Release Date: March, 1987
Directed by: Andy Sidaris
Written by: Andy Sidaris
Music by: Kevin Klinger, Gary Stockdale
Cast: Ronn Moss, Dona Speir, Harold Diamond, Hope-Marie Carlton, Cynthia Brimhall, Rodrigo Obregon
Malibu Bay Films, 96 Minutes
“Look at you two… Every shot, a postcard! I’m gonna give you the best seat in the house!” – Ashley
As much as I enjoyed Malibu Express, I assumed all the other movies in Andy Sidaris’ Triple B Series would taper off in quality. Well, I’m glad to say that this one is slightly better than its predecessor.
I think a lot of that has to do with this one embracing its comedic elements even more and being pretty over-the-top with the more bonkers shit.
It also helps that this film features Harold Diamond, who was always enjoyable in the movies he did with a similar cult action director, Amir Shervan.
While you could write this off as more of the same, I liked the buddy-action approach, as well as dumping in more Playboy Playmates and sexiness.
That being said, this did look a bit cheaper than the film before it. That doesn’t necessarily make it worse in that regard, it just made it so that the special effects people had to get more creative and they certainly did and succeeded. But you also have to suspend disbelief when the one dude is using a bazooka pretty recklessly but that just makes this picture more fun and absurd, in a great way.
This is absolutely a cheesy action movie but it’s also supposed to be. It felt like Sidaris was self-aware after making just one film and he took advantage of that, giving us a flick that didn’t try to pretend it was something better than it was. It knew its limitations but turned them into amusing strengths.
Pairs well with: the other 11 films in the Triple B Series by Andy Sidaris, as well as the American films of Amir Shervan.
Release Date: February 16th, 1990 (Orlando premiere)
Directed by: Nicolas Roeg
Written by: Allan Scoot
Based on: The Witches by Roald Dahl
Music by: Stanley Myers
Cast: Anjelica Huston, Mai Zetterling, Jason Fisher, Rowan Atkinson
Jim Henson Productions, Lorimar Film Entertainment, 91 Minutes
“Real witches are very cruel, and they have a highly developed sense of smell. A real witch could smell you across the street on a pitch-black night.” – Helga
While this film has grown into a cult classic over the last thirty years, I hadn’t seen it since it first appeared on VHS. Back then, no one really knew about it but I wanted to see it because Jim Henson worked on it. Plus, my mum wouldn’t take me to the theater to see it because she had some weird religious reason not to take me to anything “promoting witchcraft or Satanism.” Funny, as she ended up becoming a massive Harry Potter fan a decade later.
What really stands out about this film is how unique it is. Also, for a kid’s movie it’s damn dark. The director actually had to tone it down after he showed it to his own kid in order to get his reaction. As a kid, I wasn’t scared by it but the imagery was so haunting and over the top that it left a mark on my psyche.
My memory of the film was a fond one and I’m glad to say that my youthful opinion on the film still held up, seeing it now.
Anjelica Huston is pretty close to perfection in this and man, her performance is still damn effective. While this is adapted from a Roald Dahl children’s novel, it feels like the role was tailor made for her. It highlighted her strengths, her ability to intimidate and her intensity. She also got to ham it up and act over the top, which only benefited the movie and her role.
The kid actors are okay, nothing special, and the rest of the acting is fairly average but once the kids become mice, the film almost shifts into a state of otherworldly-ness and that’s after the incredible witch convention sequence.
The special effects in this are incredible from Anjelica Huston’s full witch makeup and prosthetics to the boys’ mice forms. Even knowing how talented Jim Henson was and how great his studio is, the effects work and puppetry still blew my mind for what they achieved here, thirty years ago.
I’m glad that this did become a cult classic, it deserves that status because of how good it is, how much craftsmanship went into it and for it’s uniqueness.
Pairs well with: other children’s horror from the ’80s and ’90s.
Published: May 5th, 2010
Written by: Mike Allred
Art by: Mike Allred, Laura Allred
Dark Horse, Image Comics (reprint), 260 Pages
I love the style of Mike Allred’s art and I also dig his style of humor.
However, by this point, I felt like this series had ran its course for me.
It was amusing and fun but it’s honestly more of the same and I didn’t feel as if the series was building towards anything worthwhile.
Sure, there are some things that link into a bigger arc but this felt more episodic and kind of aimless.
Overall, it’s a solid looking, fun comic. And I’m probably being harsher than it deserves but while reading this, I realized that my brain’s interest in it was out of gas.
If you are a massive fan of the series, you’ll probably like this. I liked the first two volumes but as I flipped each page, I just thought to myself, “Yeah, yeah… I got it.”
Pairs well with: the other early Madman collections, as well as SCUD: The Disposable Assassin, the Hellboy and B.P.R.D. comics and The Goon.
Release Date: March, 1985
Directed by: Andy Sidaris
Written by: Andy Sidaris
Music by: Henry Strzelecki
Cast: Darby Hinton, Sybil Danning, Lynda Wiesmeier, Lori Sutton, Art Metrano, Shelley Taylor Morgan, Regis Philbin, Joy Philbin
Andy Sidaris Company, Malibu Bay Films, 105 Minutes
“Did you hear that she got raped this afternoon by two homosexuals? One held her down and the other one did her hair.” – Liza Chamberlain
I’ve wanted to watch Andy Sidaris’ movies for quite awhile, especially this one and Hard Ticket to Hawaii. Luckily, I found the entire collection of his twelve films on Amazon for nine bucks. Yes, nine bucks! It’s a fucking steal! Buy it!
Well, that is unless you don’t like goofy action comedies with Playboy Playmates, cool dudes with guns and fast cars, as well as crime stories littered with bumbling, idiot criminals.
These films also feature stunts, lots of vehicles and budgets so low that over-the-top special effects have to be crafted out of chicken shit and dirt.
Malibu Express may be the biggest budget film of the lot (adjusted for inflation) and it doesn’t fall victim to as minuscule of a budget as the other films that came later but it’s definitely not “big budget” and had to cut corners and trim unnecessary fat.
Sidaris and his crew still did the best with what they had and the look of the production is more akin to a moderately budgeted action TV series of the ’80s, as opposed to looking like something made for less than the cost of a small house in the Hollywood Hills.
I love the lead, Darby Hinton. I also love all the beautiful women that are often times devoid of clothes. Plus, this has Art Metrano in it. I only really know him as Mauser from the Police Academy movies but I’ve loved that guy my entire life. Add in Sybil Danning and this is a solid mix of fun talent in a fun movie that’s amusing and high octane.
Sure, this is low brow schlock that got shoved into drive-in theaters and budget movie houses but it’s also what I would call an ’80s VHS classic. And frankly, that makes this the type of action comedy I tend to love.
I can’t say that I was impressed by Malibu Express but I can say that it didn’t disappoint me or leave me with buyer’s remorse. It’s pretty much exactly what I thought it would be.
Pairs well with: the other eleven films in Andy Sidaris’ Triple B Series, as well as the American films of Iranian director Amir Shervan.
Also known as: Captive Women (Philippines title), Stab In the Dark (alternative title), Night Light (original script title)
Release Date: September 7th, 1990
Directed by: Sally Mattison
Written by: Catherine Cyran
Music by: Jamie Sheriff
Cast: Keely Christian, Brittain Frye, M. K. Harris, David Greenlee, Hope Marie Carlton, Maria Ford
Concorde Pictures, 87 Minutes, 75 Minutes (R-rated)
“I don’t wanna play this game anymore!” – Ken
The original Slumber Party Massacre didn’t need a sequel, as it was incredibly derivative of the slasher genre and also re-used the neat killer concept from the movie Driller Killer.
However, the second film was very different and had more personality and cool rockabilly charm, setting it apart and making it a unique slasher flick experience.
This third movie, sadly, is just derivative of the derivative first film and lacks the musical flair and uniqueness of the second one.
This is cookie cutter shit at its worst that’s both highly predictable and doesn’t offer up anything new to the genre or even its own series.
Although, by 1990, the slasher genre was becoming passe and horror was trying to get smarter and more introspective. I wouldn’t say that slashers were dead but they had definitely been made in abundance over the course of the previous decade and to stand out, you really needed to do something different.
Now don’t get me wrong, I don’t dislike this film. I just don’t have much love for it when there are dozens of better slasher flicks to watch and re-watch.
The characters are simple archetypes devoid of real personality and the mystery of who the killer is, is made quite obvious in the film’s opening. Sure, there’s a red herring but I even found that to be predictable as hell.
Being that this was produced by Roger Corman, it probably made money. So the fact that there wasn’t a fourth one is kind of interesting. But maybe Corman saw the writing on the wall and knew that this film was one too many in the Slumber Party Massacre series.
Pairs well with: the other films in the Slumber Party Massacre series, as well as other teen slasher flicks.
Release Date: July, 1972
Directed by: Robert Fuest
Written by: Robert Blees, Robert Fuest
Music by: John Gale
Cast: Vincent Price, Robert Quarry, Peter Jeffrey, Valli Kemp, Fiona Lewis, Hugh Griffith, Peter Cushing, Caroline Munro
American International Pictures, MGM-EMI, 89 Minutes
“Phibes! I beg of you, let me come with you! Phibes, for once have mercy!” – Biederbeck
As great as The Abominable Dr. Phibes was, replicating its awesomeness would be a hard feat to achieve. Still, the sequel is a pretty fun followup that might not live up to its predecessor but it still builds off of it and justifies its existence in how it sees Phibes rise from the dead to complete his most important objective.
What’s great about this is that Phibes does indeed complete his objective and all along the way, he outwits those trying to stop him.
He goes on another clever murder spree but his plot isn’t as cool or as well thought out as the previous film. Still, it’s neat seeing him do what he does best and while this may come across as more of the same, it doesn’t try to completely replicate the original and the overall story moves in a new direction.
Additionally, the film stays true to the art deco aesthetic and style of the previous movie and it also taps into a vivid giallo-esque color palate, once again. I really love the kaleidoscope-styled mirror hall that they used to introduce Phibes’ assistant in this. It was just a great one-point perspective shot that really stood out.
More than anything, I loved the final act of this picture and how it ended. Unfortunately, though, it brings the larger tale to a close and there isn’t much else for Phibes to do other than float to victory, achieving his goal.
Another sequel or two may have been equally as fun but they probably ended this series at the right moment.
Pairs well with: its predecessor, as well as other ’60s and ’70s Vincent Price movies.
Release Date: July 3rd, 1991
Directed by: Brian Levant
Written by: Scott Alexander, Larry Karaszewski
Music by: David Kitay
Cast: John Ritter, Michael Oliver, Amy Yasbeck, Jack Warden, Gilbert Gottfried, Laraine Newman, Ivyann Schwan, James Tolkan, Martha Quinn, Zach Grenier
Imagine Entertainment, Universal Pictures, 91 Minutes, 93 Minutes (extended)
“Junior’s getting worse, we can’t even figure out what he did to that dog!” – Ben Healy
If you like Problem Child, you’ll probably like Problem Child 2, even if it’s not as good. If you don’t like the first film, then just skip this.
This is not a bad film in spite of it’s 4.9 out of 10 on IMDb, it’s just a film made for its audience, which isn’t made up of many people, especially nearly thirty years later.
This is a goofy, crude comedy but it’s that type of crudeness that worked really well for me when I was a kid. Even know, it’s over-the-top moments like the carnival ride vomitpocaplypse still play really well. It’s intentional hokiness is still funny. In fact, I was actually impressed by it, seeing it all these years later, as I couldn’t believe how far they pushed the bar and how much time and effort went into that massive gross-out gag.
The story is also good in that it isn’t really a re-tread of the previous film. Sure, at it’s core it is primarily about a kid that likes to be a total dick but it introduces a good foil for him. It also changes the setting, focuses a lot on John Ritter’s Little Ben looking for a new woman and it also focuses on the importance of family and friends.
Plus, I absolutely love Jack Warden and Gilbert Gottfried in these movies and they give us some really good shit, here.
Problem Child movies are simple, mindless, fun films. This one is no different in that regard. I think it lacks some of the heart of the original but the end sort of pulls you back in, as the characters you care about seem to find what they were looking for and what they need.
Ultimately, these weren’t movies that were made to be classics, they were just made to entertain people in a time where everything wasn’t offensive and we could laugh at bonkers, absurd shit.
The film is juvenile but it’s supposed to be. Back in the day, that worked for me. Seeing it now, it still works, as it brings me back to that place. But with that being said, I wouldn’t expect this to mean much to a person watching it for the first time in 2020.
Pairs well with: its predecessor and crappy sequel.
Also known as: Truth or Dare (working title)
Release Date: January 1st, 2013 (Russia)
Directed by: Steven Brill, Peter Farrelly, Will Graham, Steve Carr, Griffin Dunne, James Duffy, Jonathan van Tulleken, Elizabeth Banks, Patrik Forsberg, Brett Ratner, Rusty Cundieff, James Gunn, Bob Odenkirk, Steve Baker, Damon Escott
Written by: Steve Baker, Ricky Blitt, Will Carlough, Tobias Carlson, Jacob Fleisher, Patrik Forsberg, Will Graham, James Gunn, Claes Kjellstrom, Jack Kukoda, Bob Odenkirk, Bill O’Malley, Matthew Alec Portenoy, Greg Pritikin, Rocky Russo, Olle Sarri, Elizabeth Wright Shapiro, Jeremy Sosenko, Jonathan van Tulleken, Jonas Wittenmark
Music by: Christophe Beck, David J. Hodge, Leo Birenberg, Tyler Bates, Miles Moon, William Goodrum
Cast: Elizabeth Banks, Kristen Bell, Halle Berry, Leslie Bibb, Kate Bosworth, Gerard Butler, Josh Duhamel, Anna Faris, Richard Gere, Terrence Howard, Hugh Jackman, Johnny Knoxville, Justin Long, Christopher Mintz-Plasse, Chloë Grace Moretz, Liev Schreiber, Emma Stone, Jason Sudekis, Uma Thurman, Naomi Watts, Kate Winslet, Dennis Quaid, Greg Kinnear, Common, Charlie Saxton, Will Sasso, Seth MacFarlane, Mark L. Young, Fisher Stevens, Beth Littleford, Julie Ann Emery, Chris Pratt, J.B. Smoove, Kieran Culkin, Bobby Cannavale, Patrick Warburton, Seann William Scott, Stephen Merchant, Snooki, Emily Alyn Lind, Julianne Moore (scene cut), Tony Shalhoub (scene cut), Bob Odenkirk (scene cut), Anton Yelchin (scene cut)
Relativity Media, Virgin Produced, GreeneStreet Films, 94 Minutes
“Excuse me, I’m gonna go do some Batman-ing.” – Fake Batman
I never wanted to see this movie and that was before I heard how bad it was when it came out. Also, the few people who seemed to like it were people that have historically had terrible recommendations in not just movies but just about everything in life.
Recently, I was told to watch it and I kind of just said fuck it because part of me was curious and wanted to know if this was as bad as I had heard it was.
In fact, I can confidently say that this is the biggest waste of talent I have ever seen in a motion picture.
It’s so bad that it’s beyond atrocious. So much so, that I find it not just baffling that this film attracted so many big stars but I find it really unnerving.
Who greenlit this fucking thing? And how many terrible agents are there in Hollywood? Fire all of them!
Anyway, I had to start asking myself some questions while trying to work this film’s existence out in my brain:
I mean, those are all legitimate questions. In fact, I’d say that they’re more legitimate than this film.
This is the worst movie I’ve seen that was made for less than thirty dollars.
The film was full of crude jokes, none of which landed, and it offered up a bunch of gross out moments that just come across as Hollywood trying so hard to be edgy when in reality, they haven’t had their fucking balls in a long time.
Honestly, seeing how “politically correct” and “apologetic” the Hollywood elite have become since SJWs emerged and Cancel Culture took hold, this film feels like them desperately trying to get all the edgy shit out of their system before they all started their “I’m sorry, I’ll strive to do better” world tour.
Additionally, none of these gross out moments are all that effective if you’ve been a fan of ’70s and ’80s horror. Go watch Society and try again. Better yet, you shouldn’t have tried at all.
I think that film critic Robbie Collin said it best in his review of the movie:
“I was immediately overcome with a sudden rush of emotion: not amusement, anger or even mild irritation, but a profound and faintly tragic sense of pity.”
Speaking of reviews, let’s look at what all the big sites think. IMDb gives it a 4.3/10, Rotten Tomatoes gives it 5 percent from critics with 24 percent from the audience, Metacritic gives it an 18 percent and Richard Roeper referred to it as “the Citizen Kane of awful.”
In closing, I’ll simply state:
Pairs well with: bad cavities and genital warts.