was so much fun and I could see it going on to be more than just this movie.

Get a Real Job (2025): The successes and failures of amateur non-profit fundraisers Sam and Yogi make up this film. Sam and Yogi would be Samantha Lochs and Yogi Paliwal, who directed and wrote the script with Ramona Donahue. You know, I had to go to New York City once and ask people to share their opinions on health care while we filmed it. You have no idea how much people swore at me during this experience. Maybe you do. This movie feels real.

You can watch this and many other films at CFF by buying a pass on their website. Over the next few days, I’ll be posting reviews and articles and updating my Letterboxd list of watched films.

SEVERIN BOX SET RELEASE: Danza Macabra volume 4

Severin Films conjures candelabras, crypts and cobwebs – and again summons definitive presentations of four Italian Gothic Horror classics in either an 11-disc UHD or 7-disc Blu-ray collection.

Terror-Creatures from the Grave (1965): Massimo Pupillo is mainly known for three horror films: Terror-Creatures from the Grave, Bloody Pit of Horror and La vendetta di Lady Morgan. Afterward, he claimed to be done with horror forever before making Django Kills Softly and the mondo Love: The Great Unknown. He claimed to be disgusted by his films and went into television. He may or may not be dead, as some claim that he died in 1999. There’s no evidence, though. There was some confusion when the producer of this movie, Ralph Zucker, died. Pupillo had given up the directing credit for this film and let Zucker take credit. His Americanized credits list him as Max Hunter in other movies.

Luciano Pigozzi plays one of the servants. I am duty-bound to report that he would go on to play Pag in Yor Hunter from the Future.

The main reason to watch this is Barbara Steele. The producers were aware of this, as she’s on every poster. This is yet another role where she’s an unfaithful wife, but I think if you were married to her, you’d probably let her do anything she wished.

In this one, an attorney arrives at a castle to settle the estate of its recently deceased owner, whose spirit is still roaming the cobwebbed halls of the castle and summoning the spirits of plague sufferers. And then, as usually happens, people start to die.

Extras include audio commentary from Rod Barnett of NaschyCast and The Bloody Pit, as well as Dr. Adrian Smith, co-author of Norman J. Warren: Gentleman of Terror. There’s also a featurette With director Massimo Pupillo, actor Riccardo Garrone a film historian Fabio Melelli; selected scene commentary with Barbara Steele and Barbara Steele archivist Russ Lanier; a video essay by Matt Rogerson, author of The Vatican Versus Horror Movies; The Original Boutique Video Label, which has critic Alan Jones talk about Vampix and Italian and U.S. trailers.

Night of the Damned (1971):  This is Filippo Walter Ratti’s last movie, but man, just from the opening, where a couple hides and strange faces show up amongst flames while a woman screams a James Bond-like song? This makes me want to stay up even later than 3:14 AM, which I figure is probably the best time to watch Satan-themed Italian horror movies.

When this was released in France as Les Nuits Sexuelles, it had plenty more sex and skin. Just a warning, if you find that version.

Jean (Pierre Brice, who played Winnetou in a series of spaghetti westerns) and Danielle Duprey (Patrizia Viotti, Amuck!) love solving mysteries. Well, they get one right away, as Jean receives a letter from Guillaume de Saint Lambert that arrives in the form of a riddle that references the book Les Fleurs du mal by Charles Baudelaire. This leads them to the prince’s castle, where Jean’s old friend is dying from a disease that impacts everyone in his family over the age of thirty-five. It has lasted for three generations, and the doctors can’t help him.

Then there’s a painting of a man being burned at the stake, and Danielle starts dreaming about it. And oh yeah — it turns out that the prince’s wife is a witch that his family had burned at the stake. It’s not worth falling in love in an Italian gothic horror romance.

I was wondering — how can a movie called Night Of The Sexual Demons be this slow? Then I saw a review that suggested trying to hang on past the first thirty minutes. And then I thought, well, this does have a pretty great poster, so I held on for a little more. Luckily, I was rewarded with exactly the kind of movie I was hoping for, complete with a killer that has razor-sharp claws that he or she uses to eviscerate nude victims, as well as an attempted sacrifice. Thank you to whoever in the nine circles made that finally happen.

Extras include an audio commentary with Rod Barnett and Troy Guinn of The Naschycast, an interview with Fabio Melelli, a video essay by Matt Rogerson, author of The Vatican Versus Horror Movies, satanic orgy outtakes, and a trailer. In case you are wondering, will Sam order this? Yes. Satanic orgy outtakes is what does it.

The Devil’s Wedding Night (1973): Supposedly, The Devil’s Wedding Night (AKA Full Moon of the Virgins) was all Mark Damon’s idea. After starring in House of Usher, Damon moved to Italy and appeared in movies such as Black Sabbath and Johnny Yuma.

Perhaps this idea marked the beginning of his producing career, which was more successful than his acting career. Damon was planning on selling the movie to an American production company. Luigi Batzella (Nude for SatanThe Beast in Heat) was initially picked to direct, but most people believe that Joe D’Amato stepped in and completed the film.

I’m a firm believer in this theory because there’s a moment near the end of the movie where an otherworldly Countess Dolingen De Vries rises from a bathtub of blood and fog, writhes near-nude on the screen, and somehow transcends the confines of the screen to destroy my mind. I generally try my best not to turn reviews of movies with attractive women into male gaze spectacles, but Rosalba Neri is absolutely iconic in this moment, a perfect scene that is never discussed nearly enough.

There’s also a magic vampire ring of the Nibelungen, which is gigantic costume jewelery and therefore better than any Hollywood baubles, village girls with sacred amulets of Pazuzu (yes, really), five virgins getting sacrificed all at once in an express line of bloodletting magic, three different twist endings in a row, tripped out Dr. Who looking tunnel moments, D’Amato billing himself as Michael Holloway and going absolutely wlld capturing every inch of womanly curves and an incredible setting, the Castello Piccolomini Balsorano, the same place Lady FrankensteinBloody Pit of HorrorCrypt of the VampireThe Lickerish Quartet, The Blade MasterSister EmanuelleThe Bloodsucker Leads the DanceThe Reincarnation of Isabel, Farfallon, Pensiero d’amoreLady Barbara7 Golden Women Against Two 07: Treasure HuntC’è un fantasma nel mio lettoBaby Love and Put Your Devil Into My Hell were all shot at.

Plus, Xiro Papas, the monster of Frankenstein 80, plays a vampiric giant.

If you’re a fan of films like the harder side of Hammer, then allow this female vampire to obsess you as well.

Extras include audio commentary by Martyn Conterio, author of Black Sunday and Kat Ellinger, author of Daughters Of Darkness; interviews with Rosalba Neri, Aristide Massaccesi (AKA Joe D’Amato) and producer Franco Gaudenzi; An Open Letter To Rosalba Neri’s T*ts, a video essay by Dr. Alexandra Heller-Nicholas, author of 1000 Women In Horror, 1895-2018 and Italian and U.S. trailers.

Baba Yaga (1973): Originally simply the girlfriend for the superhero Neutron, Italian comic book character Valentina took over her series in 1967 and never looked back. Creator Guido Crepax moved her stories away from science fiction and into a world of the erotic tinged with hallucinations, dreams and BDSM.

Director Corrado Farina had previously made a documentary on Crepax, titled Freud a Fumetti, before this movie. That artist had drawn the storyboards for Tinto Brass’ Deadly Sweet, a filmmaker who felt that Crepax’s visual style was nearly impossible to put on the screen.

Of recent comic adaptations — one would assume Barbarella and Danger: Diabolik amongst them — Farina would disparagingly say, “None of the filmmakers who embarked on that task had been able to deepen the relationship between the language of comics and that of film.”

In this film, Farina was committed to showcasing the fantastic side of Crepax, not just its erotic aspects.

Valentina Rosselli (Isabelle De Funes) is no stranger to controversy. Her photos are guaranteed to shock and she’s unafraid to get into trouble. One night, her car gets into an accident with a mysterious blonde (Carroll Baker), who announces herself as Baba Yaga and claims that their meeting was destiny.

After taking a garter belt from Valentina’s home, Baba Yaga worms her way inside our protagonist’s head, controlling her via a teddy bear in bondage gear. Yes, you read that correctly. Baba Yaga also has a bottomless pit in her home, which is a common feature among Italian witches.

Valentina’s lover — the director Arno — is played by George Eastman. That was enough to get me to watch the movie.

Sadly, we may never see the complete vision that Farina had for this movie. After completing shooting and post-production, he left for a vacation. When he came back, the producers had hacked away half an hour directly on the negative of the film. Although he and assistant director Giulio Berruti tried to save the movie, Farina felt that he could never recapture what was lost.

Extras include commentary by Emma Westwood, editor Of Bride Of Frankenstein and film scholar Sally Christie Farina; interviews with director Corrado Farina Valentina; film critic; Luigi Montefiori; editor/co-writer Giulio Berruti; a trailer; alternate and extrended scenes; a photo gallery; comic book comparisons; a video essay by Dr. Alexandra Heller-Nicholas and three short films by Corrado Farina: Freud In ColorScience Fiction Is Us and It Was Called Earth.

There’s also a Quattro Di Umiliani soundtrack compilation CD in this!

You can preorder the UHD and Blu-ray box sets of DANZA MACABRA VOLUME FOUR  at Severin.

Grindhouse Releasing debuts restored SCUM OF THE EARTH in Boston!

Tickets are on sale now to see Grindhouse Releasing’s long-awaited restoration of SCUM OF THE EARTH, the 1970s backwoods Southern Gothic slasher-movie from director S.F. Brownrigg (DON’T LOOK IN THE BASEMENT).

SCUM OF THE EARTH screens July 18 & 19 at the Coolidge Corner Theatre (290 Harvard Street, Brookline, Mass., 02446).

TICKETS: https://coolidge.org/films/scum-earth-1974

What’s it all about?

A city gal’s romantic weekend at a rustic lakeside cabin in bayou country becomes a nightmare of squalor, depravity, and slaughter with a bloodthirsty maniac on the loose in this ’70s drive-in classic from the makers of DON’T LOOK IN THE BASEMENT.

When her husband is brutally axe-murdered, Helen (Norma Moore) flees for her life into the swamps where she runs into Odie Pickett (Gene Ross), the mean, moonshine-swilling patriarch to a wretched brood: his pregnant child bride Emmy (Ann Stafford), rebellious daughter Sara (Camilla Carr), and slow-witted son Bo (Charlie Dell). Taking refuge at the family’s isolated shack, Helen soon finds out how they live below Tobacco Road – and how they die, as the lurking, unseen killer strikes, again and again….

SCUM OF THE EARTH became a top-grossing box-office hit in 1976 when it was re-released as POOR WHITE TRASH PART II. Decades in the making, the new restoration was produced by David Szulkin and Bob Murawski, the owner of Grindhouse Releasing. Award-winning colorist Alastor Arnold (ANORA) revived Brownrigg’s drive-in exploitation classic from the rotting film elements.

The Coolidge Corner Theatre is New England’s most successful independent nonprofit cinema. “Grindhouse Releasing has a long history playing midnights at the Coolidge, going back to the release of THE BEYOND in 1998,” Szulkin said. “Since then, they’ve shown all of our movies, from the 35mm tours of THE EVIL DEAD, CANNIBAL HOLOCAUST, and GONE WITH THE POPE, to our 4K restorations of DEATH GAME, IMPULSE, and HOLLYWOOD 90028. We’re excited to give the Coolidge After Midnite audience the first look at SCUM OF THE EARTH.”

SCUM OF THE EARTH reviews:

“UNFORGETTABLE” – Philadelphia Inquirer

“A foul exercise in imbecility. In the tradition of DERANGED and THE TEXAS CHAINSAW MASSACRE…a mindless plethora of gore, punctured bodies, and sexual assault.” – Los Angeles Times

“BETTER THAN YOU MIGHT BELIEVE. In fact, it’s better than a lot of movies you go to expecting some art in addition to artfulness. There are actually some moments of art here – in the acting, especially, in the casting and even in the storyline, despite the subject matter.” – Detroit Free Press.

“A BITTER BLEND OF SPLATTER AND SLEAZE…Brownrigg’s best film….QUINTESSENTIAL SWAMP TRASH. What elevates SCUM OF THE EARTH above the commonplace is a compelling script complemented by several intense, unsettlingly believable performances. Brownrigg regular Gene Ross anchors SCUM OF THE EARTH with his menacing portrayal of human monster Odis. Almost as impressive are Ann Stafford as Odis’ abused wife Emmy and Camilla Carr as his slutty daughter Sarah. Special mention must be given to the incredible performance of Charlie Dell as Odis Pickett’s dimwitted son. Well, let’s hope that Charlie was performing. Brownrigg’s stars are aided by an intense script that bristles with backwoods dialogue worthy of Sam Shepard. Feverish arguments and verbal assaults ignite what would otherwise have been stock characterizations. Ross’ Odis is a personification of patriarchal evil, a false god from Judeo-Christian nightmare scripture. Scenes of him glowering at the young widow are stomach-turning in their slavish cinematic devotion to Ross’s every sickening gesture and inflection. His is a frightening performance that overwhelms a film barely able to contain it.” – Charles Kilgore, ECC.O

“A sweaty, seamy deep Southern-fried movie made by and for maniacs…makes you feel like you have to take a shower after you watch it. This movie is awash in scum, while still finding some compassion for even its most depraved characters… A MASTERPIECE.” — Sam Panico, B & S About Movies

Thanks, Grindhouse, for using my review! I can’t wait to see this print!

CHATTANOOGA FILM FESTIVAL 2025: Bride of WTF

WTF got married and here are more shorts.

Beef Creek (2024): Occultist Mr. Petrulo runs a New York-style deli in middle of nowhere Wyoming with Horace, Sandra, Lily and Ralphie. That’s the quick description, and as I always write, hijinks ensue. In this pilot, Ralphie falls into a pocket dimension inside the deli’s dumpster and is seduced by a trash-dwelling succubus — “horny dumpster” — who lures in “white male saviors” to steal their souls. Horace has a past with this demon, one that almost ruined his relationship, but sometimes being a hero means getting hit in the penis. I absolutely loved every minute of this — it feels like a great Adult Swim show and has fully realized characters that I want to know more about. When do we get more?

Endzgiving (2025): Directed by Tina Carbone, who co-wrote the script with Patrick T. Dorsey, this is the tale of friends getting together after the end of the world. Will even brought a pie, but forgot to tell everyone that he was bitten by a zombie on the way over. He has around six minutes before he becomes one himself, but he’d like to spend one more meal with his best buddies and get some quiet before he wants to eat them. This is a cute idea, has a great cast and is well-made. It flies by and remains entertaining throughout!

A Divine Comedy: What the Hell (2025): When even Dante’s classic Hell is falling to pieces, what are we to do? Well, if you’re a harpy named Charlotte, you leave this plane behind and try to get to Earth. But there’s still the matter of her stalker ex Asterion, who keeps bothering her and wants to know what she did with the egg they made together. I loved this — it has the animation style of a Fleischer Studios cartoon at times and has some wonderful music. A joyous effort and what a wonderful lead!

Randy as Himself (2025): A Hollywood production crew comes to West Texas to recreate the murder of a local woman. Using locals to reenact the crime means that old emotions are brought back. Directed and written by Margaret Miller, this proves that even during a blood-soaked reenactment, you can find true love. This film has such a unique look and while its fully contained, it would really make a great full-length that could go deeper into how the media reports on small towns, reducing their trauma into content that plays all night on Pluto channels.

A Forest (2024): The second Isabel Nola movie I watched at CFF — I Dreamt of Being an Actress is the other — this is about a couple taking part in the hunt for a cryptid. There’s also an alien baby, documentary-style footage to introduce it and great sound design throughout. Nola did so much of the work on this and from everything I’ve seen at CFF, I’m going to have to start hunting down more of her work.

Beast of the Northwoods (2025): In a rural northern community, a monster — well, a beast — born of radioactive fallout has developed a taste for human flesh. After the discovery of multiple victims, Sheriff Bob Jenson calls in young game warden Joe Miller to help identify — and stop — the creature responsible. With the help of local guide Elaine Skogland — Ms. Elaine Skogland — they go into the woods, ready to stop the monster. Directed by Harrison Reeder and written by Laura Berg, this gets the look and feel of 1950s science fiction right. And yes — that’s Mystery Science Theater‘s Trace Beaulieu, who was Dr. Clayton Forrester and Crow T. Robot.

Empty Jars (2024): After the last two shorts I watched, this brought back the love I have for film. Director Guillermo Ribbeck Sepúlveda has crafted a fantasy world where a woman (Ana Burgos) deals with the loud guests at her hostel by freeing a ghost from a jar, a spirit that, well, fills her with something else, giving her an experience that she hopes to replicate again and again. Yet, as this movie shares with us, the dead are even less trustworthy than the living. What a gorgeous looking and feeling short. I can’t wait to see what else Sepúlveda can do!

Pumpkin Guts (2024): Directed and written by Bryan M. Ferguson, this leans in hard to the John Carpenter influence in looks, feel, story and music. There’s a Pumpkin Pitcher who destroys your pumpkin and then curses your life. This has such a strong feel to it, as it even has the giant phone that yes, I can assure younger readers that we really had and used at one point in the past. Plus, this has more than just pumpkin guts, it has some real ones, too. I guess there’s a Haddonfield, even in England.

Krakens Maw (2024): A stubborn young metal musician named Taylor (Rose McAvoy) has been struggling to meet her mentor, Theodore McKinnis (Andrew Carl), a man who recorded what she believes to be the heaviest album ever. After trying as hard as she can to get through to him, he agrees to let her be part of his next project. It’s not what she thought, though. He’s found Atlantis and is ready to battle Nazis and Satanist ninjas to get there. Is she ready to board his ship, the Black Mary, or does she just want to be a metal star? Is rock and roll dead? This was great — what a speech about the adventure to Atlantis!

Manny Wolfe (2024): Directed by Trevor Neuhoff, who wrote it with Sean Kennedy Moore, this movie hits on so many things that I love. Manny Wolfe is trying to get into Hollywood, but as a werewolf, he’s already typecast. He wants more and yet even the biggest projects just have him howling at the moon, something that real werewolves refuse to do. I want this to be a full movie so badly; I love the idea that Manny wants to be in a regular movie and for no one to wonder why a lycanthrope randomly shows up. This may have been one of my favorite films of CFF.

The Confection (2025):Two friends — Lisa (Simone Norman) and Chuck (Alex Ptak) — are just goofing off when a freak accident kills him. Lisa is unable to process what has just happened, but maybe his ghost can help. I love the tagline for this: “What if your friend died in the stupidest way possible?” Director and writer Christopher Jason Bell has put together one strange story here. After all, how many people die by radio waves that send them crashing face-first into a cake? Also: This has some incredible camera work near the end as the woods around the house seemingly are alive and start to envelope Lisa in a Bava-lit nightmare.

The Key Club (2024): Val seems to be hitting it off with Chad on their first date. You may find him cringe, but that’s the whole point. She gets him back home — Fireball roofie — and that’s when the dating torture begins. Directed by Lee Boxleitner and Sam Boxleitner and written by Lee Boxleitner and star Vanessa Branda, this is one of the first movies where I’ve seen a drill torturing someone be followed up with a tampon.

The Vanity (2025): “In the near future, a young couple makes their living as influencers for a new social media platform: THE VANITY.” That’s all there is to do once AI takes your job, I guess. Trust me, I worry enough about this, as I write hundreds of words every day for a dwindling audience of people who no longer care about words. Directed by Megan Rosati and written by Evan Watkins, this has its leads being forced to choose between creating content or one another. How many streams a day can these guys do in a day, anyway?

You Wake to Find Yourself Alone in the Woods (2024): Directed and written by Brad McHargue, this has a hiker lost in the woods with only an omniscient narrator for company. Oh yes — there’s also a slasher villain. You know how they love those woods. There are also bears and mountain lions and moose. Just a moose. “Are they dangerous?” asks the man. “Maybe,” responds the voice. Also: If I had a voice narrating at me while I tried to pee, I’d pee my pants. Also also: The bad guy has a mask that looks a lot like Kane. What a fun concept and film! I loved it!

Sick Day (2024): A burnt out assistant has the perfect plan to get sent home for being sick. Then, a swarm of locusts invades Los Angeles. Directed and written by Hughes Ransom, this doesn’t just look good. It sounds amazing with a really strong soundtrack. The budget for this had to be crazy as it looks like a big budget movie. Also: Billy Jr. is the kind of boss I’ve worked for in marketing for years and man, this was triggering. But that’s OK! This was fun!

You can watch this and many other films at CFF by buying a pass on their website. Over the next few days, I’ll be posting reviews and articles and updating my Letterboxd list of watched films.