The Existential and the Furious: Part 1: Easy Rider (1969)

Author’s Note: Yeah, we know you’ve seen them before and know them well. But we’ve got some movie “Easter Eggs” in these reviews. Thanks for revisiting the classics with the B&S gang, where we coddle the obscure and the forgotten films of the VHS, UHF, and Drive-In yesteryears.

While The Fast and the Furious franchise began as crime caper flicks that transitioned into spy flicks of the xXx variety, there’s no denying Universal Studios’ “big engine” is rooted in the rock ‘n’ hot-roddin’ juvenile delinquency flicks of the ’50 (we have a “Drive-In Friday” night this week covering a few of those films), the biker-centric counterculture flicks of the ’60s, and revin’-car flicks from the ’70s (reviews for a whole bunch o’ them this week!).

For long before the good intentions of Paul Walker’s LAPD officer Brian O’Conner’s law-enforcement soul was drugged with the scent well-weathered leather, hot metal and oil, and the scent of a Mitsubishi’s exhaust (R.I.P., Mr. Peart), Easy Rider was the godfather of them all—and that celluloid patriarch brought forth two sons. . . . And those sons were fruitful and multiplied with the ’70s “big engines” of Dirty Mary, Crazy Larry (also starring Peter Fonda) and Gone in 60 Seconds (no, not that one, the 1974 one!).

In between, there was this cop movie called Bullit that starred some guy named Steve McQueen toolin’ around in a 1968 Mustang Fastback going head-to-head with a 1968 440 Magnum Dodge Charger. And they slipped “The Duke” (of all people) into the cockpit of a souped-up 1973 Pontiac Firebird Trans Am “Green Hornet” in McQ. But we were diggin’ Roy Scheider in his 1973 Pontiac Ventura Sprint in The Seven-Ups. And let us not forget: Producer Philip D’Antoni is the guru of rubber who gave us memorable car chase sequences in not only The Seven-Ups and Bullit, but The French Connection, as well. Then, for a twist, instead of a souped-up muscle car, Robert Blake slipped onto a 1970 Harley touring cycle for the “motorcycle cop” version of Easy Rider: 1973’s Electra Glide in Blue.

Released in 1969, Easy Rider became a counterculture epic that set the pace for the early ‘70s car chase classics to come: Two-Lane Blacktop and Vanishing Point (as well as Electra Glide in Blue)—regardless of the transportation and “mission” of their protagonists’ “trips,” each film equated the open road with freedom of the soul.

Wyatt and Billy (Peter Fonda, who became a biker icon courtesy of Roger Corman’s 1966 biker epic, The Wild Angels, and Dennis Hopper, who was able to get financing for his 1971 ego-boondoggle The Last Movie as result of Columbia Studios raking in $60 million worldwide on a $400,000 budget) embark on a western-without-horses motorcycle trip across America from California to New Orleans for a drug deal (instead of gold prospecting or stage coach robbing). Along the way to make their “big score” they meet up with communal hippies (in lieu of Indians), partake of drugs and sex, and frolic about New Orleans (in lieu of say, Dodge City, Kansas, or Virginia City, Nevada) in a Seinfeldian “a movie about nothing” existence (sorry, Sam; quoting my buddy Eric’s take on the movie)—and it all comes to an end by way of the ubiquitous, hippy-hatin’ rednecks (the Indians got ’em).

Jack Nicholson stars as Wyatt and Billy’s gold-football helmeted sidekick: ACLU lawyer and jail cellmate, George Hanson (the trio first collaborated on The Trip, Roger Corman’s 1967 stoner flick written by Nicholson; who did his own biker flick, 1967’s Rebel Rousers, which was released post-Easy Rider fame, in 1970), music Svengali Phil Spector (The Big T.N.T Show) stars as “The Connection,” and future MTV video queen Toni Basil (“Hey, Mickey!”) also appears in a minor role (she worked with Nicholson on the Monkees’ Head). The soundtrack—inspired by the successful use of pop and rock music for 1967’s The Graduate— features music by Steppenwolf (who also provided music to another psychedelic film, 1969’s Candy), the Band, the Byrds, and Jimi Hendrix.

You can watch this everywhere, pretty much, but it streams on Amazon Prime.

Ah, Easter Eggs: So, did you know Easy Rider was followed forty years later by an unofficial sequel? Two, in fact. It’s okay. No one does. Join us tomorrow at 12 noon and 3 pm for more tales of the fast and the furious . . . with Easy Rider: The Ride Back and Me & Will.

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

Vinyl (2012)

In the ’80s The Knack hit it big . . . and the record companies went looking for the next “My Sharona” . . . and signed the likes of The Plimsouls (“A Million Miles Away”), Translator (“Everywhere That I’m Not”), and Wire Train (“A Chamber of Hellos”). Later on, along came some kid named Kurt Cobain . . . and the record companies searched for instant chart nirvana in the grooves of Bush, Pearl Jam, and Silverchair.

And in between, there was a little ‘ol band out of Ireland called U2. And the record companies gave us the likes of Big Country (remember their guitars “sounded” like bag pipes) from Scotland, along with Ėire Isle’s An Emotional Fish and Hothouse Flowers (both oh, so “Bono”), and Silent Running (imagine Brian Adams writing songs for Bad Company fronted by Bono). But the ones that looked and sounded the most like U2 was a band out of Wales known as The Alarm. Their label, IRS Records (home to another set of U2 hopefuls out of Athens, Georgia, R.E.M), even went as far as booking the Welsh lads on U2’s 1983 groundbreaking “War Tour.” The Irish assist gave the Welsh rockers international success with the songs “The Stand,” “Where Were You Hiding When the Storm Broke?,” “68 Guns,” and “Strength.”

But by the advent of the ’90s — with that kid out of the Pacific Northwest changing the musical landscape — The Alarm was finished. And the record companies wouldn’t give lead vocalist Mike Peters’s new band The Poets Of Justice or his solo endeavors the time of day. He was “too old” and his music was “out of style,” they told him.

So Peters pulled a Milli Vanilli, so to speak.

After writing a new song, “45 RPM,” he recruited an unknown band by the name of the Wayriders to lipsync the song’s promotional video — under the name the Poppy Fields. And the scam worked: the song hit the British Top 30 in 2004 and became the Alarm’s first significant hit in 20 years.

In the frames of this fun, low-budget film loosely based those events, Mike Peters and the Alarm are portrayed by down-on-his luck punk rocker Johnny Jones (Phil Daniels from Breaking Glass and Quadrophenia), the leader of the once glorious Weapons of Happiness. After attending a funeral for one of his old mates, Johnny runs into his old band (as well as Steve Diggle from the Buzzcocks and Peters from the Alarm in cameos) and decides to get the band back together.

. . . And the record companies couldn’t be more disinterested in the “new music” from these ‘ol sods and codgers. So Johnny hires a bunch of fresh-faced youngins to mime his music in a promotional video. The gig — well, jig — is up when the Johnny’s hired guns — the Single Shots — decide they want to be a “real band” and receive more recognition for their work. (Cue Don Kirshner and his Beatles wannabes, the Monkees.)

Meanwhile, back in the real world: Mike Peters gave it all up in a Radio 1 interview during a 2004 chart countdown show — and the story was picked up by the international press. After the U.K. and European success of the film and its accompanying soundtrack in 2012, Mike Peters and the Alarm embarked on The Vinyl Tour 2013 to packed venues.

. . . And Peters and the Alarm are still recording. They released their most recent album, Sigma, and its hit single, “Brighter Than the Sun,” in 2019.

Peters made his point: you’re never too old to rock ‘n’ roll.

You can stream this one for free with ads on TubiTv. If you’d prefer an ad free experience, you can stream it on You Tube Movies.

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

Ahi Va el Diablo (2012)

You need to get to know Adrian Garcia Bogliano. Beyond this movie and Late Phases, he has a movie called Black Circle that’s trying to get picked up in the U.S. I have no idea why it hasn’t, because it has a story about possessed vinyl records and one of the first roles for They Call Her One Eye star Christina Lindberg in decades.

The thing is, just from watching this movie, I could see the films that this Spanish born director loves. I mean, he used to use the name Massaccesi, Margueritti & Pandersolli for the films he directed. If you just got happy, you’re a maniac like me. After all, Aristide Massaccesi is Joe D’Amato. His company Paura Flicks takes its title from the Italian word for fright. And within the credits of his films, Bogliano credits what he refers to as the ayuda espiritual (spiritual guidance) of Nicolas Roeg, Henry James, The Exorcism of Hugh, Sergio Martino, Eloy de la Iglesia, The Centerfold Girls), David Cronenberg, Donald Cammell, Picnic at Hanging Rock, The Entity, Los Iniciados, T.E.D. Klein, Sebastián De Caro, Dust Devil, William Finley, Marilyn Burns and classic rock station KGB San Diego. He’s also referenced Sorcerer, Lucio Fulci, Takeshi Miike, so he could fit in around here.

The movie starts as pure exploitation. A lesbian couple makes love and then discusses how one of them isn’t sure how to tell others that she is gay. That’s when a serial killer attacks, taking the hand of one of them before being beaten. He runs into the night, bleeding everywhere, into a cave where he is never seen again.

The very same cave claims brother and sister Adolfo and Sara, who enter it and never really come back. Their parents are too lost in passion to realize how long they are gone. Something is wrong from here on in their lives and nothing, not even murder, can stop what happens next.

I want you to be as surprised as me at this movie, a film that caught me within the first minutes and never let go. This is a film that understands the power of 70’s horror without being a carbon copy of what has come before. And those quick zooms throughout — Fulci would be proud.

I’ve been reading reviews of this film that disliked the hypersexualization of the story, as well as the “out of nowhere” levitation scene. Seeing as how The Entity is referenced at the close, that’s exactly where that comes from. It all felt natural and new and vital to me.

You can watch this on Tubi.

Come Out and Play (2012)

This film is a remake of Who Can Kill a Child, which was a shocking movie in 1976. Guess what? It still is now.

Beth (Vinessa Shaw, Hocus Pocus) and Francis are enjoying their last vacation before the birth of their child. But just like Lewis Fiander and Prunella Ransome before, they soon realize that the island they are is empty except for the children. And soon, those children will descend upon them as well.

Perhaps more interesting than the film itself is its director, who only goes by the name Makinov. A gigantic Russian who started his career as a focus puller, he refused to remove his mask — he had several — during the production of the film, choosing to direct from afar almost like Coppola did during One from the Heart.

He then went to Mexico to shoot two documentary films on shamanism and have a near-death experience, after which he became Makinov, stating that “by punishing the ego through anonymity, he can command the wisdom of being one with another.”

Before the movie played festivals, a manifesto from the director was played. He said, “We must remember we are made of blood. An old proverb says that it is better to murder during time of plague. I would say the same when we talk about cinema. People watching stupid heroes saving the world, when the world is surrounded by pain. What a joke. Cinema should teach us about pain. That’s why I make these precious sad stories. To remind us that life is limited and that we are gonna die. I believe in the mystery of the spirit.”

So is or was the masked director, who claimed that he would go on to direct pornography after this? Some thought he was Eli Roth and others believe that it was either REC director Paco Plaza, Gerardo Naranjo or one of the film’s producers, Diego Luna or Gael Garcia Bernal.

You can watch Come Out and Play on Tubi.

Tulpa (2012)

I’ve often bemoaned the death of the giallo as much as I’ve worried about it’s return over the last few years. So many movies are influenced by it to the point of slavish devotion that keeps them from becoming their own unique films. Or even worse, they are more inspired by American films like Basic Instinct and look boring and lifeless when they should be neon-hued punches to the face.

I’m pleased to report that Tulpa is the movie that I’ve been looking for.

Lisa Boeri (Claudia Gerini) is obsessed with her career, but in the evening, she visits the club Tulpa to unleash her darkest fantasies. The club, led by a Tibetian guru — well, that’s a first — allows her to indulge in all manner of aardvarking potential, but then her lovers start getting killed the day after she makes love to them.

Once those murders start uniting her day and evening hours, she decides to track down the masked killer on her own.

Tulpa was written by Giacomo Gensini and director Federico Zampaglione, whow also made the film Shadow together, along with Dardano Sacchetti, the Italian writer who wrote, well, just about any genre film worth a damn out. I’ll give you three, but he has a huge list of credits: The BeyondShock and The Cat o’Nine Tails. So yes, this is a movie with an eye toward the past and the future, as well as an ear. That’s because the soundtrack, by Zampaglione and Andrea Moscianesca, sounds like Goblin.

I had a blast with this film and it felt like a real discovery. And that’s why I spend so much time writing about movies, in the hopes that I can help you do the same.

You can watch this on Amazon Prime and Tubi.

Eurocrime! The Italian Cop and Gangster Films That Ruled the ’70s (2012)

This documentary explores the rise and fall of the violent Italian poliziotteschi genre, which may have started with Dirty Harry and The Godfather clones but emerged as its own unique film form that was uniquely able to address red terrorism and organized crime.

There’s a lot to learn here, including how the idea of shooting without permits and live sound led to the creativity that these movies all have. Plus, you’ll hear from the stars and makers of these films as they explain how these low budget rushed movies were made.

Nearly everyone you would ever want to hear from in this style of movie is here, including Franco Nero, John Saxon, Henry Silva, Antonio Sabato, Fred Williamson, Richard Harrison, Chris Mitchum, Enzo Castellari, Joe Dallesandro, John Steiner and Claudio Fragrasso.

I learned a ton about why Italian movies have dubbed sound and quick zooms that I would have never known if I hadn’t seen it. Throw in some great anecdotes and an explanation of how peblum led to spaghetti westerns which led to giallo which then led to these films and I was hooked.

You can watch this on Amazon Prime and Tubi.

Skyfall (2012)

I’m excited to welcome JC Greening back to the site. If you’d like to learn more about him and his many projects, here’s how to look him up on the web.

Someone Call Chicken Little, the Sky has Indeed Fallen!

The name’s Greening. James Greening. And I like my spy films masterful, not mediocre.

Open my dossier, and you will see why. I grew up in the 1980’s, which was a great decade for Horror and Coming-of-Age films, but not for spy action thrillers. It was the true age of mediocre for James Bond. Moore was finishing up his career with the extremely cheesy entries of Octopussy (1983) and A View to Kill (1985), and then we entered the under-appreciated, but still boring Bond films of Timothy Dalton. Things weren’t looking great upon the dawning of the 90’s either, as Pierce Brosnan took over the helm of Agent 007 in 1995’s Goldeneye (great soundtrack and video game but left much to be desired in the actual film).

Regardless, I still fell in love with James Bond for some reason. It might have been the fact that my mother made me watch Sean Connery’s older Bond films or that I was training to be a real life spy for the American government (that fell through for several reasons and don’t get me started!), but I was and still am the guy that will watch every Bond marathon on television that I happen to stumble across.

And there’s plenty of reasons to watch hours of Bond on end: beautiful women, exotic locations, cool gadgets, interesting villains, and outrageous stunts…to just name a few. Bond films were always merely a form of popcorn entertainment in my world, but every fan of film needs those kinds of movies in their lives.

Soon though, my world would be completely upended when Skyfall (2012) was released. I had sensed that a masterful, meaningful Bond film was coming, with the close-but-not-quite entry of Casino Royale(2006). Daniel Craig appearing as the new Bond, who had charisma but also a very serious killer side to him (not to also mention he was the first Blonde Bond, which I truly appreciated being blonde myself), along with high-caliber writing and directing, brought this Bond film to a new level of film-making.

However, once I saw the follow-up Quantum of Solace (2008), I lost all hope of a Bond film being a truly great film.

But hope was fully restored with the third entry of Craig’s Bond series, Skyfall (2012). And though clocking in as one of the longest Bond films in history, every minute was absolutely beautiful and kept my utmost attention (unlike even some of the other better Bond films, which inevitably have those 20 minutes or so in the beginning of the third act that seem to just drag on and on…), which is why I rank Skyfall as the best Bond film ever committed to celluloid (well, not actually celluloid, as it was the first Bond to be completely filmed in digital format).

Skyfall finds our hero spy hunting down a stolen disk of MI6 agents that eventually ends up in the wrong hands of one of the best Bond villains ever – Raoul Silva (played by the amazing Javier Bardem). Mr. Silva then starts killing agents and eventually reveals a master plot to kill the incorrigible M (masterfully acted by Dame Judi Dench). M and Bond head for the hills of Scotland to escape the technological wizardry of Silva, which leads to a classic 80’s montage of setting up deadly booby traps for Silva and his henchmen. A time-tested showdown ensues, and Bond is pushed to his limits to save everyone, including himself. All do not make it out alive, but I will leave the details as a mystery just in case the two people in the world who haven’t seen the film accidentally read this review.

So, Skyfall has all the makings of a classic Hollywood action film and holds true to Bond’s provenance –perfect fodder for popcorn and a couple hours of eye entertainment. But viewers beware – the intelligence of the script, the gorgeous cinematography, the character interactions, and the relationship building in this film make it not only mere entertainment, but a powerful, masterful film!

Instead of Bond building a shallow relationship with a gorgeous woman half his age, this film examines the strong, but strained relationship between M and 007. Instead of Bond using self-driving cars and self-exploding pens, Bond resorts to traditional methods of warfare and his old reliable classic, Silver Birch Aston Martin DB5. Instead of exotic beaches, the film ends in Glencoe, Scotland at the failing Bond manor. Instead of glorifying the spy world, this film examines the current global climate where technology is overtaking traditional espionage and if Bond truly has a place in today’s government voyeurism (and even perhaps in the film world itself).

We are granted a deeper glance into the real world of politics, as well as a killer view of Bond’s family and background. Hinting that Bond’s family were Recusant Catholics (perhaps an attempt at connecting the fictional Bond family with the real Recusants named Bond from Dorset) with the family motto of“Not even the world is enough” (hmm…heard that before, I believe), this James Bond attaches ancestry to his life and ends up destroying that part of himself, replacing it with the much closer and powerful relationships he has with M, the new Q, and Moneypenny. Bond is suddenly not this suave spy in control of all things, but rather much more human and caught questioning his past loyalties and actions.

Thus, the film is self-reflective, meaningful, and holds gut-punching dialogue, which is unlike any other Bond film I have ever laid eyes on, before or since. This is it, film-fan folks…after fifty years and 22 films before it, Skyfall marks the time when Bond finally both entertained and amazed. Skyfall is not only a great Bond film; it is a great film…period. Praise the film gods – I wondered if this film would ever be delivered!

And, it will probably never happen again. As No Time To Die (2020) appears to be a continuation of Spectre (2015) and an examination of his trust in women he loves, I believe Bond has forgotten everything that happened in Skyfall and has moved on to popcorn problems and soda pop scenarios. But that is okay. Craig gave me Skyfall, and for that, I will always remain true to the Bond series until I Die Another Day.

You can rent Skyfall on about every platform and can probably even find it for free on television.

Dark Shadows (2012)

By all rights, I should hate this movie, but I always end up watching it and enjoying it. There’s my confession.

I mean, it’s a Johnny Depp starring, Tim Burton directed and Seth Grame-Greene (Pride and Prejudice and Zombies, Abraham Lincoln, Vampire Hunter) take on one of my favorite shows ever. I should be judgier.

Yet it does what it should do: it makes me return to the original series and savor it, missing those foam tombstones after seeing just how gorgeous Collinwood could be with an actual budget.

Fifteen years after Barnabas Collins and his family move from Liverpool to Maine — establishing the town of Collinsport and Collinwood — our hero spurns that affectoons of Angelique (Eva Green), who murders his parents and curses him to be a vampire, forever doomed to watch all whom he loves die. She then turns the town against him, who bury him as a witch after his fiancee Josette falls from a cliff.

Yes, Josette is the ancestor that Maggie Evans (who is kind of combined with the Victoria Winters character from the original show) is the reincarnated form of. She’s played by Bella Heathcote and feels drawn to become the governess of modern day Collinwood.

The family has fallen on hard times. There’s the matriarch, Elizabeth (Michelle Pfieffer), her rebellious teenage werewolf daughter Carolyn (Chloë Grace Moretz), her brother Roger (Johnny Lee Miller), his son David and live-in psychiatrist Dr. Hoffman (Helena Bonham Carter), here to treat David who keeps seeing the phoenix-like ghost of his mother Laura.

A construction crew digs up Barnabas’ grave and soon, he’s taken over Willie (Jackie Earle Hadley) as his servant and is back in the family, returning their fishing company to prominence. Of course, his old enemy and lover Angelique runs the town with her fishing company Angel Bay. Despite an initial rekindling of affections, she is soon trying to destroy the Collins family all over again.

This movie has a lot of fun parts, like a party with Alice Cooper playing multiple songs, Christopher Lee showing up as the king of the fishermen and best of all, Jonathan Frid, Lara Parker, David Selby and Kathryn Leigh Scott all making a quick cameo during the party scene. Sadly, Frid would die soon after filming his scene. However, the original cast would report that they were treated as royalty and Depp would say to Frid, “None of this would be possible had it not been for you.”

Radio Silence (2012)

The question is not how far one will go to take a life, but how far one will go to save a life in this German-produced slasher-noir where Andrew Kevin Walker’s Seven (1995) and 8MM (1999) meets Eric Bogosian’s Talk Radio (1988) and Allan Moyle’s Pump Up the Volume (1990).

The “Roc Doc,” an acidic and opinionated amateur psychologist, operates the basement-bound Radio Nighthawk as he spins ‘60s American soul records and expounds on the news of the day—and he makes the mistake mocking the police for failing to prevent the gruesome murders of the media-dubbed The Night Slitter.

“How difficult can it be to prevent The Night Slitter from breaking down his next victim into individual parts?” Roc Doc ponders.

“Why don’t you put your money where your mouth is,” calls-in The Night Slitter. “After all, everyone has a body buried in the basement. The ego is not master in its own house, Roc Doc.”

And so begins the cat and mouse game with the Roc Doc forced to stay on the air—and admit to his own inner monster and skeletons—if he wants to save the life of The Night Slitter’s current victim: he’s audibly torturing the daughter of the grizzled police inspector on his trail.

Beginning as a Euro-festival acclaimed 20 minute short released in 2010, this 95-minute feature length version—alternately known as Der Tod hört mit (Death Listens) and On Air in other quarters—borrows its inspiration from the New French Extremity film movement spearheaded by Alexandre Aja’s worldwide hit High Tension (2003).

It made its U.S debut under the title Radio Silence via the festival circuit, where it won multiple Best Film and Best Director awards at the Screamfest Horror Film Festival in Los Angeles, the Sacramento Horror Film Fest, the Atlanta Horror Film Festival, and the Rhode Island Int’l Film Festival.

You can watch the full film—with English subtitles—on TubiTv. You can catch up on the cycle of French Horror Films with this great roundup on Scoopwoop.

About the Author: You can read the music and film reviews of R.D Francis on Medium and B&S Movies, and learn more about his work on Facebook.

The Lords of Salem (2012)

You know, I’ve said it before and I’ll say it again. Rob Zombie would be a fun person to go see a drive-in all nighter with. But man, when he makes movies, I just get the hives.

But hey — it’s radio week. And Heidi, the recovering addict who has become a radio personality in Salem, fits the bill. Of course, she’s played by Sheri Moon-Zombie, but if you’ve seen one of Mr. Zombie’s films, you know that she’s showing up somewhere. Hell, I’d do the same thing too if I made a film. People would complain that Becca is in everything and I’d just get sad.

One night, as Heidi does her morning show-style show at night with Whitey (Jeff Daniel Phillips) and Herman (Ken Foree, Dawn of the Dead), a box shows up with a record that is supposed to be a new black metal band called The Lords.

You know, you’d think Rob Zombie would know a bit more about black metal. But nope.

Anyways, this music creates visions in Heidi’s head and begins to possess her, which continues in her apartment, as the old women downstairs end up being witches. The fact that they’re played by Judy Geeson, Dee Wallace and Patricia Quinn hammers that point home.

Bruce Davison and Maria Conchita Alonso are in this as a Salem witch trial expert and his wife who try to help Heidi, but she’s already too far gone and trapped in a Rob Zombie movie after he watched a bunch of Ken Russell outtakes.

Andrew Prine also walks on as a 17th century priest putting Meg Foster’s witch character to death. I mean, if you can get Simon King of the Witches and Evil-Lyn in the same movie, why not? Zombie ups the ante with Camille Keaton, Barbara Crampton, Michael Berryman, Sid Haig, Lisa Marie, Clint Howard and Udo Keir, making this movie like going to a horror convention without paying $50 to get a photo with your favorite genre star.

It could have been even better, as Richard Lynch shot some scenes for this film. However, due to his worsening health and blindness, Prine took over his role. The money was so tight that the major scene that would have had Lynch, Berryman, Haig and Prine on screen together was never re-shot.

Wait — so where are Keaton, Keir and Howard? They were in a planned film-within-a-film called Frankenstein and the Witchhunter, which was supposed to look like a Hammer film. It didn’t make it into the final movie.

I guess, of all Zombie’s films, this one comes in second place behind House of a 1000 Corpses. You have to admire the audacity of a movie where the lead character gives birth to a mollusk baby while “All Tommorrow’s Parties” gloomily plays. I mean, I was laughing so hard I fell off my couch. And Becca has tried to watch this numerous times to try to convince herself that it’s a better movie than it is. She’s rarely wrong, but this may be one of those times.