EDITOR’S NOTE: We originally covered this film on June 1, 2018. Now that Blue Underground is releasing it in a UHD edition, it’s time bring it back and share how you can get this expaned edition.

Potter’s Bluff is one of those perfectly gorgeous New England coastal towns. You know, the kind where visitors are beaten, tied to a post and set on fire while people take photos of them. And then, when they survive, nurses stab them right in the eyeball with a syringe.

Dead and Buried was written by the Alien team of Dan O’Bannon and Ronald Shusett and featured Stan Winston special effects, so the poster was justified in shouting, “From the people who brought you Alien…” Unfortunately, those people do not include Ridley Scott, as we have Gary Sherman directing this (he also helmed Poltergeist III). That said, O’Bannon disowned the film, claiming that Shusett had actually written it by himself but needed O’Bannon’s name on the project to get it made. He never made any of O’Bannon’s suggestions before it was produced.

Sheriff Dan Gillis (James Farentino, The Final Countdown) is our hero and he is working with Dobbs (Jack Albertson, Willy Wonka & the Chocolate Factory and TV’s Chico and the Man), the town’s coroner/mortician to solve the murders that have gripped their small town. And with each one, a photo of the murder is found.

As Gillis rushes to a suspected attack, he accidentally hits a man, whose arm is stuck in the grill of his car. The man attacks the sheriff, then takes his arm and runs away. Further research shows that a tissue sample of the man shows that he has already been dead for four months.

The sheriff begins to suspect everyone, including Dobbs, who he learns was fired from his last job for conducting unauthorized autopsies, and his wife Janet (Melody Anderson, Flash Gordon), who has begun to teach witchcraft to her students.

It turns out that Dobbs has learned how to reanimate the dead and that nearly everyone in town — I’m looking at you, Robert Englund — are under his control. He considers himself an artist who improves the lives of the dead after he controls them. Just then, the sheriff notices that his hands are rotting and Dobbs offers to repair him. That’s because he’s been dead all along, as his zombie wife had killed him during sex, a scene he watches as its projected on the wall.

Dead & Buried has a great trailer that it lives up to. While it feels very Carpenter-esque, it lacks the style and verve of his films. That said, there are some interesting touches, such as the director avoiding the color red throughout the film so that the murders would be more shocking.

The new Blue Underground edition has both Ultra HD Blu-ray (2160p) and HD Blu-ray (1080p) Widescreen 1.85:1 feature presentations of the film, plus four different commentaries (director Gary Sherman; Co-Writer/Co-Producer Ronald Shusett and Actress Linda Turley; Director of Photography Steven Poster, ASC; Troy Howarth and Nathaniel Thompson), as well as a great behind the scenes that was actually shot as home movies with comments by the crew; a look at the locations now and then; new interviews with Sherman, composer Joe Renzetti and novelization author Chelsea Quinn Yarbro; plus features on Stan Winston’s FX, Robert Englund and Dan O’Bannon. Plus, this packed release also has trailers, poster and still galleries, location stills, a collectible book with a new essay by Michael Gingold and the Original Motion Picture Soundtrack on CD for the first time ever. You can get this from MVD and it comes in three different covers.

Sharky’s Machine (1981)

Man, when I was a kid, the only movie that I think HBO had — besides The Car — seemed to be Sharky’s Machine. I never watched it back then and I totally should have, because it would have changed my life.

Yes, I know this is from The Movie Channel. I got it from

Based on the book by William Diehl, which was sent to the film’s director and star Burt Reynolds by Sidney Sheldon, this was Reynold’s chance to get away from the funnier movies he’d been making. He told the Boston Globe, “I figured it was time to get away from Smokey. I’d been doing a lot of comedy in recent years, and people had forgotten about Deliverance.”

Reynolds wanted to make a movie like his favorite film ever — the noir masterwork Laura — and he wanted John Boorman to direct. However, he was busy with Excalibur.

A bust gone wrong has moved Tom Sharky (Reynolds) from drugs to the vice squad, the worst occupation a police officer can have. Working under Frescoe (Charles Durning), our hero discovers a high-class prostitution ring that includes a thousand dollar a night girl named Domino Brittain (Rachel Ward) who is connected to governor candidate Donald Hotchkins, who is owned by Victor D’Anton (Italian star Vittorio Gassman).

One evening, while conducting surveillance and falling for Domino, Sharky watches her get blasted in the face with a shotgun by the evil William “Billy Score” Scorelli. Let me tell you, if you think Henry Silva was great before, this is perhaps the best I’ve ever seen him. He’s a force of complete terror and mayhem in this and I couldn’t love him any more after the ending of this film, which features the highest free-fall stunt ever performed from a building for a commercially released film.

As everyone thinks Domino is dead, she suddenly shows up and tells Sharky that it was her friend that ate the blast to the face. Now, she could bring the entire conspiracy down, if everyone can just stay alive.

Tough cop movies only wish they were a sliver as good as this movie. I mean, you have Bernie Casey and Brian Keith as cops, you’ve got bad guys slicing off Burt’s fingers and you have  a Doc Severinsen-orchestrated theme that Tarantino took for Jackie Brown.

Supposedly, when Clint Eastwood made Every Which Way but Loose, Reynolds said, “Clint, you’re getting into my territory and if it’s a success, I’m going out and make Dirty Harry Goes to Atlanta!”. When this film went into production, Eastwood sent a telegram to Reynolds saying, “You really weren’t kidding, were you?”

Norman J. Warren Week: Inseminoid, aka Horror Planet (1981)

Editor’s Note: We featured this film in our two featurette overviews on the rash of Alien-inspired films of the ’80s — “Ten Movies that Ripoff Alien” and “A Whole Bunch of Alien Ripoffs All at Once” — as well as the third part of our “Exploring: Video Nasties Section 3” series. Since this is our “Norman J. Warren Week,” we’re finally inspired to give it a full review proper.

Sam, our Movie-Themed Drink Mixmaster of Ceremonies and overall Chief Cook and Bottlewasher at B&S About Movies, experienced Norman J. Warren’s second foray into the sci-fi genre (his first was the truly awful, HBO-ran comedy Spaced Out from 1979) as a home video release. I, on the other hand, was fortunate (not really) enough to see this mess — and Luigi Cozzi’s Alien cash-in, Contamination — at the local Twin Cinema. Is this as gory and demented — and poorly edited as Cozzi’s? Well, like James Dalton tells the patrons of The Double Deuce, “Opinions vary.” The opinion that doesn’t vary: this movie sucks. Well, we take that back: not if you watch the unsensored version. But still: Think of all of the things that made Alien a “wow moment” film. Think of all of the things that made Mario Bava’s Alien antecedent Planet of Vampires a UHF-TV classic. Now, take all of that all away. Then turn the premise into a (trashy) battle of the sexes, message-we-didn’t-ask-for allegory about the male-powered hierarchy corruption of females.

U.S. theatrical one-sheet.

Thus, unlike with 20th Century Fox being sued by science fiction writer A. E. van Vogt over copyright infringement for using his The Voyage of the Space Beagle (1950) (you did O’Bannon, end of story) in the creation of Alien, the studio had enough common sense not return a legal volley at Shaw Brothers and company for ripping off what was — regardless of it being of a uniquely layered, superior quality — a ripoff itself.

This movie has been, rightfully, criticized for bad sets, poor acting and bad special effects. However, in truth, these are all things you truly need to make a great genre film. But right there in the title, you know what you’re getting . . . if you want to get it. And you know we do: someone is getting inseminated by something from space. . . .

Image of U.S. home video version courtesy of Amazon.

So, what does £1 million and a two-month production schedule get you?

A British/Hong Kong co-production, this was financed by Run Run Shaw of the famous Shaw Brothers, who would also foist 1979’s Meteor into our theaters, if not our hearts. It’s directed by Norman J. Warren, who was part of a new school of ’70s British horror, pushing the boundaries of explicit sex and violence much further than the Amicus and Hammer studios of the previous decades. Cases in point: the obscure Satan’s Slave (Warren’s third film, but first horror film) and the better-known, also David McGillivray-penned Prey and Terror.

Bottom line: If you’re going to make a movie called Inseminoid . . . and a bunch of censors don’t get upset, you’ve really failed at your job. This was one of the first U.K. movies to quickly be released on home video after its appearance in cinemas, which led to it reaching seventh place on the British video sales charts in November 1981. One of the reasons why this movie was so controversial — I mean, other than the fact that it’s a movie for people who want to see an alien impregnate a human female — is that the producers did a direct mail campaign that featured lead actress Judy Geeson screaming alongside a headline that screamed “Warning! An Horrific Alien Birth! A Violent Nightmare in Blood! Inseminoid at a Cinema Near You Soon!”

Director Norman J. Warren came to regret that exploitation-inspired marketing gimmick, saying “The problem with mail-drops is that you have no way of knowing who lives in the house, or who will see it first. It could be a pregnant woman, and old lady, or even worse, a young child. So it was not such a good idea.”

Concerned with a group of Nostromo-inspired archaeologists and scientists excavating the ruins of an ancient civilization on a distant planet, the screenplay was written by Nick and Gloria Maley, a husband and wife special effects team who worked on Warren’s (very good) Satan’s Slave. The screenplay’s working title, known as Doomseed, was changed to Inseminoid, so as to avoid confusion with the A.I.-rape tale Demon Seed (1977), which makes no sense, as that big-budgeted, Herb Jaffe Productions’ sci-fi programmer for Metro-Goldwyn-Mayor wasn’t exactly a hit (or remembered much four-years later). (In some mainland Euro-countries, the film was releases as Seeds of Evil.)

The U.K.-paperback tie-in based on Nick and Gloria Maley’s screenplay. Image courtesy of Vault of Evil: Brit Horror Pulp Plus, where the book is discussed at length by readers.

Of course, Ridley Scott shocked the world when esteemed British actor John Hurt had an alien rip out of his stomach. So, those scenes of a male impregnated via a “face hugger” had to be one-upped. So, this time, the Xenomorph doesn’t waste time laying eggs in a derelict craft for some wayward space jockeys to stumble into: ol’ Xeno goes straight to the incubator source and (violently) rapes Judy Geeson (who we all fell in love with in her film debut, To Sir, with Love (1970); Rob Zombie honored Geeson with roles in his The Lords of Salem and 31). As would any Earthbound-cum-human rape victim of the I Spit on Your Grave or Abel Ferrara-Ms. 45 variety, Geeson’s raging-Ripley has a psychotic break (or a psychic link with her “attacker,” ugh) and kills the crew — then devours their flesh to nourish her “inseminoid” that soon births as hybrid twins.

Do the twins stowaway on the ensuing rescue ship . . . uh, you really don’t know your Alien ripoffs very well, mijo.

You can find out by streaming Inseminoid on Amazon and You Tube.

You say you want to buy a copy of all of, well, most of, Warren’s films? The Indicator/Powerhouse imprint released Bloody Terror: A five-film box set of Warren’s films, which includes Satan’s Slave, Prey, and Terror, as well as Bloody New Year, alongside Inseminoid. So, there you go: You have yet another reason to own a region-free Blu-ray player.

Here’s some trivia: The alien planet in the film was shot on the rocky, Mediterranean island of Gozo. And here we are, all of these years later, reviewing a psychological horror film shot on the island, Gozo (2020). That’s how B&S Movies, rolls.

About the Authors: Sam Panico is the proprietor of B&S About Movies. You can learn more about the writings of R.D Francis on Facebook. He also writes for B&S Movies.

Repost: Black Noon (1971)

Editor’s Note: We reviewed this on May 22, 2020, as part of one of our many “TV Week” tributes.  It’s back again for our second day of our three-day “Bernard Kowalksi Week” tribute of his drive-in features and telefilms. He directed this CBS film after working on numerous episodes of TV’s The Untouchables and Mission: Impossible, as well as the westerns Rawhide and The Wild Wild West.

Bernard L. Kowalski has a decent horror pedigree, directing Night of the Blood BeastAttack of the Giant Leeches; Krakatoa: East of JavaTerror in the Sky and Sssssss. Here, he puts the occult terror on a slow boil and puts Reverend John Keyes (Roy Thinnes, always battling the occult) and his wife Lorna (Lynn Loring, The Horror at 37,000 Feet) against an unseen force bedeviling a small Western town named San Melas.

There’s voodoo, devil worship and a mute young girl and a gunslinger possessed by the Left Hand Path. Ray Milland shows up, proving that Old Hollywood is never to be trusted. Plus there’s Gloria Grahame (Blood and Lace), Henry Silva (Almost HumanMegaforce, the epic Escape from the Bronx), stuntman Stan Barrett, Joshua Bryant (Salem’s Lot), a young Leif Garrett (Thunder Alley) and Jodie Foster’s brother, Buddy.

70’s made for TV horror neglects the Old West, so this is a strange film to start with. Then again, it also plays the Troll 2 trick of a town with a backward name and a connection to witches, but it doesn’t telegraph that.

The ending — which moves to 1971 — more than makes up for the slow moving last 68 minutes. Actually, I love dreamy TV movies that seem to take forever to get anywhere. If this played on the CBS Late Movie, it would have probably taken two hours and forty minutes with all the commercials.

Actually, it did, on August 29, 1972 and March 6, 1975.

You, however, can just watch it on YouTube:

Junesploitation 2021: Pennies From Heaven (1981)

June 20: Junesploitation’s topic of the day — as suggested by F This Movie — is musicals!

For the exact same reasons why I find Pennies from Heaven to be a success, I can see why it failed at the box office.

Pennies from Heaven was Steve Martin’s first dramatic role in a film. After watching the original BBC miniseries, he was convinced that it was the greatest thing he’d ever seen. So he learned how to tap dance and chose the film to follow up The Jerk.

He’d later tell Rolling Stone, “I’m disappointed that it didn’t open as a blockbuster and I don’t know what’s to blame, other than it’s me and not a comedy. I must say that the people who get the movie, in general, have been wise and intelligent; the people who don’t get it are ignorant scum.”

He also told the Chicago Tribune “Everything I had done until that time had been wildly successful so that the commercial failure of the film caught me by surprise.”

But yeah. He also would tell the BBC at one point that you don’t follow up The Jerk with this movie.

During the Great Depression, Chicago sheet-music salesman Arthur Parker (Martin) struggles in his business and in his marriage to Joan (Jessica Harper*), who refuses to give him any money to start his own business. His dream is to live in the world of the songs that he writes, which leads him to wander for a while. During this time, he meets a schoolteacher named Eileen (Bernadette Peters) and falls in love with her, but he soon returns to his wife.

The affair has led to a pregnancy and Eileen loses her job. After an abortion, she becomes Lulu, a lady of the night in the employee of a pimp named Tom (Christopher Walken). Yet when they find each other again, Arthur and Lulu remember their love and run away after destroying his store.

It all falls apart when a girl is assaulted and killed, with Arthur suspected and his wife telling the police that he’s perverted. He’s arrested and goes to death row, but his fantasy life takes over, as he sings “Pennies from Heaven” on the gallows. The film closes with him telling Lulu, “We couldn’t have gone through all that without a happy ending. Songs ain’t like that, are they?”

At one point in the film, Arthur and Eileen go to see the Fred Astaire and Ginger Rogers movie Follow the Fleet and then become part of the movie and dance through “Let’s Face the Music and Dance.” In Astaire, The Biography, Fred Astaire would say, “I have never spent two more miserable hours in my life. Every scene was cheap and vulgar… it makes you cry it’s so distasteful.” However, it has been reported that he liked Walken’s dancing.

Director Herbert Ross recovered from this movie bombing and made FootlooseThe Secret of My SuccessSteel MagnoliaBoys on the Side and many more films. Dennis Potter, who wrote the BBC series and this film, would go on to write Gorky Park and The Singing Detective.

You know who was a fan of this movie? Anton LaVey. It appears on the Church of Satan film list and Dr. LaVey went on record saying, “The sets and the characters were 100% authentic.”

*Do you think Ms. Harper ever thinks to herself, “Between SuspiriaPhantom of the Paradise and Shock Treatment, do you think that I can maybe not be in a cult musical movie and maybe something that could get me rich?”

Take This Job and Shove It (1981)

“Take This Job and Shove It”, was written by David Allan Coe and sung by Johnny Paycheck, the only number one song Paycheck would ever have. Beyond Coe doing his own version, it was also covered by the Dead Kennedys, Canibus with Biz Markie and Chuck Barris and the Hollywood Cowboys during the last episode of The Gong Show.

Shot in Dubuque, Iowa at the Dubuque Star Brewery and in Minneapolis, Minnesota, this is the very first movie to feature monster trucks. Bob Chandler’s Bigfoot #1 is Ray’s (Tim Thomerson) pick-up truck and Everett Jasmer’s USA-1, called “Thunderin’ Lightning,” is also in the film.

Take This Job and Shove It is all about The Ellison Group, run by Sam Ellison (Eddie Albert), who buys up local businesses and makes them profitable by making them just like every other business. His two hatchetmen are Dick Ebersol* (Martin Mull) and Frank Macklin (Robert Hayes). Macklin usually goes well at assignments like this, but now he has to go back to his hometown and just might have to fire his childhood best friends.

This film has an amazing cast, with Art Carney as brewery owner Charlie Pickett and Barbara Hershey as Macklin’s old girlfriend J.M. Halsted, plus David Keith, Royal Dano,  James Karen, George Lindsey, Len Lasser, Penelope Milford and cameos for Charlie Rich, Coe and Paycheck.

Take This Job and Shove It was directed by Gus Trikonis, who knows all about making great drive-in and redneck movies like SupercockNashville GirlThe SidehackersMoonshine County Express and The Evil. It was written by Barry Schneider, who wrote another song-based film, Harper Valley P.T.A. (plus RubyRoller BoogieClass of 1984Cocaine: One Man’s Seduction and Deadly Force, so great work Barry) and Jeffrey Bernini.

You can get this on blu ray from Kino Lorber.

*This has to be no accident and a joke at the expense of the former chairman of NBC Sports and Saturday Night Live producer.

Junesploitation 2021: Enter the Ninja (1981)

June 16: Junesploitation’s topic of the day — as suggested by F This Movie — is Cannon.

Cannon Films need to be on our site more often, but that’s because I want to make sure that I have the time and energy to properly focus on this astounding company. But hey — let’s get things started by talking about Enter the Ninja, a movie written by the man who stole Priscilla from Elvis, Mike Stone, and nearly starred in it before his acting ability supposedly wasn’t good enough for a ninja movie Luckily, Franco Nero was in the Philippines and Stone was nice enough to remain on set as the fight double for Nero and the fight/stunt coordinator.

That’s right — Django as a ninja. Make that a ninja that cucks his best friend and arrdvarking his wife Susan George and then fighting Sho Kosugi.

If you were wonding why I loved Cannon Films so much, just read that last sentence again.

Cole (Nero) is a soldier who has become a ninja — much like Snake-Eyes in the Marvel comics — before he visits his war buddy Frank Landers and his new wife Mary Ann (Ms. George) who own a giant farm in the Philippines that is threatened by Charles Venarius (Christopher George), whose Venarius Industries wants the oil that’s on their land.

After said cuckolding — Frank had already drunkenly confessed to our hero that he couldn’t life his own katana, so to speak — Venarius’ henchmen kill Frank and kidnap Mary Ann. That means that Cole has to battle his way through all of the many soldiers in his way before battling his old sword brother Hasegawa (Sho Kosugi).

Directed by Menahem Golan, who also gave us The Apple, this is actually the exact kind of movie that I want it to be. Golan said, “It started when Chinese karate films became popular. I looked for something new in Asian martial arts and found information about the ninja culture in an encyclopedia. The ninja were middle-class people in Japan — lawyers, government clerks, etc. It was a secret organization that helped the feudal government. It actually preceded the Chinese karate battles. They used very special methods, developing their sixth sense. That fascinated me and I said I could write story ideas out of it, so we made Enter the Ninja and American Warrior later on. Many imitations followed.”

Actually, Emmett Alston was supposed to be the film’s original director. Supposedly Charles Bronson refused to allow Golan to direct Death Wish II. Alston directed Force of the Ninja and Nine Deaths of the Ninja, which is somehow even better than this.

Also, I know that we got a whole bunch of Kosugi ninja movies, which I love, but man, why did we not get another Franco Nero in karate PJs movie?

Junesploitation 2021: Private Lessons (1981)

June 13: Junesploitation’s topic of the day — as suggested by F This Movie — is ’80s comedy!

Dan Greenburg has written plenty of books, including the Zack Films and Secrets of Dripping Fang children’s books. He’s also had several of his books made into movies, including the Elvis Presley film Live a Little, Love a Little, which was based off his work Kiss My Firm But Pliant Lips, Foreplay, Private SchoolThe Guardian and the movie we’re about to discuss, which was based on his book Philly.

It’s directed by Alan Myerson, who was O.K. Corrales in Billy Jack and directed Police Academy 5, as well as episodes of Ally McBeal, Friends, The Larry Sanders Show and more. In case you’re wondering, “Does Alan Myerson know comedy?” the answer is yes, as he’s one of the people who helped found The Committee, which counted folks like Howard Hesseman, David Ogden Stiers, Carl Gottlieb, Rob Reiner and Del Close.

That said, Private Lessons made me question my younger self. To wit: when you’re fifteen years old, the opportunity to lose one’s virginity to Sylvia Kristel seems like a dream come true. But when you’re getting close to fifty, you start to cringe at scenes where she tries to lure this film’s protagonist into a bathtub or makes out with him in the back of a limo. It doesn’t seem like a fantasy any longer. It feels wrong.

Philip “Philly” Fillmore (Eric Brown, Waxwork) is a 15-year-old high school student whose father has left him alone for the summer with the only supervision coming from Lester the chauffeur (Howard Hesseman) and Nicole Mallow (Kristel), the family’s new French maid. Sure, Kristel is really Dutch, but we’re not here to quibble about her nationality.

All of her seduction games with our newly pubescent protagonist are all a ruse. She’s an illegal alien who Lester is using in a scheme against Philly and his father. Once they have sex, she’s going to fake her death and Lester will help Philly bury her body. Then, the kid will have to steal ten grand to keep the mysterious demise of Nicole a secret.

The weird thing is, even when Philly busts Lester, he ends up letting the guy keep his job. Once you also see this movie through the eyes of someone from 2021, you realize that Philly is a rich white kid who is going to grow up to be a creep, empowered by the knowledge that he was able to subjugate those in castes below him and still get to repeatedly struggle snuggle with the woman who was once Emmanuelle, despite the fact that she states numerous times in the movie that she feels guilt for having taken his innocence. He has no innocence to speak of, as the last scene in the film shows, where he boldly inquires for a date with a teacher who already informed him that she found his intentions upsetting. I guess money can solve so much, but I wouldn’t really know.

Now for the fun parts.

This movie was Jack Barry & Dan Enright Productions, who usually stuck to producing game shows. They even used one of their announcers, Jay Stewart, to do the trailer’s voice-over. Barry received a lot of hate mail for this film from loyal viewers of his shows who were disgusted by the content of Private Lessons. As a result, he never made another film again.

Yet even more intriguing was the fact that this was the first picture for Jensen Farley Pictures, a subsidiary of Sunn Classic Pictures. Yes, after years of making movies just for America’s families, Jensen Farley would release stuff like The Boogens and another movie where an older woman — Joan Collins! — would deflower a younger man, Homework.

I can’t even imagine the music budget on this movie, because it has everything from Air Supply’s  “Lost In Love” to Eric Clapton, Earth, Wind and Fire, John Cougar and “Hot Legs” “Tonight’s The Night,” and “You’re in My Heart” from Rod Stewart.

It’s also the American debut of Jan de Bont, who was the cinematographer here and would go on to make Speed and Twister.

I should mention that I despise Eric Brown even more now, because not only did he get to do multiple love scenes with Sylvia Kristel, but he did the very same thing in They’re Playing With Fire, except that that time, the kid got to appear with Sybil Danning.

Another last revelation: I now realize that many of the women I’ve dated are just me trying to find my own Sylvia Kristel. Sadly, the real thing had a very rough life that was dominated by addiction and a quest to find a man who could replace her father.

Man, I should never write about comedies, huh?

You can watch this on Tubi.

PS: I totally forgot that Pamela Bryant from Don’t Answer the Phone! is in this.

Porky’s (1981)

Bob Clark wrote and directed this film — the adventures of the students of Florida’s Angel Beach High School in 1954 — that ended up inspiring an entire generation of movies much in the same way that Animal House inspired it. Clark based the movie on his own experiences growing up.

At one point, every studio in Hollywood turned down Porky’s. Clark got the movie produced through Melvin Simon Productions and a Canadian firm, Astro Bellevue Pathe, making the film up north to take advantage of tax benefits. So yeah. This is yet another Canadian tax shelter film.

Much like, well, every teen sex comedy that would follow this,  the boys all want to lose their virginity. They go to Porky’s, a strip club in the swamp, thinking they can hire a girl there, but they’re all dumped into the Everglades by the club’s owner, Porky. They demand their money back, but Porky’s brother is the sheriff, which means that they lose even more cash.

The movie revolves around getting back at Porky and also getting into the pants of the ladies, including Lynn “Lassie” Honeywell (Kim Cattrall). In 1954 and 1981, this was a common part of growing up. Today’s viewers may not see the film in such a comedic light, but you can’t expect things made forty years ago to understand the progress that has happened since they were made. The fact that you recognize that these movies are outdated points to how much progress we have made; enjoy them for the parts that you can enjoy them for.

The real Porky’s — Porky’s Hide Away in Oakland Park — is now an L.A. Fitness. That makes me incredibly depressed.

Goin’ All the Way! (1981)

This movie starts with a female weightlifter* luring a guy into the gym showers with the promise of sex, then she and her friends shave his head as she laughs. Trust me, if young Sam had seen this in 1981 — he would have been nine — he would have had yet another obsessive crush.

Robert Freeman has two other credits — negative cutter on True Blood and the fantastic oddball slasher The Forest — from a script by Roger Stone (no, not the right-wing supervillain, the guy who wrote A Night at the Magic Castle and the song “Get Even” in Gymkata, as well as six songs in this movie) which was from a story by Jack Cooper (not Jackie Cooper).

Artie wants to sleep with his girlfriend Monica and she won’t give in, so they break up, because high school. Actually, because guys, too.

There’s also a big beefy dude named Bronk who is played by Joshua Cadman, Johnny Big Head from Surf II and you should really just go watch that movie instead of this movie. He was also Spike in Angel and yeah, you should watch that instead, too.

The movie ends at a Sadie Hawkin’s Dance, which was an invention of Al Capp in the comic strip Li’l Abner. This dance is one where the girls ask the guys and yet another invention by the high school elite to remind geeks why they must remain in their caste, unasked to the party and home playing Dungeons & Dragons and listening to Grim Reaper. Oh, that was me? Yes it was.

You can watch this on Tubi.

*Seeing as how this is a guy-centered movie, her only name is weightlifter in the credits.