In 2013, when the Alamo Drafthouse presented the uncut version of this film for the first time in the United States, they referred to it as an “unforgettable assault on reality.” Those words best describe what is otherwise an indescribable film.

But I’m going to try.

Maybe a recipe will help.

Take Chariots of the Gods, and some of Rosemary’s Mary, then a little bit of The Omen, throw it in a blender and then pour the whole thing down the sink.

No? Maybe a synopsis.

We start in Heaven, or somewhere very much like it, where Franco Nero (the original Django) is one of those space gods that Erich von Däniken wrote about. He tells the bald children who surround him that there was once a war between two aliens, one good and one bad. The bad one — who is either called Sateen or Zathaar — was defeated, but not before he slept with a whole bunch of Earthwomen. Cue the Book of Enoch in the Lost Books of the Bible. Or cue the Scientology myth of Lord Xenu. Or Xemu, because he has two different spellings, too.

Only one child is left — a young girl — and a vast conspiracy wants her mother to have another child — a brother this time — so they can mate. The Christ figure sends John Huston — yes, the director of The Maltese Falcon and The African Queen — and the bald children to a rooftop somewhere in Atlanta to stop this plot. To do that, the children become adult bad men and dance around a lot while Huston walks up and down the stairs to triumphant music. If you think I’m making that last sentence up, you’ve never been blessed with this movie.

Meanwhile, Lance Henriksen (Near Dark, Aliens) is Ted Turner, pretty much. His name is Raymond Armstead and he owns the Atlanta Rebels basketball team that plays at the Omni and is dating Barbara (Joanne Nail, Switchblade Sisters), who of course is the woman who has the seed of the gods inside her. Her daughter Katy is 8 years old and already using her powers to help the Rebels win their games. But that isn’t all the help Raymond is getting. The rich, powerful and ultra-secretive Zathaar cult control the world and are helping his team become winners. All he has to do is marry Barbara, knock her up and let their kids fuck. Hopefully, they have a boy, or Raymond is gonna have to get in the saddle all over again.

Raymond can’t even do that right and the leader of the bad guys, Mel Ferrer (The Antichrist and Eaten Alive!) is upset and ready to quit on Raymond. Barbara doesn’t want more kids and certainly doesn’t want another child. But who can blame her? Her daughter is one creepy little girl. Her daughter knows all about the conspiracy and begs her mom to get married so she can have a brother (and this is where, in person, I’d throw in “…to have sex with” but I’d use the f word). How creepy is Katy? Well, she kills a bunch of boys with her mental powers because they make fun of her while she ice skates. And then she accidentally shoots her mother at a birthday party. Yep, it’s as if The Bad Seed met Carrie!

Then, as all 70’s occult movies must, the stars of Hollywood’s golden age make appearances!

Glenn Ford, the actor, plays a cop that Katy curses out and uses hawks to make wreck his car!

Shelley Winters plays Barbara’s nurse who once had one of the space babies and killed it, but can’t bring herself to kill Katy! According to interviews, Winters really smacked around Paige Conner, the actress who played Katy!

Sam Peckinpah, the director (!), plays an abortionist who removes one of the space babies from Barbara after the conspiracy pays a bunch of things to artificially inseminate her. Turns out Peckinpah had trouble remembering his lines, which is why we never learn that he’s Barabara’s ex-husband! Then is he Katy’s dad? Who knows! His voice is even Peckinpah’s! They had to ADR all of his dialogue.

In response to the abortion, Katy shoves her mom through a fish tank. She also decides to throw her down the stairs, Whatever Happened to Baby Jane?-style. And by throw her down the steps, I mean do it over and over and over again.

Meanwhile, John Huston is still going up and down the stairs. Finally, they HAVE HAD ENOUGH (I like to emphasize that so you get the gist) and sent their John Woo-ian flock of doves to fight the hawks. And meanwhile, Mel Ferrer and all his men show up dead with black marks on their bodies.

And Katy? Well, as Huston tells us, kids can never be evil. She gets her head shaved and goes to space to meet Instellar Jesus Christ. The title comes up as insane music blares.

Writer/director/insane man Michael J. Paradise (Giulio Paradisi) also was in Fellini’s 8 1/2 and La Dolce Vita. What inspired him to this level of cinematic goofiness? He was helped along by Ovidio G. Assonitis, whose resume includes writing Beyond the Door, Madhouse and Forever Emmanuelle before becoming the major stockholder and CEO of Cannon Pictures in 1990. That may explain some. But not all.

I know I often write things like “I don’t have the words to describe this” when I do these reviews — especially after I write a few hundred words all about said subject. But this is one time that that statement is not pure hyperbole. Just watch the trailer and be prepared to lose your grasp on normalcy!

The Visitor defies the logic of good and bad film. It can only be graded on the is it an absolute film, ala Fulci or Jodorowsky. It is something to be experienced.

You can watch this movie on Tubi.

This movie is, of course, Juan Piquer Simón’s Extra Terrestrial Visitors. The opening and end credits use footage from The Galaxy Invader by director Don Dohler.

Simón also made Pieces and Slugs, so we can forgive him for Supersonic Man, The Rift and Cthulhu Mansion (which I like for some reason). With this movie, he’s challenging us a bit.

Los nuevos extraterrestres was meant to be a frightening movie about an alien on a murderous Earth rampage, but then E.T. came out and who better than the man who made Pieces to create a clone of Spielberg’s family classic?

It starts with poachers trying to get to the alien eggs that they find in the woods and being killed in the process, as well as a rock band getting involved. Then Tommy (Óscar Martín), our child protagonist, brings one of the eggs home and ends up helping it hatch, at which point he gets a new telekinetic friend he calls Trumpy.

Maybe that name hasn’t aged well.

Meanwhile, the band — Rick (Ian Sera, Kendall from Pieces and obviously his genitals have healed well as he has a roving eye), his girlfriend Lara (Susana Bequer, who shows up in Hostel: Part II), Kathy (Sara Palmer) and Tracy (Maria Albert), along with a hitchhiker named Sharon (Nina Ferrer) they found on the way — show up at Tommy’s house and Lara soon dies with a Big Dipper symbol on her forehead, which happens after she’s attacked by Trumpy’s mother and falls off a cliff.

This movie alternates between sweet moments between alien and child versus angry alien mother killing people left and right before being shot tons of times by Rick after she kills Tommy’s angry Uncle Bill (Manuel Pereiro). The boy and alien say their goodbyes and you’re like, well, didn’t we just watch Bambi’s murderous mother get killed? Has anyone learned anything in this? Is Trumpy going to grow up and murder us all?

By the way, if Tommy’s room feels familiar, it’s the same room where Timmy was working on his dirty puzzle in Pieces. 

I have no idea who this movie is for, but I have to respect the lengths it takes to make us think that it was shot in America, as Tommy’s bedroom has tons of Boston sports pennants to the point that you question why there are so many of them and start to realize that no, this didn’t come from the colonies and no, in no way is this a sequel or in the same world as E.T., no matter what they want to tell you.

The chocolate of alien murder in the woods and peanut butter of human and alien childhood friendship does not taste that great when smashed together, but it sure is fascinating and man, Trumpy looks legitimately like an alien to the point where if you told me that he was an escapee from Groom Lake, I’d believe you.

This is being released on blu ray from Severin. It has a 4K scan from the 35mm negative, plus extras such as The Simon’s Jigsaw — A Journey Into the Universe of Juan Piquer Simon, interviews with Emilio Linder and composer Librado Pastor, a private concert with Pastor, the Pod People credits and a CD soundtrack single. You can get it from Severin.

José Ramón Larraz went to school for philosophy, became a comic book writer and then made some wild movies, like Whirlpool, which Roger Ebert negatively reviewed — I mean, I love it — by saying that it was a genuinely sickening film. It has to do with various varieties of sex, yes, but its main appeal seems to be its violence… The violence is not, however, the cathartic sort to be found in The Wild Bunch or the comic strip spaghetti Westerns. It’s a particularly grisly sort of violence, photographed for its own sake and deliberately relishing in its ugliness. It made me awfully uneasy.” He also directed the Spanish Western Watch Out Gringo! Sabata Will Return, The House That Vanished (which had so many titles, including Scream…And Die! and Please! Don’t Go in the Bedroom, as well as a campaign that made it look like Last House on the Left), Symptoms, Stigma, Black Candles (AKA Sex Rites of the Devil) and three American co-productions before the end of his career, the underrated Edge of the Axe, Rest in Pieces and Deadly Manor.

The film starts with its leads, Fran (Marianne Morris) and Miriam (Anulka Dziubinska, billed here as Anulka; a former Page 3 girl who was the Playboy Playmate of the Month for May 1973, she was once married to Soupy Sales’ son Tony, who was in Tin Machine with David Bowie, Reeves Gabriels and his brother Hunt Sales) in bed together, which was probably quite shocking in 1974, but perhaps even more shocking is when they’re machine gunned before the credits.

They’re brought back as vampires that roam the British countryside and take in wayward male motorists, draining them of more than blood before disposing of these conquests. They have a different form of vampirism than you may have seen before, making grisly arm wounds that they continually feed from, closer to cannibals than bloodsuckers.

Morris and Anulka make quite the pair; the film is in love with everything they do. Beyond the gorgeous leads, the scenery is just as inviting, as this was not around Oakley Court, which Hammer used for The Man in Black, The Lady Craved Excitement, The Brides of Dracula, The Reptile and The Plague of the Zombies. William Castle shot The Old Dark House there and you’ll also see it in films like Mumsy, Nanny, Sonny, and Girly; And Now the Screaming Starts! and perhaps most famously, it was the home of Dr. Frank N. Furter in The Rocky Horror Picture Show. While it had no heat or running water when that movie was filmed, it’s now a luxury hotel.

This played double features with The Devil’s Rain! in England, which is my kind of night.

You can watch this on Tubi.

Sure, at its heart Vigilante is Death Wish, but both of those movies are really just westerns updated to fit the decade that they were created for. Plus, where Bronson’s film at least seems to end with some hope, this movie is a nihilistic, cynical and pessimistic journey into hell, which is really the only three ways to properly describe just such a trip.

Eddie Marino is played by Robert Forster in a rare lead role. You know how I always say that every movie should have William Smith in it? Well, let’s amend that by saying that if William Smith doesn’t want to do it, call Robert Forester. Despite living in the end of the world NYC of 1982, he has a good wife (Rutanya Alda, who between Mommie Dearest, The Stuff, Amityville II: The Possession and Girls Nite Out ends up being in so many of my favorite movies) and a cute little kid.

Sadly, he’s not in some coming of age tale or family drama. No, Eddie Marino has the bad fortune to be the hero of a William Lustig movie. And between scalp-lopping serial killers and zombified cops, every Lustig movie I’ve seen is full of tragedy, despair and a casual disregard for morality and the suffering of its characters.

Eddie’s co-workers, Nick (Fred Williamson, always a more than welcome sight), Burke (Richard Bright, Cut and Run) and Ramon (Joseph Carberry, Short Eyes) are fed up with crime, the cops and the system that keeps criminals out of jail. Now, the neighborhood tells them, instead of the police, who is behind the crimes that happen every day.

Eddie refuses to be a part of this, even when he comes home to find his wife stabbed and his son shot and killed. His wife had helped a gas station attendant who was being abused and that’s all it took for Frederico “Rico” Melendez (Willie Colón, a salsa king when not acting) and his gang to snap.

Assistant District Attorney Mary Fletcher (Carol Lynley*, The Night Stalker) tries to get him put away, but another gang member named Prago (Don Blakely), bribes the Judge Sinclair, allowing his defender Eisenburg (Joe Spinell!) to get him off with a plea bargain. Eddie flips out, attacks the judge and ends up being the one to go to the big house.

After being saved from a jailhouse assault by Rake (Woody Strode, the former pro wrestler who was also in Keoma and Once Upon a Time in the West; as if we need any reinforcement that this movie is a western), our hero does his time and emerges ready to get bloody revenge. His wife has left him, his son is dead and now, he has nothing left to lose.

While Vigilante was successful at the box office, Lustig never saw any profits from the film at all. First, Film Ventures International wanted to rename it Street Gang**. Then, as we all know, producer Edward L. Montoro ran away in 1985 with a million dollars in company money and was never seen again.

*This role was meant for Caroline Munro.

**It played in Detroit, Chicago and Pittsburgh with that title.

You can watch this on Tubi or do yourself a kindness and get the 4K UHD and blu ray set from Blue Underground. It has a 16-bit print from the original 35mm camera negative, with Dolby Vision HDR and Dolby Atmos audio, along with three different commentary tracks (Lustig and co-producer Andrew Garroni; Lustig and Robert Forster, Fred Williamson and Frank Pesce; Troy Howarth and Nathaniel Thompson), trailers, TV and radio commercials, interviews with writer Richard Vetere, Rutanya Alda and associate producer/first A.D./actor Randy Jurgensen and a book with plenty of info on the film from Michael Gingold.

This movie is great. This release is even better.

From a story by Robert Ayre and a play by Ketti Frings, this is the tale of John Gwilt (Jason Robards), a postman who decides that he wants to become a tree. He plants himself in his back yard and waits for it to happen while his wife Jane (Sandy Dennis) tries everything she knows to get him to be normal. At the same time, John finds a sympathetic figure in librarian Estelle Benbow (Jean Simmons).

Directed and written by Pancho Kohner, who produced the Bronson movies Assassination, Death Wish 4, Messenger of Death, 10 to Midnight, The Evil That Men Do, St. Ives, The White Buffalo and  Kinjite, this is definitely a movie of its time.

You can watch this on YouTube.

With a newly made title that runs over scenes from Son of Godzilla — broken by a red border at times — this movie starts with a copyright from Film Ventures International for a movie they did not make or possibly even own — “© Copyright in video, music, editing, special effects, packaging, and design. Film Ventures International Inc. 1990”.

This movie started as a vehicle for the Japanese version of King Kong, with the title Operation Robinson Crusoe: King Kong vs. Ebirah. It was rejected by Rankin/Bass Productions, the folks who created all your favorite holiday specials and who had the rights to Kong, producing a licensed TV show — The King Kong Show — which was amongst the first original cartoons to be produced in Japan for Americans.

King Kong’s role was replaced with Godzilla under the title Ebirah, Horror of the Deep*. It’s the first of two Godzilla films — Son of Godzilla is the other — set on a South Pacific island instead of Japan.

What most filmmakers have never realized is that no one cares at all about the humans in these stories. As a child and an adult, I do not care if people find their brothers that have been lost or if the Red Bamboo terrorist group sells heavy water weapons. I only care to see the monster crab named Ebirah and our friend Godzilla fight.

Yet as an old man, I also feel for Godzilla, who just wants to hide in a cave and sleep after defeating the menace of Ghidorah. Instead, these kids make a lightning rod** and zap him to awareness before he has to kill a giant condo (which is totally a Rodan costume), knock down some jets and then set that big crustacean*** straight by ripping his claws off.

Bonus points to Godzilla to remembering that just because Mothra**** is the friend of humanity, she and he are not on speaking terms. The movie ends with another big battle, an island getting blown up real good and Godzilla going back into the murky depths. Soon, he would meet his son, but that’s a story for another day.

This one has a really lower budget and reused the Daisenso-Goji suit. At some point during filming, the head of this suit was combined with the Mosu-Goji suit for episode ten of Ultraman to create the monster Jirass. That head was replaced with a different head that shows up after Godzilla fights the Red Bamboo and is noticeable for the bug eyes and raised eyebrows.

A lizard with eyebrows. This is why I love Godzilla.

*It’s known by so many names around the world, but my favorites are Germany’s Frankenstein and the Monster from the Ocean, Poland’s Ebirah: The Monster of Magic and Holland’s Mothra the Flying Dracula Monster.

**Godzilla being powered by electricity is totally because the script was written for the Japanese King Kong, who is powered that way. It’s also why he’s so protective of Dayo, as falling for human females is a Kong characteristic.

***Ebirah’s name comes from the Japanese word ebi. That means shrimp, so he’s really one of those and not a crab, but he has crab claws, so…

****This is the last Showa-era Godzilla film where Mothra’s twin helpers the Shobijin, appear. They’re played by the same actress, Pair Bambi, instead of The Peanuts (Emi and Yumi Itô).

Bill Van Ryn from Groovy Doom/Drive-In Asylum explained this movie short and sweet: “It’s like an episode of Kolchak: the Night Stalker without Kolchak.” It’s also about the press freaking out about an eight-foot-tall alien who is killing people who eyebeam lasers in the dirty and dingy streets of Los Angeles. It was originally about an autistic child who never met people before. It was also originally to be directed by Tobe Hooper. Things kind of didn’t happen that way.

John “Bud” Cardos (Kingdom of the Spiders, Gor II) stepped in to direct. And realizing that his movie now had an alien instead of a child, he hastily put together an opening narration that talks about electric eels and Venus fly traps. If our planet has those, what about other worlds? What that has to do with the rest of the film, well, your guess is as good as mine.

What we end up with is a monster that beheads people while someone chants, “The dark! The dark!”  William Devane (Greg Sumner from TV’s Knot’s Landing) and a TV anchorwoman (original Wonder Woman and That’s Incredible host Cathy Lee Crosby) finally figure out how to catch the monster. Oh yeah — there’s also an ancient psychic who believes that a young actor will be the next to be killed, so we get some 70’s Hollywood parties along the way. Casey Kasem shows up. Keenan Wynn and Richard Jaeckel, too.

Roger Ebert referred to this movie as, “the dumbest, most inept, most maddeningly unsatisfactory thriller of the last five years. It’s really bad: so bad, indeed, that it provides some sort of measuring tool against which to measure other bad thrillers. Years from now, I’ll be thinking to myself: Well, at least it’s not as bad as The Dark.”

I really didn’t think it was that bad. It’s not the best movie ever, but I was certainly entertained. Not riveted. But entertained. But how can you hate a movie where a giant alien shoots laser beams out of his eyes and rips peoples’ heads off so that the coroner can put them in body bags (along with mini head bags)?

Growing up, the Saint Francis Hospital would always send people with mental issues to the fifth floor. I’ve had certain family members who would have semi-regular vacations to the fifth floor. It got to the point that whenever someone would discuss whether or not someone was acting strangely, they’d say, “Well, they’re on the fifth floor.”

This was going to be part of slasher month, except that it’s in no way a slasher. Of course, the poster work and other marketing makes it seem that way. It’s not. It’s much stranger.

Kelly McIntyre (Dianne Hull, cryonics enthusiast and an actress in Christmas Evil) is a disco dancer who gets dosed, probably by her boyfriend. This brings her to the fifth floor fo Cedar Springs Hospital, where her boyfriend refuses to help her, accusing her of being suicidal.

Kelly’s attractive, which means that she soon becomes the target of Carl the orderly. He’s played by Bo Hopkins, who I have had the fortune of watching several films with him in them of late. Here he’s out of control, a non-stop erection determined to ruin everyone’s life.

This movie is packed with faces you’ll remember, like Don Johnson’s ex-girlfriend and Warhol movie star Patti D’Arbanville, Cathey Paine (Helter Skelter), horror icons Michael Berryman and Robert Englund, Sharon Farrell (It’s Alive), Anthony James (the chauffeur from Burnt Offerings), Julie Adams Dennis Hopper’s The Last Movie and The Creature From the Black Lagoon), Mel Ferrer, John David Carson (Creature from Black Lake), Earl Boen (the only actor other than Arnold Schwarzenegger to appear in the first three Terminator films), Alice Nunn (Large Marge!), rock and roll photographer Chuck Boyd (who is also in the sexploitation film Dr. Minx and The Specialist, both from the same director of this movie), Machine Gun Kelly (who was the announcer in UHF), disco singer Patti Brooks (whose song “After Dark” was on the soundtrack of Thank God It’s Friday! and recorded two duets with Dan Aykroyd for Dr. Detroit), Milt Kogan (Barney Miller), 1961 Miss Universe Marlene Schmidt (who is in nearly every movie this director did) and Tracey Walter. Yes, Bob the Goon from Batman.

This star-studded journey into mental illness comes straight out of the mind of Howard Avedis, who brought us all manner of literally insane movies like Mortuary and They’re Playing with Fire, two movies that I recommend highly. He knows how to take a salacious topic and make it even smuttier, which I always adore. Well done, Howard (or Hikmet).

It might seem like a TV movie for a bit, then there’s full frontal nudity and you’ll feel safe, like a warm straitjacket has been put on you, allowing you to just lie back and enjoy the magical exploitation within.

You can watch this on Tubi.

“It’s super human, super music, super magic and super amazing! You’ll be compelled over the edge of sight and sound and under the spell of mind-boggling action and music! Pushed to the danger zone! It’s a death wish at 120 decibels! Stunt Rock! The ultimate rush!”

If there was ever a movie that can’t live up to its trailer, it’s Stunt Rock. Upon witnessing it on the Alamo Drafthouse’s Trailer War compilation, I fell in love with whatever this movie could be. I even ordered the official DVD of the film but never unwrapped it. Why? Because nothing could be as great as this trailer.

I’m so happy to have been proven wrong.

Stunt Rock — directed by Brian Trenchard-Smith (Dead-End Drive-In, Night of the Demons 2, Turkey Shoot and so many more) — is exactly the type of movie I love: Take a basic concept and let hijinks ensue.

As Trenchard-Smith sais himself, the concept was “Famous stuntman meets famous rock group. Much stunt, much rock. The kids will go bananas.” He’s also referred to it as “a largely plotless, pseudo-documentary, rocumentary and basically a 90-minute trailer for Grant Page.”

Grant Page is an Australian stuntman who pretty much defied death on a daily basis throughout the 70’s and 80’s, transforming his weekend hobby into a career that would give him international exposure thanks to films like The Man From Hong Kong, Mad Max, Death Cheaters, Mad Dog Morgan, Death Ship and so many more, as well as starring in Road Games and having his own TV series, Danger Freaks.

Basically, Grant comes to America, talks about stunts, does stunts, gets the girl — Trenchard-Smith’s future wife Margaret Gerard — and hangs out with a band that combines rock and roll and magic. Monique van den Ven (Amsterdamned, the 1982 version of Breathless, Paul Verhoeven’s Turkish Delight) also shows up.

There’s also the subplot of a movie being filmed and the ways directors and agents treat their talent. The agent in this film is played by Richard Blackburn, whose career is the kind that draws the laser focus of this website. Would it just be enough if he played Dr. Zaius on the Return to the Planet of the Apes cartoon series? Let me add that he also co-wrote Eating Raoul and appears in that film as James from the Valley. But perhaps what he’s most celebrated for — at least around these parts — are for writing, directing and appearing as the Reverend in the absolutely transcendent 1973 film Lemora: A Child’s Tale of the Supernatural.

This is less of a film and more of a movie that you can shut off your brain and just savor the stuntwork while hearing Page discuss how and why he did it, interlayed with Sorcery in concert.

While Trenchard-Smith wanted Foreigner for the film, they were on tour and wouldn’t be back in time. That’s fortunate — no band other than Sorcery could have been in this movie.

A theatrical metal band formed in Los Angeles in 1976, Sorcery’s gimmick was that two master magicians would dress as Merlin (Paul Haynes) and Satan (Curtis James Hyde), join them on stage and battle one another in what their press bio referred to as “The King of the Wizards against the Prince of Darkness.”

The band was made up of Richard “Smokey” Taylor on guitar, Richie King on bass, Greg MaGie on vocals, Perry Morris on drums and the masked Doug Loch on keys. They’d later play Dick Clark’s 1982 A Rockin Halloween and 1983 A Magical Musical Halloween.

But if you really love metal, you probably know them best for a completely different film.

In 1984, Morris, Taylor and King became Headmistress, the band for the seminal metal/horror film Rocktober Blood, a film in which Billy “Eye” Harper wipes out most of his band before they reform a year after his killing spree has been halted.

That’s pretty much the movie. It doesn’t demand that you invest much more of your brain into it, instead relying on a magical blend of 1978 L.A., behind the scenes movie-making and wizards launching fire across a stage while a masked dude plays keyboards and dudes wail and shred. If this doesn’t sound like the most amazing film ever committed to celluloid to you, you’re invited to leave this site now and never come back.

The frequent use of split-screen seen in this movie was a necessary editing tool. That’s because many of the stunts from Australian films like The Dragon Files, Mad Dog Morgan and Death Cheaters was filmed on 16 mm and needed to be fixed to fit the wide frame. That said, I love how each frame has a different angle. It’s MTV three years before that little moon man ever launched.

I’m not the only lover of this film. Quentin Tarantino’s Death Proof owes the way it presents stunts — much less a New Zealand stunt icon in Zoe Bell in a starring role — to this film. And Eli Roth wore a shirt of the film while filing Hostel 2 and has featured the Sorcery songs “Talking to the Devil” in Knock Knock and “Sacrifice” in his remake of Death Wish.

Perhaps Stunt Rock has even greater cultural significance. After all, it’s Phil Hartman’s first movie. And editor Robert Leighton — who was billed as Robery Money as this was a non-union film — would go on to be the supervising editor of This Is Spinal Tap. Hmm — now it’s all making sense.

While Trenchard-Smith would at one point state that this was the worst movie he ever made, he’s softened on the film in later years. What do you expect from a movie that went from an idea in the shower to in theaters in under 5 months?

Sadly, three months prior to Allied Artists distributing the film, they went bankrupt. The film was sold to Film Ventures International. And then…the movie disappeared for decades until it was rediscovered.

You can order this movie — and lots of other amazing stuff — from the band Kino Lorber. Do so right now. This is a movie begging to be experienced.

BONUS: The amazing Trailers from Hell has posted Trenchard-Smith discussing the film over the trailer and it’s everything you want it to be.