Tag Archives: 1982

UNSUNG HORRORS HORROR GIVES BACK 2025: Cute Devil (1982)

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Each October, the Unsung Horrors podcast does a month of themed movies. This year, they will once again be setting up a fundraiser to benefit Best Friends, which works to save the lives of cats and dogs across America, giving pets second chances and providing them with happy homes.

ABOUT THE AUTHOR: Adam Hursey is a pharmacist specializing in health informatics by day, but his true passion is cinema. His current favorite films are Back to the Future, Stop Making Sense, and In the Mood for Love. He has written articles for Film East and The Physical Media Advocate, primarily examining older films through the lens of contemporary perspectives. He is usually found on Letterboxd, where he mainly writes about horror and exploitation films. You can follow him on Letterboxd or Instagram at ashursey.

Today’s theme: The Sweetest Taboo!

Hold onto your penmanship medals! Nobuhiko Obayashi (Hausu) brings us a version of The Bad Seed, with a child perhaps even more devious than Rhoda Penmark.

I would say that The Bad Seed was a gateway horror film for me, but I was born in the 1970s. The idea of gateway horror had not been invented. Or even considered. One of my earliest memories is watching Carrie on our little television in the trailer we were living in. The pig’s blood dropped and I ran out of the room. Carrie was aired on CBS in 1978. Sure, they made a few edits, but a 3-year-old me would not have been able to notice. The real question is why would my parents let me watch it in the first place?

Sort of the blessing and the curse of being Generation X. I wouldn’t trade it for anything. My mom loved Alfred Hitchcock and she would often tape his films or television show any chance she got, and we would watch it on the weekends (along with a week’s worth of All My Children). But the film I most fondly remember is The Bad Seed. Taped off of WGN, complete with commercials for K-Tel records and Empire carpet (588-23 hundred Empiiiiire), we would watch it all of the time. Oh, how I wish I still had that old VHS tape! The Bad Seed had so many aspects that fascinated me. I was too young to understand the concept of translating a stage play to film. We do not see the evil Rhoda commits. We just hear about it. It might have made the idea of such an evil child more effective. Also, I’m still not sure what excelsior is exactly. But apparently, it is highly flammable.

As much as I love The Bad Seed, it is possible that Obayashi’s version is superior in many ways. He totally cuts out the psychological mumbo jumbo that drags down a significant portion of the original film. Our child killer here, Alice, is just a sociopath from the beginning. Is it possible that the suicide of her father is the root cause? Who cares? It doesn’t matter. We are just here to watch Alice bludgeon her teacher to death in order to get a prized doll. 

Obayashi also deviates from the original story by bringing in an aunt as the main protagonist. Ryoko ends up in a mental institution after believing she has caused her boyfriend’s death. I mean, she did wish death upon him as he was walking out the door, only to be struck down by a car. On that same day, Ryoko’s sister Fuyoko is getting married (why Ryoko isn’t there is not explained, other than she is studying music in Vienna). After Alice asks Fuyoko if she can have her veil when she dies, Fuyoko says yes, not expecting to be violently tossed out of a window minutes later. Years pass, and eventually Ryoko is convinced she was not responsible for the death of her boyfriend. Her brother-in-law (I guess—he was only legally married to her sister for mere minutes—talk about early release) asks Ryoko if she would come and be governess to Alice, sweet Alice. She does, but quickly begins to believe that Alice is responsible for the mysterious deaths happening around the family.

We do not approach the insanity that is Hausu of course, but Obayashi does have plenty of tricks up his sleeve. He foreshadows this glass vase so hard that you know something is going to happen with it. But I could have never expected what actually does happen. I thought “there it is”, immediately thinking that it is something that would have easily happened to one of the girls in Hausu.

The Leroy character, the guy who knows the truth but would have difficulty proving it, is even scummier than the guy in The Bad Seed. And Alice does not need to rely on him sleeping on a bed of excelsior to ignite those flames. 

All around, a great companion piece to both Hausu and The Bad Seed. I could watch both of those films back-to-back right now. Similar to other remakes of The Bad Seed in the United States, Cute Devil was made for television. I seem to be stacking up MFTV movies this month. A seemingly endless fount of goodness that unfortunately does not seem to exist anymore. 

UNSUNG HORRORS HORROR GIVES BACK 2025: Girls Nite Out (1982)

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Each October, the Unsung Horrors podcast does a month of themed movies. This year, they will once again be setting up a fundraiser to benefit Best Friends, which works to save the lives of cats and dogs across America, giving pets second chances and providing them with happy homes.

Today’s theme: Slasher!

About the Author: Parker Simpson is a writer and podcaster focusing on cult films and their social impacts. They currently cohost Where Is My Mind, a podcast focusing on underappreciated films from a variety of genres and countries. They have also held panels, chartered local organizations, and written articles to their blog. When not writing or studying, they like to spend time with their pets and go outside. Check out the podcast Linktree and blog.

Dang, this thing is slo- wait, is that a Confederate flag on the wall? Where does this movie take place? Ohio? That was a union state!

Girls Nite Out lives in the same vein of small town slashers, its brethren being My Bloody Valentine, The Prowler, and Sleepaway Camp. You could also safely say elements of Halloween and Friday the 13th are spliced in for good measure. The basic plot is simple: young people put in a precarious situation involving an unknown killer taking them down, one by one. Girls Nite Out’s spin on this is putting them in a scavenger hunt in this small town, and having the killer be a dude in a mascot suit (to any of my friends who are Five Nights at Freddy’s fans: DOWN BOY, DOWN! SIT. STAY. HEEL!). As someone who has lived in a small college town, how poorly attended is this university to have the student body participate in a scavenger hunt?

Nothing. Happens. For. A. Very. Long. Time. I think that’s how it normally is in Ohio anyhow, unless Joe Burrow is playing football. It’s not a terribly eventful film, relying on the small-town hijinks of several college kids. I know a lot of people get annoyed when a movie just relies on its coziness, but I never really mind it. Jess Franco does the same thing in several of his films, only the cozy is broken up by sex instead of brutal murders. I have no issue either way. The bear mascot is creepy as fuck, constantly calling his female victims “whores” and killing people via knives on his paws (proto-Freddy Krueger?), filling the requirement that there be some gore (however minimal). He’s really the most noticeable character, along with Hal Holbrook’s policeman and the radio DJ. Everyone else blurs together, being treated like meatbags (particularly the women).

Listen, I feel bad not having much to talk about with this. It’s pretty straight to the point, with little attraction outside of the slasher gimmick. Everyone clearly has a good time despite the cookie-cutter plot, setting, and character archetypes. It’s a good “background” movie, if you want to be cruel, and a good comfort movie if you’re tired and just want to watch an old-school slasher. I know my local drive-in double-billed this with Madman, in what I imagine was a very fun, old-timey screening perfect for the beginning of fall. I wonder how many people came to that after the mass exodus that Society produced the previous weekend (more on that later this month!). As for this film (and this review), just like the one meme from several years ago said, “It isn’t much, but it’s honest work.”

THE IMPORTANT CINEMA CLUB’S SUPER SCARY MOVIE CHALLENGE DAY 5: The Witch with Flying Head (1982)

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October 5. A Horror Film Featuring a Killer Flying Head

Which came first, this or Mystics in Bali? Could they have been made right around the same time? Was this made years before? Who can say? All we know is that they both feature women with flying heads.

Yu Chun has a problem. A sorcerer put a curse on her, which results in her head, once a month, removing itself and flying around to hurt people. Is it at the same time as her time of the month? I would hope so, so two birds, one rock. Anyways. Not even an exorcism can help, so she has to live with it for years.

This flying head is dangling a spine and guts, flying about while most of the Star Trek II, The Black Hole and Conan the Barbarian soundtracks play. That’s kind of perfect. I mean, as perfect as a movie where a snake that becomes a sorcerer who poops a snake out of his eye that crawls into a praying woman’s lady business can be. And by that, I mean absolutely perfect.

Are you afraid of snakes? What if a movie had people puking snakes for most of the film? Would you be frightened then? You should be. The head also breathes fire, has fangs and can shoot lasers out of its mouth.

I wish the head and the hand from Demonoid would get together and have a shoulder for a child.

You can watch this on YouTube.

UNSUNG HORRORS HORROR GIVES BACK 2025: Apocalipsis sexual (1982)

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Each October, the Unsung Horrors podcast does a month of themed movies. This year, they will once again be setting up a fundraiser to benefit Best Friends, which works to save the lives of cats and dogs across America, giving pets second chances and providing them with happy homes.

Today’s theme: Lina Romay

According to Letterboxd, Lina is the most-watched actor in my history, having appeared in more than one hundred movies, trailed only by Christopher Lee, John Carradine and Dick Miller. Well, Carla Mancini is gaining, even if you never see her in the movies she’s in.

Directed by Carlos Aured (House of Psychotic Women, The Mummy’s Revenge) and Sergio Bergonzelli (Blood Delirium) — maybe or maybe not… — and written by Aured, this has a gang that is either pulling off crimes or having sex with one another. Then they decide to kidnap a millionaire’s daughter, Patty Hearst-style. They are Liza (Ajita Wilson, an American-born transgender actress who is also in Macumba Sexual and Sadomania, amongst other films), Ruth (Romay), Tania (Hemy Basalo, also known as Eva Palmer; she’s in Night of Open Sex), Antonio (José Ferro, Macumba Sexual) and Clark (Ricardo Díaz, El fontanero, su mujer, y otras cosas de meter,  Cut-Throats 9), their leader. The virginal rich girl is Muriel (Kati Ballari, who appears in only one other movie,  La vendedora de ropa), and she could be more perverted than all of them.

Speaking of crime…

Two versions were released: an R-rated and an uncensored hardcore version with explicit sex scenes. At one point, the hardcore version wasn’t legal in Spain, where it was made, so it was distributed in countries where it was allowed. Some of the actors who participated in the hardcore sex scenes signed contracts assuring them that the version would never make it to Spain, where it might harm their careers. Obviously, Lina didn’t care.

Aured claimed that he filmed the sex scenes with the help of a professional hardcore actor, as not many men could stay hard when the cameras rolled.

After the law was liberalized, there was an explosion of Clasificada S films, which the softcore version was released as. The Italians got the hardcore. Strange, somewhat, that Aured, who did four movies with Paul Naschy, was making adult films.

The Italian version has a more ironic tone to the voiceover, while the Spanish one claims this is a true story and tries to tie it to Charles Manson. There’s also a square-up at the end, trying to ask how society can make such horrible people, said just minutes after we’ve watched all of them make love, sometimes for real, depending on the cut.

The end is kind of an apocalypse, but not as sleazy or end-of-the-world as you would hope. Then again, a chance to see Lina not being directed by Jess and, as always, her smile makes me happy.

You can get this from Mondo Macabro.

USA UP ALL NIGHT: Five Elements Ninjas (1982)

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EDITOR’S NOTE: Five Elements Ninjas was on USA Up All Night on June 5, 1992 as Super Ninjas.

Chang Cheh directed ninety movies from 1965 to 1993* as well as wrote all the lyrics to the songs featured in his films. The majority of his most well-known movies in the West feature the Venom Mob of Kuo Chui, Lu Feng, Chiang Sheng, Sun Chien, Lo Mang (along with Wei Pai), a group of martial arts masters who appeared together and separately across numerous Shaw Brothers films.

Also known as Super Ninjas, Chinese Super Ninjas and Chinese Super Ninja, this movie seems as if the weirdest and most violence-obsessed kid in your grade school class was suddenly given enough money to stop scribbling in his notebooks and instead allowed to make a movie that is pretty much non-stop ninjas horribly murdering one another.

This is, quite frankly, the highest praise that I can give to a movie.

I mean, let me sum up the first five minutes: Chief Hong (Chan Shen) has challenged his rival Yuan Zeng (Kwan Fung) for the title of martial arts master, which mainly entails sending each other’s students after one another in battles to the death. Hong has cheapened these wars of honor by inviting a foreign samurai to the contest. He kills one of Zeng’s students before being stopped by Liang Zhi Sheng (Lo Mang). Before he commits seppuku, he throws a spiked ring to Zeng, which poisons the master and keeps him from doing kung fu until he heals.

There’s no time to heal, as a new challenge arises from the Five-Element Ninjas. Zeng asks Sheng and Tian Hao (Cheng Tien Chi) to fortify the school while ten of his best men answer the challenge. What follows is a series of increasingly brighter colored ninjas, basically showing you every Mortal Kombat fatality nearly a decade before the game came out. The ninjas also send Senji (Chen Pei-Hsi) to infiltrate the school. Yes, Hong and Mudou (Michael Chan, who didn’t just play triad gangster roles, but left the police to become one), the leader of the ninjas, are pretty much the winners before the fight even gets started.

Within a few weeks, she has mapped out the entire school and Mudou’s ninjas attack as she offers herself to Sheng. He refuses her, but allows her to play the flute for him. As she entertains him, everyone in the school except for Ha escapes and visits his old ninja master. Joined by four other fighters, he challenges the Five-Elements Ninjas and Mudou, who has killed Hong and taken the title of master.

This movie is quite frankly fantastic. It blew my mind throughout and never lets up, like a children’s show that has wall-to-wall gore. As the first movie in our week of Hong Kong films, it has set a high bar that other films will really have to battle to scale and exceed.

You can watch this on Tubi.

*The Legend of the 7 Golden Vampires, Five Deadly Venoms and Crippled Avengers, to name a few.

USA UP ALL NIGHT: Echoes (1982)

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EDITOR’S NOTE: Echoes was on USA Up All Night on March 30, 1990.

Michael Durant (Richard Alfieri) has always dreamed of a man who is trying to kill him. Spoiler: It’s his twin brother who died in the womb. Now, that man wants to possess him, which mostly means that he gets mean to his girlfriend Christine (Nathalie Nell).

That said, this movie is quite interesting because it presents a supernatural idea, but treats dream possession as if it were a fact of life, and everyone just moves on. It’s also the last movie for Gale Sondergaard, Mercedes McCambridge (who played Pazuzu), and Ruth Roman, who plays Michael’s mom.

It’s nearly an Alfieri vanity project, as he co-wrote it with Richard J. Anthony and sings one of the songs on the soundtrack. It’s directed by Arthur Allan Seidelman, who also directed Alfieri’s script for Six Dance Lessons in Six Weeks. I know him from his first movie, Hercules in New York. He also directed I Think I’m Having a Baby, Strange Voices, the Cannon movie Rescue Me as well as several movies that Alfieri acting in, such as Macbeth, Children of Rage, an episode of Magnum P.I. by the title “I Never Wanted to Go to Paris, Anyway” and a Trapper John, M.D. episode titled “In the Eyes of the Beholder.” In fact, the only film Alfieri acted in that Seidelman didn’t direct was In Search of Historic Jesus.

You’ll probably hate the protagonist, as he’s a jerk to everyone even before he gets possessed. I wanted this to be better because it has the right idea. It just isn’t great.

You can watch this on YouTube.

Sizzlin’ Summer of Side-Splitters 2025: Warrior Queen (1987)

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Sept 22-28 Chuck Vincent Week: No one did it like Chuck! He’s the unsung king of Up All Night comedy, a queer director making the straightest romcoms but throwing in muscle studs and drag queens. His films explore the concept of romance from almost every angle – he loved love!

A Chuck Vincent-directed barbarian movie — written by that maniac Harry Alan Towers (using the name Peter Welbeck), Rick Marx (Doom Asylum, Gor II, Tenement, so much adult) and S.C. Darcy — starring Donald Pleasence, Sybil Danning, adult star Samantha Fox (not the singer, but the one who went by Stasia Micula), J. J. Jones (Christine, Love Circles, Black Venus), David Brandon (Stagefright) and Tally Chanel (Hollywood Hot. Tubs 2: Educating Crystal) and I haven’t seen it?

And it’s shot by Gianlorenzo Battaglia, the cinematographer of Demons?

And it’s associate produced by Joe D’Amato?!?

The man who protected Haddonfield by sending cop cars into teenagers is Clodius Flaucus — not Claudius — the emperor of this porno peplum Rome, one that ends with a volcano killing almost everyone. But that’s not an effect, that’s footage stolen from Last Days of Pompeii, which D’Amato also ripped off for Diary of a Roman Virgin, and Bruno Mattei lifted in his movie Nerone e Poppea. Yet this is a film that begins with Berenice (Danning) killing a bunch of dudes with a sword, so if you aren’t into that, go look in the mirror and see if you have a soul or not.

Dudes armwrestle to the death as if this were the movie that my grade school fellow movie maniacs described as Caligula, but on a Joe D’Amato budget. Joe was probably like, “I already made this movie when it was called Caligula: The Untold Story in 1982.”

A gladiator who goes by Goliath (Marco Tullio Cau, the evil deity in Specters) wants to assault new female slave — and virgin — Vespa (Chanel), who is being inducted into the art of lovemaking by Chloe (Jones). Berenice protects her, but she’d better be ready, because this is one bad guy who doesn’t know the meaning of no. It almost happens again, one day later, but Marcus (Hill) saves her. She pledges her virginity to him, which is good, because he straight up murders Goliath in the gladiator battles just in time for the volcano to destroy Pompeii and kill everyone evil.

So basically, Sybil Danning and the Deathstalker (well, one of them, you know how that goes) team up, orgies happen all over the place, an insane Pleasence chases doves, a frisbee gets thrown into the audience and kills someone, slaves are hung upside down and stripped…yes, Vincent may have started in porn. Still, now he has Aristide Massaccesi and Harry Alan Towers on his side, which is seriously like being around The Avengers of sleaze.

And a Boris Vallejo poster?

Where was Laura Gemser in all this? Seriously, if she showed up, I probably could have died happy, never watching another movie, secure in this scum.

You can watch this on Tubi.

TROMA BLU-RAY RELEASE: The Last Horror Film (1982)

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The Last Horror Movie reunites the wacky lovebirds Joe Spinell and Caroline Munro, who previously starred in Starcrash and Maniac, and makes another appearance for Joe on the Video Nasty Section 3 list.

Director David Winters was one of the few stage actors and dancers in West Side Story to be in the film version. He then became a choreographer and was the first to choreograph the Watusi, as well as the originator of the Freddie. He also helped Elvis and Ann-Margaret dance in Viva Las Vegas. His first directorial effort was the Alice Cooper film Welcome to My Nightmare, and he produced everything from Linda Lovelace for President to Young Lady Chatterley, Killer Workout and owned Action International Pictures. He also dated Lovelace after she divorced Chuck Traynor. She credited him for introducing her to culture. The guy did so much! He directed Racquet, did the choreography for Roller Boogie, made Mission Kill with Robert Ginty and oh yeah, also directed Thrashin’!

Anyways, both Spinell and Munro are two people who make me love life the moment I see them. The blonde highlights in her hair in this movie got me through the rest of a tough week. This film is very 1982, and therefore, it is perfect.

Spinell is Vinny, a cab driver who lives with his mother (Filomena Spagnuolo, Spinell’s real mother, who ends the movie by asking if she can take a hit off his joint; that’s also Spinell’s real apartment) but dreams of making a horror movie with scream queen Jana Bates (Munro), who is going to be at Cannes to promote her latest film Scream along with her manager and ex-husband Bret Bates (Glenn Jacobson) and producer and current boyfriend Alan Cunningham (Judd Hamilton). She gets a note that says, “You’ve made your last horror film. Goodbye,” and finds Bret murdered, but the body disappears when the police come to investigate. This turns into more of a whodunnit than a slasher, but I mean, Spinell still gets to chainsaw someone to death.

Just like the movie within this movie, this was shot with no permits at the 1981 Cannes Film Festival. If you think it’s not realistic for an actress in a horror movie to win an award, that same year Isabelle Adjani won the Best Actress award for Possession.

The Tromatic Special Edition of The Last Horror Film has an introduction by Lloyd Kaufman, “new” audio commentaries and interviews, the short Mr. Robbie, highlights from the Tromadance Film Festival and a full episode of Kabukiman’s Cocktail Corner. You can get this from MVD.

I just want to know why Depeche Mode is so highly billed and why Lloyd is on this, but what do I know?

USA UP ALL NIGHT: Ferocious Female Freedom Fighters, Part 2 (1982)

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EDITOR’S NOTE: Ferocious Female Freedom Fighters, Part 2 was on USA Up All Night on August 17, 1991; February 21, 1992 and January 9, 1993.

Ferocious Female Freedom Fighters was 1982’s Jopi Burnama-directed Perempuan Bergairah (Passionate Woman), which was remixed by Troma’s Charles Kaufman. This is another movie starring Eva Arnaz, the Indonesian female action queen of movies like Barang Terlarang (Violent Killer), AKA I Want to Get Even, Violent Killer, Lady Exterminator and Violent Assassin. Also: Once the wife of Barry Prima.

Directed by Arizal (who made I Can’t Hold It and I Can Hold It Long, two movies that feel part of a longer story, plus Special Silencers, a film in which “red pills are obtained from a forest-dwelling mystic, which aid in meditation. However, if used by the untrained, they cause a huge tree to grow in the stomach and burst its way through the skin. This is sold by Troma as “They’re back and they’re more ferocious than ever!  Ferocious Female Freedom Fighters 2! This is the story of women. Women shattered by violence.  Women left alone, the sole survivors of slaughtered families. Women are sold into a vicious and brutal international crime syndicate. Women subjected to poverty, horror and brutal sex. Experience a secret glimpse into the erotic realm of the Asian underworld, where women are a high-priced commodity and anything is available… for a price.

Pushed to the farthest limits of sanity and battered beyond ordinary human capacity, there is one woman who decides to fight against her destiny. She’s tougher than a rabid canine! Braver than a battalion of Bruce Lees! With vengeance pulsing through her veins, she journeys back into her past, kicking anything that gets in her way, settling the ultimate score… swiftly and permanently! Her task is to terminate the misery and sexual torture of her soul-sisters in slavery. She and her fighting female friends are out to topple the power pyramids of the Asian underworld! Fighting ferociously with fists and feet flying, these females are out for revenge!”

Breathless, huh?

Starting with a totally different aspect ratio, this turns into an Indonesian They Call Her One Eye as Arnaz goes from a college girl with a boyfriend out of town to a kidnapped and turned out sex worker who starts to learn how to get revenge. But does that movie have flaming snakes, black magic, a fight scene where its heroine holds a baby the entire time and a soundtrack that is both disco and Indonesian country?

It must be the Troma name, horrible dub, and poor quality of the transfer that are keeping more people from losing their minds over this movie. Let’s fix that. This was beyond entertaining.

You can watch this on Tubi.

Sizzlin’ Summer of Side-Splitters 2025: It Came from Hollywood (1982)

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Sept 8-14 Sketchy Comedy Week: “…plotless satires, many of which were only excuses for drug humor or gratuitous nudity sprinkled with the cheapest of gags. The typical form was a channel-changing structure, which would go from one sketch to the next under the premise that this was just another night at home watching the old boob tube. The medium is the message, baby!”

Directed by Malcolm Leo and Andrew Solt (This Is Elvis) and written by Dana Olsen (The ‘Burbs, Wacko, Going Berserk), It Came from Hollywood came along at a significant time for me. I’d been watching SNL and SCTV, so seeing so many of my favorite comedy people in one film — Dan Aykroyd, John Candy, Cheech and Chong, and Gilda Radner — all in one movie was a huge deal to me. I’d also started reading The Golden Turkey Awards at the library that my uncle was in charge of, and in 1982, it was impossible to know when you could see some of the films in it. This movie, which was on HBO all the time, gave me a chance to see clips of them and discover that they were real.

Movies in this are broken into twelve segments — Aliens, Gorillas, Monsters, The Brain, Giants and Tiny People, Musical Memories, Technical Triumphs, Troubled Teenagers, Previews of Coming Attractions, A Salute to Edward D. Wood, Jr., Getting High in the Movies and The Animal Kingdom Goes Berserk — and include: A*P*E, Attack of the 50 Foot Woman, Attack of the Killer Tomatoes!, Attack of the Puppet People, Atomic Rulers, Bat Men of Africa, Battle in Outer Space, Beginning of the End, Black Belt Jones, Blonde Savage, Bride of the Monster, The Bride and the Beast, The Brain from Planet Arous, The Brain That Wouldn’t Die, The Blob, The Beast from 20,000 Fathoms, The Cool and the Crazy, Creature from the Black Lagoon, Curse of the Faceless Man, Daughter of the Jungle, The Cyclops, The Creeping Terror, The Day the Earth Stood Still, The Deadly Mantis, Don’t Knock the Rock, Dragstrip Girl, Earth vs. the Flying Saucers, Evil Brain from Outer Space, Fiend Without a Face, Fire Maidens from Outer Space, First Man Into Space, The Flying Saucer, Frankenstein and the Monster from Hell, Frankenstein Meets the Spacemonster, Frankenstein’s Daughter, From Hell It Came, Glen or Glenda, The Giant Claw, The Hideous Sun Demon, High School Confidential!, High School Hellcats, House on Haunted Hill, The Horror of Party Beach, I Married a Monster from Outer Space, I Was a Teenage Frankenstein, The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies, The Incredible Melting Man, The Incredible Shrinking Man, Invasion of the Neptune Men, Isle of Forgotten Sins, The Killer Shrews, The Loves of Hercules, Maniac, Marihuana, Married Too Young, Mars Needs Women, Matango, Missile to the Moon, Monster from Green Hell, The Monster and the Ape, Musical Movieland, Octaman, Perils of Nyoka, Plan 9 from Outer Space, The Party Crashers, Prince of Space, Reefer Madness, Reptilicus, Robot Monster, Rocket Attack U.S.A., Rock Baby: Rock It, Runaway Daughters, Shake, Rattle & Rock!, Slime People, Son of Godzilla, The Space Children, Street Corner, Sunny Side Up, Teenagers from Outer Space, Teenage Monster, The Thing with Two Heads, The Tingler, The Trollenberg Terror, The Violent Years, The War of the Worlds, The Weird World of LSD, The White Gorilla, Wonder Bar, The X from Outer Space, Yongary, Monster from the Deep, Zombies of the Stratosphere.

Directors and executive producers Andrew Solt and Malcolm Leo spent about five months researching and collecting movie clips from about 500 feature films. They then decided to expand their search beyond the 75 titles that the Paramount Pictures studio, the film project’s production house, had licensed for the documentary. However, this meant that it would never be released on home media, as licensing it would be too difficult.

Since I first saw this, I’ve learned that making fun of films isn’t the right way to enjoy them. But for a ten-year-old version of me, I got to see Ed Wood Jr. movies for the first time and couldn’t wait to see even more.

You can download this from the Internet Archive.