After the excellent release of the limited edition 2018 print, Code Red delivers a wider and more broadly available upgrade for the highly deserving “Savage Streets.” The 1984 cult classic is still a marvelous gem of eighties exploitation. It channels the classic Youths Gone Wild films of the fifties, and is filled with gorgeous women, roughneck teenagers, and an insanely sexy Linda Blair wreaking pure vengeance against the men that victimized her sister. She does it all with a bitchin’ crossbow, to boot.
Meir Zarchi’s revenge rape thriller is a movie that continues to inspire immense bile from movie critics and movie buffs since its release in 1978. Much like its contemporary “Cannibal Holocaust,” Zarchi horror movie is deeply upsetting and requires the viewer to endure it in a certain state of mind. It’s a film you’ll either love or despise, and it gets a very good treatment from Roninflix who brings it home to fans like yours truly.
This year “I Spit on Your Grave” was given a deluxe box set on Blu-Ray and 4K allowing fans a new vision for what is easily one of the most upsetting, polarizing, and controversial films ever made. The Meir Zarchi film that popularized the volatile sub-genre rape-revenge films has spawned dozens of cinematic carbon copies (along with infamous bile from Roger Ebert), and features one of the most notorious castration scenes ever depicted. In commemoration of “I Spit in Your Grave” being released to fans yet again, I thought I’d sound off five of some of the more grotesque movie castrations ever filmed.
One of the most bizarre pieces of Mondo exploitation, “The Wild, Wild World of Jayne Mansfield” is archival footage of the model traveling the world that was intended to be cute for the sake of a weird travel documentary focusing on Manfield. Sadly though when Mansfield died she was further exploited by the trio of directors Charles W. Broun, Jr., Joel Holt, Arthur Knight all of whom used stand ins (the movie shifts awkwardly from black and white to a color shot of her stand in), old footage of her frolicking, and a voice over actress who came on board to narrate as Ms. Mansfield.
For too many years, filmmaker William Beaudine’s reputation was maligned with false stories of sloppy work and a “one-shot” approach to shooting. In reality, Beaudine was a talented and versatile creative artist who began his career with D.W. Griffith, directed such icons as Mary Pickford, Jean Harlow and W.C. Fields, and worked in the British film industry and for Walt Disney.
This is the story of Paula Parker, a petulant prepubescent princess whose depravities produced a plethora of death and deception. For shame, parents of Paula Parker, you dare not look after your teen daughter in the age of the fifties where crime was rampant. For the first time on Blu-Ray, it’s also a worthwhile title for collectors thanks to AGFA, “The Violent Years” is one of the many infamous baby boomer products of fear and hysteria that warned of a world filled with darkness, crime, debauchery, and premarital sex. Make no mistake, your teen would smoke the marijuana, and tongue kiss way before they matured in to upstanding citizens.
Many Nikkatsu Roman Porno films tend to integrate sub-genres within their basic frame works of being soft core pornography. While their movies inject frames like crime thrillers, dramas, and romance comedies, every one of these installments garner some long and drawn out sex scene involving petting or molestation. The same can be said for Impulse Pictures’ “Nurse Diary: Beast Afternoon” which is from the Roman Porno library but is deep down a pinku version of a giallo film. Folks that are typically turned off by Nikkatsu films just may find this in their interest.
Stu Segall’s attempt at a horror movie is only seventy minute in length but feels like it goes on for an eternity. Resembling a really cheap and gory cop drama, “Drive In Massacre” is painfully paced and poorly plotted with a tone that is literally all over the place. Sometimes it’s a slasher, sometimes a murder mystery, sometime it tries to be a true crime drama, and other times, it opts for comedy. How are we supposed to take our heroes at all seriously when, in an effort to infiltrate the murderer targeting drive in couples, one of the officers decides to dress up as a woman? What is the intent behind “Drive-In Massacre”? Are we supposed to consider it a satire that was way ahead of its time? Was the director aiming for something in the vein of “The Town that Dreaded Sundown,” except it’s all confined to a local drive in?