ANYONE BUT YOU (2023) ***

Sydney Sweeney and Glen Powell Meet Cute in a coffee shop and spend a lovely evening together.  After a misunderstanding, they quickly become mortal enemies, which is a problem since they are both going to attend the same wedding in Australia.  Since both of their respective exes are at the event, they decide to make them jealous by masquerading as a couple.  Naturally, their dubious displays of affection cause more problems while they predictably wind up falling for each other for real. 

I’m not much of a romantic comedy guy, but if you put my girl Sydney Sweeney in it and have her parading around in various skintight outfits… well, heck, I’ll probably get around to watching it at some point.  Directed by Will (Easy A) Gluck, Anyone but You is loosely based on William Shakespeare’s Much Ado About Nothing.  Because of that, you may be inclined to think it’s a highbrow comedy.  Fortunately for me, it has some legitimately funny moments, especially when  it sometimes unexpectedly heads into Farrelly Brothers territory.  The scene where Powell finds a spider in his shorts is a highlight, as is the “anteater” gag. 

Powell and Sweeney have plenty of chemistry together and have surprising comedy chops too.  They play off one another so well that you would imagine they could easily become a viable comedy duo for years to come.  Since the movie was a big hit, I don’t see why not. 

Yes, it falls into the same predictable cliches that the genre demands.  Yes, some of the Shakespeare shit feels shoehorned in there.  (There’s probably one too many scenes where Powell and Sweeney overhear their friends chatting about them.)  However, the bottom line is I laughed a lot more than I was expecting.  Because of that, I’d recommend Anyone but You to anyone who enjoys romantic comedies and… hell, just comedies in general. 

REALITY (2023) ** ½

Sydney Sweeney stars as the improbably named Reality Winner.  In reality, uh, Reality was given the longest sentence in history for leaking confidential government documents.  This film is a recreation of her arrest taken directly from the actual FBI audio recordings. 

This strict adherence to fact can be a double-edged sword.  While people who are familiar with the case will be thrilled by the attention to detail, it doesn’t really do much for guys like me who are only watching it for Sweeney. 

Sydney does a fine job dressed way down and sans make-up.  Her reaction to the Feds’ arrival is more like an “Aw shucks!  Ya got me” kind of deal.  She doesn’t ask to see the warrant or demand an attorney.  That raises a red flag to the Feds and the viewer.  Is she just being cooperative or is she itching to get caught?

Since this is essentially a filmed transcript, the actors have to work overtime to squeeze any kind of characterization in there.  I liked the way the Feds made small talk about her pets as a way to ingratiate themselves as they try to get her to drop her guard. 

The film keeps cutting back to the real audio files and transcripts mid-scene.  We also see actual social media posts of the real Winner.  It’s like… okay.  We get it.  This is based on real events.  It’s just that in the search for verisimilitude, these asides become more distracting than anything else.  

One cool aspect is that when it comes to the classified information, the sensitive material is redacted.  It’s here where the film gets visually interesting as Reality gets deleted from the film every time she mentions the redacted material.  In an age where nearly all important information is redacted for the public, it was a nice touch to see her completely disappear at the most vital parts of the story. 

Ultimately, Reality is a mixed bag, but Sweeney’s performance makes it worth a look.  She does a lot with a little, and the way she is able to find character beats in the middle of what is essentially a seventy-five-minute interrogation is rather impressive.  Overall, the film itself is a bit too slight to fully recommend.  However, seeing how the American public still has to deal with pointless redactions and be continuously denied the truth by its government means the film will remain relevant for years to come. 

NUDIE CUTIES VOL. 1 (1993) ** ½

Nudie Cuties Vol. 1 is a compilation of nudie shorts collected by the good folks at Something Weird.  I’m sure they really must’ve wowed (male) audiences back in their day.  However, it’s more fun to look at them now as a curiosity piece than spank material. 

“Nautical Nudes” (** ½) is a creaky short from what looks to be the silent era.  A group of gals get naked on a boat.  They then come ashore and claim a small island as their own private nudist resort.  This short seems like it had a decent budget for this sort of thing, but it suffers from some poor lighting. 

“Backstage” (** ½) This brief clip has a dancer changing backstage.  The model is cute, but this one also suffers from being too dark. 

“Count Me In” (*** ½) benefits from a simple but strong premise.  Two women sit on a bed and play a game of Strip Craps.  Whenever they roll a 7, they have to remove an article of clothing… and they roll LOTS of 7’s.  It’s definitely more fun than Yahtzee.

“Between Acts” (**) There isn’t much to say about this short about a bunch of half-naked burlesque dancers hanging out in their dressing room. 

“Uncover Girl” (** ½) The clever title is the best thing about this brief clip.  A dancer strips in front of a curtain (it looks more like curtains you’d see for windows and not the curtain for a Burlesque show).  There isn’t a whole lot to it, but at least the dancer is cute.

“Without a Stitch” (** ½) A seamstress makes clothes for her friends who disrobe and try on their new wardrobe.  This one is another short but sweet entry that benefits from several actresses who are quite perky.  Too bad the jump cuts ruin much of the fun. 

“Chicago Fan Dance” (** ½) The title says it all.  This is nothing more than a filmed Burlesque show wherein a nude dancer performs with an oversized fan.  Like many other shorts here, it loses points because of the dark photography. 

“Feminine Foursome” (** ½) Four women dance and cavort in the nude.  This one has some legitimate ambiance, but the abrupt ending doesn’t do it any favors. 

“Candid Beauty” (**) Two women are hiking when one of them decides to disrobe.  Luckily, the other gal has a camera with her to capture the moment.  Despite the pleasant scenery, this is another short that suffers from muddy cinematography. 

“Christmas Eves” (*** ½) A gaggle of half-naked women wake up on Christmas morning, get dressed, and go downstairs to see what Santa brought them.  If the sight of naked women trying on a variety of outfits and shooting each other with dart guns in front of the Christmas tree doesn’t put you in the Christmas spirit, the random use of the Muzak version of “Hard Day’s Night” will.  It also helps that this is one of the longest shorts in the compilation.  It takes its time getting going and is a lot of fun to boot. 

“Ladder Antics” (** ½) has three nude models descending a tall ladder before posing on what looks like a Burlesque stage.  While it’s refreshing to get a short that isn’t coy at all when it comes to showing everything, there aren’t many “antics” to be had. 

“How to Hold a Husband” (**) A sunny blonde reads a booklet on how to trap and man, which basically just boils down to dressing in lingerie.  This is one of those deals where the premise quickly gets lost in the shuffle.  The fact that it doesn’t feature any nudity is another major debit. 

“Silk Heeled Mannequins” (**) has three models putting on a floor show on stage before disrobing.  This one benefits from some rudimentary editing and camerawork, but it’s not radically memorable or titillating. 

“Artist’s Models” (***) Several sexy nudists hang around a swimming pool getting a suntan.  This is the kind of thing I was hoping to see more of in this collection.  It’s a simple little nudist camp reel with cute models and a sunny location. 

“Nudists at Play” (****) This is the kind of stuff I’m talking about!  Two brunette nudists play badminton (badly) while their friend suns herself on a towel.  Nudies were always at their best when they showcased women doing outdoor activities and generally just enjoying life.  

“Models in Repose” (**) delivers exactly what it promises:  Models lying around in the nude.  They don’t move, so you’re almost better off looking at a still photograph.  Oh, and this is yet another short that suffers from being too dark. 

“Nude Action” (***) A bubbly blonde does an energetic dance in the nude.  This is another example of how to make a good nudie reel.  If you keep it simple, it just has a better chance of being successful. 

“New Year’s ‘Eve’” (***) A model disrobes and poses around New Year’s streamers.  This one has a good gimmick as every time the model opens up her fur coat, another article of clothing disappears.  It’s not especially erotic, but if you like vintage smut, I’m sure New Year’s “Eve” will make your ball drop. 

“The Dance of Love” (*** ½) A brunette dancer arrives on stage wearing nothing but a sheer cape which she quickly chucks aside.  She then proceeds to do an interpretive dance number in the nude.  This one looked kind of familiar to me.  I think it might’ve cropped up as a special feature on another Something Weird release.  It’s a solid short with a cute dancer who certainly isn’t shy and can dance rather well too. 

“Body Contours” (** ½) A blonde figure model rotates on a turntable on an empty stage.  This is essentially a filmed figure modeling session.  As such, it’s better than average as the rotating platform gives it a semi-artsy vibe.  In fact, many of the shorts have an opening text stating they are to be used for figure drawing.  This is one of the rare instances where that might’ve actually been the case and not just an excuse to show flagrant nudity. 

“Gloria’s Fan Dance” (***) This is another filmed fan dance.  This time out, the dancer has two fans and doesn’t seem too interested in using them to conceal her naked frame.  Her cheerful demeanor is winning too, all of which adds up to another solid short. 

“Harem Beauties” (** ½) A harem full of naked nymphs lounge around on a silk rug.  And… uh… that’s about it.  The models are cute, which helps make up for a noticeable lack of substance. 

“Nude Hula” (*** ½) The best nudie shorts are usually the ones that feature women doing something they typically do fully clothed (or in this case, scantily clad), except…. you know… nude.  That’s what makes Nude Hula so much fun.  It contains everything you’d want from a hula dance, except… you know… nude.  It also helps that the dancer is simply adorable. 

“Stripped for Dipping” (*** ½) A cute brunette goes for a moonlight swim in a creek.  The most amazing thing about this short is that even though it’s filmed outdoors at night, the spotlight the crew used was able to shine ample light upon the model.  Compare that to the other shorts in the collection that take place in broad daylight where you can’t barely make out anything. 

“Swinging Frolics” (***) Two naked women take turns pushing each other on a swing.  There’s not a whole lot to say about this one other than the editing and camerawork is solid.  I guess if you have a swing fetish, you might want to add an extra *. 

“The Old Swimming Pool” (*** ½) Three ladies go skinny-dipping in a lake where they frolic and cavort.  The camerawork is quite good on this short, and the shots of the gals lounging on an inner tube are quite effective.  The models (all of whom are quite lovely) look like they are genuinely enjoying themselves, which also helps. 

“Sultans Dreams” (***) A naked woman hangs around the house, combing her hair, drinking coffee, and smoking cigarettes.  The print is pretty beat up, but the model is arguably the best looking one in the entire collection, which is probably why they saved this clip for last.  There are no sultans, and no dreams, but you won’t care.

LINGERIE FIGHTING CHAMPIONSHIPS: LACE VS. LEATHER (2013) **

Ever since Tubi took down the Lingerie Fighting Championships, I have been jonesing to see women in lingerie beating the crap out of each other.  Fortunately for me, I was able to pick up this DVD for cheap.  It’s the first entry in the LFC series and to my surprise, it’s not an actual event, but a mockumentary about the league. ( I assume the LFC and this movie were created concurrently.)  As a fan of the later events, which were “legitimate” PPV fights, I was rather disappointed as this is essentially a workplace comedy, and not an especially funny one either.  Think The Office but with women MMA fighters. 

It’s kind of obvious from the start they’re trying way too hard for laughs, especially all the shit with the idiot coach in the red headband.  The scripted jokes aren’t funny either, and the staged interviews that are supposed to be played more or less straightforward are phony and forced.  I don’t know if they were trying to emulate GLOW or what, but it just doesn’t work.  There’s a lot of this kind of crap early on, and I had hopes that once the fights began, things would start looking up. 

I was wrong. 

Not only are the fights held in an empty arena with a crowd green screened in the background, but the action is constantly interrupted by interview footage.  This would’ve been fine if the interviews were shown before and after the match, but to drop them in during the fight is almost unforgivable.  An even greater sin:  The fights are fake, and many aren’t very convincing either.  Fortunately, some of the matches are lively enough to keep watching (especially the main event).  Some of the ringside commentary is pretty funny too.  My favorite quip was, “34F is not her apartment number!”

This was probably a learning lesson for LFC.  They saw what didn’t work, tweaked it, and perfected the formula by creating “real” PPV events.  So, I give them credit for that.  I must say if this was my first exposure to the league, I might not have been a fan.  Thankfully, they got much, much better when they realized it’s a lot more entertaining when the action is “real” (or at least unscripted). 

AKA:  Lingerie Fighting Championships.  AKA:  Lingerie Fighting Championships 18:  Lace vs. Leather.

TWO GIRLS AND A GUY (1998) *** ½

This was the first comeback role for Robert Downey Jr. after his much-publicized stint in rehab.  It was rated NC-17 even though the one sex scene we do get isn’t overly explicit.  Written and directed by James Toback (who also directed Downey in The Pick-Up Artist and Black and White), it definitely has that air of relationship based indie movies from the late ‘90s that featured characters talking about sex for a good chunk of the running time.  As far as that subgenre goes, it’s one of the better ones out there. 

The hook is as simple as it is irresistible.  Two beautiful women (Heather Graham and Natasha Gregson Wagner) are standing on a stoop in New York City waiting for their boyfriend (Downey Jr.) to come home.  They quickly realize they’re waiting on the same guy and decide to get a little payback.  The women break into his apartment and set up an ambush and try to get to the bottom of his selfish and manipulative ways. 

This could’ve been a sitcom, but the frankness of how the messy relationship details come out makes it work as a drama, even if parts of it are very funny.  I especially liked the scene when the girls compare notes and become more enraged at the fact that not only is Downey seeing both women at the same time, but he used the same exact pick-up lines on them. 

All three leads are great, but Downey is a real standout.  I loved the little moment when he came home and didn’t know the girls are hiding in his loft.  It’s here where you can see how a guy like this acts when he thinks he’s alone.  That is to say, he just acts goofy and sings to the top of his lungs.  Wagner (who was an It Girl for a hot minute) is a lot of fun as her manic pixie energy is equal parts adorable and sexy.  Graham is immensely appealing as well, playing the more reserved girlfriend who has a few secrets of her own. 

The limited cast and location work give the movie the feeling of a filmed play.  Sometimes, the long monologues feel kind of stagey, which is probably the only real drawback.  Fortunately, most of the dialogue has a ring of (painful) truth to it, so it’s mostly forgivable.  If you only know RDJ from his latter-day Marvel blockbusters, you owe it to yourself to check it out.

AEROBICISE: THE ULTIMATE WORKOUT (1982) ****

Jane Fonda gets most of the credit for kickstarting America’s interest in workout videos in the ‘80s, but I argue that Ron Harris is just as influential of a figure.  Unlike Jane, who was front-and-center of her videos, Ron worked behind the scenes.  Maybe it was his male gaze that made the Aerobicise series a landmark.  Maybe it was the simplicity of the concept.  Whatever the secret sauce was, Aerobicise was truly a staple of every boy growing up in the ‘80s. 

Most workout videos are filmed on sets that either mimic a gym or a living room.  The idea is that they are inviting the viewer into the world of the tape and making them a part of the exercising experience.  What made Harris’s series unique is that the women were all filmed in a white void.  I think the idea was that it would allow the viewer to concentrate on the performers and the exercises without any other visual stimuli getting in the way.  This would allow them to better understand the techniques and the motions of the participants.  Since the women were all hot and wearing sexy skintight workout attire, it was hard for any red-blooded male viewer to concentrate on anything else.  That innovation is what sets the series apart from its contemporaries. 

Let’s face it.  Men watched these things for the women.  Whenever you see a clip from the show popping up in a movie (most notably Friday the 13th:  The Final Chapter), it’s a male chauvinist pig who’s typically watching it.  The visual cue is a shorthand to inform the audience that information without the necessity of dialogue. 

Now, I get a kick from watching old workout videos from the ‘80s.  Maybe that makes me a pig too.  However, I think enough time has passed where we can view this sort of thing as video anthropology and marvel at the retro outfits and appreciate it as highly stylized ‘80s ephemera. 

The tape is light on instruction.  What narration we do get more or less states the obvious.  (“Twist!”, “Stretch!”, “Reach!”)  Oh, and the narrator has a sexy woman’s voice, if you had any confusion as to who the intended audience was. 

The tape is broken up into two episodes.  The first half begins with a “Warm-Up” consisting of head rolls, stretching, and light aerobics.  Then it’s on to “Hands and Knees” exercises where you get down on all fours and gyrate wildly like a dog that just pissed on an electric fence.  Next, it’s “Pelvics”, and if you ever needed proof that God exists and he’s a man, then look no further.  “Aerobics” follows, and it’s full of enough jiggling and wiggling to get your heart rate going... and you don’t even need to leave the couch to do so. 

Then it’s time to “Cool Down”.  This is probably the most misleading segment.  It’s supposed to be full of light stretching exercises to allow the body time to recover after a strenuous workout.  What we are shown however, is a hot blonde sitting spread eagle on the floor rubbing her mound around backwards and forwards and every which way in between.  Cool Down?  I’m heating up over here!  The last time I saw a woman do a Cool Down like that, I had to put dollar bills in her G-string.  Not sufficiently cooled down from that activity, she proceeded to get on all fours like a dog and undulate wildly before kicking her legs high in the air.  After making what looks like sexy snow angels on the ground, she contorts herself up like a nympho hobby horse and rocks back and forth.  How anyone is supposed to perform all this as a “Cool Down” technique is beyond me.  This is some serious Circe de Soliel shit.  (And I loved every second of it.)

The second episode kicks off with another “Warm-Up” where two gorgeous models stand toe to toe and do a slinky little jazzercise dance routine.  Then, it’s back to everyone’s favorite exercise, “Hands and Knees”.  While the movements of the model in this segment can’t top the wild gyrations of the first Hands and Knees sequence, the stellar camerawork and editing make sure that her assets are impeccably displayed throughout.  Next, it’s “Straddle Legs” where the model sits/lays on the floor and moves her legs like a broken windshield wiper.  It takes a bit before we get to the “Straddle” portion of the exercise, but believe me, it’s worth it.  That’s followed by “Sit-Ups”.  This is another example where Harris’s genius is on display.  He takes what in other workout tapes would’ve been a forgettable and boring exercise and thanks to the optimal camera placement, turns it into an erotic work of art.  “Aerobics” is next.  Two models perform acalisthenics routine consisting mostly of variations of Jumping Jacks.  This is probably the most traditional segment of the entire tape and doesn’t feature much of the unhinged qualities I typically enjoy.  That doesn’t mean it’s “bad” though.  Just traditional.  The final segment is another “Cool Down” routine.  It’s a stretching routine that might give Mr. Fantastic issues, especially the part where the model sticks her head between her legs and is about THIS close to kissing her own ass. 

The models, of course, are all beautiful.  One of them is Darcy De Moss from Friday the 13th Part 6.  (The Jason theme continues!)  They really deserve as much credit for the show’s success as Harris because they are among the most limber ladies it’s been my pleasure to watch in a workout tape. 

The camerawork is exquisite too.  By “exquisite”, I mean it captures a lot of shots of cleavage and jiggling buttocks.  The rhythmic motions of the models, combined with the subliminally hypnotic editing and soothing narration makes the whole thing play like ASMR.  And I don’t mean Autonomous Sensory Meridian Response.  I’m talking about Awesome Shit Men Respond to.  

You will not find Aerobicise:  The Ultimate Workout in the MoMA.  It is not in The Criterion Collection.  It is not part of the Library of Congress’ National Film Registry.  I hope this review will change all that.

Harris later took the concept and sexed it up even more with Totally Nude Aerobics.

KUNG-FU OF EIGHT DRUNKARDS (1980) ** ½

A waiter tries to remove an old drunk customer from his restaurant, and the boozy geezer beats the snot out of him.  He then begs the old man to teach him Drunken Kung Fu.  When a villain spots the waiter using the Drunken style, he correctly assumes the Kung Fu master (his mortal enemy) is still alive and plans to set a trap for his young pupil. 

Directed by Wu Ma (who also co-directed The Water Margin and All Men are Brothers), Kung-Fu of Eight Drunkards is an agreeable if inessential Kung Fu comedy.  If you have a predilection for Drunken Master-style chopsocky, you might grade this one on a higher curve as there are plenty of booze-related training sequences and inebriated fight scenes on display.  While the action is fine for the most part, it’s just lacking a real all-out show-stopping Kung Fu set piece to put it over the top.  (The finale is pretty good, but it’s marred by too much slow motion.)  Despite a generally uneven tone, it’s still a hair or two better than most Drunken Master rip-offs (there’s a decent plot twist in the last ten minutes). 

The problem is that the comedy schtick weighs the whole thing down as a lot of the drunken shenanigans aren’t very funny.  The comic relief sidekick is even worse as his main humorous trait is having a shitty combover.  The movie gets more mileage from unintentionally funny moments like the crappy dubbing and the odd soundtrack choices.  I’m specifically thinking of the random needle drop on a banjo instrumental of “I Wish I Was in Dixie” in some scenes. 

My real issue with Kung-Fu of Eight Drunkards though was, was there even eight of them?  I mean I can’t even remember there being eight characters let alone all of them knowing Kung Fu and/or being fall down drunks.  Were they counting the villains too?  If so, I don’t think I ever saw them take a sip of hooch the entire running time.  Argh.

AKA:  Kung Fu of 8 Drunkards.

WHEN THE GODS FALL ASLEEP (1972) ** ½

Director/star Jose Mojica Marins returns in this sequel to The End of Man as Finnis Hominis.  The film begins with the incredible ending of the original.  If you recall, Finnis Hominis arrived on the streets of Sao Paolo and quickly became a messianic figure who amassed a great following.  The final shot then showed him after his work was done returning home to a mental institution! 

Well, Finnis hangs out in his cell for a bit before escaping once again.  He gets right back to work, squashing a beef between two rival street thugs named Chico and Skull with just a few words of wisdom.  He also interrupts a virgin sacrifice and turns the followers against the priests presiding over the ceremony, breaks up a lovers’ quarrel at a Gypsy camp, and crashes a den of inequity. 

Finnis Hominis is sort of like the opposite side of the coin from Coffin Joe.  Although they are both mysterious figures that point out the hypocrisy of societal norms, Finnis dresses in bright colors and has a much sunnier disposition than the sinister Joe.  While the Finnis Hominis films are decent, they aren’t a patch on Coffin Joe’s pictures. 

Now that we know Finnis is actually batshit insane from the very start, his adventures don’t pack the same kind of punch.  As in the first movie, this one flips back and forth from color to black and white in sometimes arbitrary fashion.  It also suffers from an episodic nature.  It’s probably my least favorite of the Marins movies I’ve seen, but it carries enough of his distinct touches to make it worth watching. 

Some sequences are better than others (the romantic drama at the Gypsy camp goes on way too long) and the final twist in this entry is weak, not to mention predictable.  Still, the film contains at least one scene that will have you picking your jaw up off the floor.  About a half hour into the movie, there is a viewer discretion warning for a religious ceremony where people dance wildly and bite the heads off live chickens and drink their blood.  It’s fairly disgusting, and those who are squeamish when it comes to animal abuse will appreciate the heads-up. 

TWISTED SEX VOL. 4 (1994) ****

Twisted Sex Vol. 4 is a top tier sexploitation trailer compilation from the depraved minds at Something Weird.  It offers a terrific mix of obscure smut, genuine oddities, stone cold classics, and works from some of the greatest directors in exploitation history.  Because of that, it makes a perfect sampler package of vintage sleazy goodness. 

Fans of nudist movies will enjoy seeing trailers for the likes of Garden of Eden, Some Like It Cool, and Adam Lost His Apple.  Those who favor costume romps will dig the ads for Love Secrets of the Kama Sutra, The Secret Sex Lives of Romeo and Juliet, and Pinocchio.  It’s also fun seeing such classic Something Weird fare as The Bloody, The Beautiful, and the Bare, Confessions of a Psycho Cat, and Wilbur and the Baby Factory being represented. 

The wealth of previews for films from the elite filmmakers of the era is what sets Twisted Sex Vol. 4 apart from the rest of the pack.  We have ads for movies from Russ Meyer (The Immoral Mr. Teas), Herschell Gordon Lewis (The Adventures of Lucky Pierre), and Michael and Roberta Findlay (Take Me Naked).  Doris Wishman is especially well represented, so if you’re a fan of the Queen of the Nudies, you’re in for a treat.  There are trailers for Gentlemen Prefer Nature Girls, Nude on the Moon, The Sex Perils of Paulette (in which the title is curiously never mentioned), and Indecent Desires.  Fans of Wishman will also get a kick out of hearing many of the same taglines (like “sex without shame” and “corrupt and immoral”) appearing again and again in ads for Hot Month of August, Bad Girls Go to Hell, and Too Much Too Often

Speaking of taglines, there are plenty of great ones here.  Some of my favorites were for Warm Nights and Hot Pleasures (“When sex goes skin deep!”), Garden of Eden (“The only picture endorsed by the American Sunbathing Association!”), The Beautiful, the Bloody, and the Bare (“SEE the blood crazed fiend!”), and Sex Rituals of the Occult (“Sex Rituals of the Occult is coming!  Are you?”).  There are also a couple of shorts that help pad things out including a color striptease short called A Wild Night at the Interlude and something called Strange Sex Dreams which is neither strange nor sexy, but it is certainly something weird!

The complete trailer list is as follows: Hot Frustrations, The Sisters, Soft Skin on Black Silk, The Price of Flesh, Warm Nights and Hot Pleasures, The Alley Cats, Hot Month of August, Garden of Eden, The Immoral Mr. Teas, The Adventures of Lucky Pierre, Gentlemen Prefer Nature Girls, Adam Lost His Apple, Nude on the Moon, The Sun, the Place, and the Girls, The Beautiful, the Bloody, and the Bare, a Santa Claus bumper, My Baby is Black!, The Warm, Warm Bed, The Sex Perils of Paulette, Take Me Naked, Bad Girls Go to Hell, Confessions of a Psycho Cat, Indecent Desires, Guess Who’s Coming?, Too Much Too Often, Days of Sin and Nights of Nymphomania, A Wild Night at the Interlude (short), Whip’s Women, The Sexperts: Touched by Temptation, Love Secrets of the Kama Sutra, Sexcapade in Mexico, The Secret Sex Lives of Romeo and Juliet, Pinocchio, The Nine Ages of Nakedness, Wilbur and the Baby Factory, The Toy Box, Sex Rituals of the Occult, Strange Sex Dreams (short), and Liz.

AWAKENING OF THE BEAST (1970) ****

Nearly a quarter of a century before Wes Craven’s New Nightmare, Jose Mojica Marins made a similarly Meta sequel to his Coffin Joe franchise that blurred the line between “reel” and “real”.  It’s not as consistent as his earlier films, but it is pure dynamite when it really gets cooking. 

A shrink bemoans the increasingly abhorrent sexual behavior in society, particularly when it comes to young people and drug abuse.  He seems to want to lay much of the blame on the films of Jose Mojica Marins.  While preparing his next book, he performs an experiment where he gives the subjects LSD after watching This Night I’ll Possess Your Corpse.  They then proceed to experience hellacious visions of torture starring none other than Coffin Joe himself. 

Awakening of the Beast is a tad uneven at times, but there’s so many jaw dropping moments here that it manages to be more than a sum of its parts.  The first act of the movie is pure sexploitation.  The unconnected segments almost play like a precursor to the Schoolgirl Report series.  Marins appears briefly in the second act as himself as he is forced to defend his work against baseless accusations. 

Those frustrated by the lack of Coffin Joe in the first hour will be rewarded in the third act.  It’s here where Marins takes center stage as Coffin Joe appears to guide the test subjects through their drug trip.  From this point on, the movie really kicks ass.  Right after the characters take acid, the film switches to color (just like This Night I’ll Possess Your Corpse) and Marins’ flair for ghoulish spectacle is on full display.  I’m not saying I understood some of it and I’m not sure “understanding” it was the point.  (It is one long drug trip after all.)  What I do know is some of the shit in the last ten minutes or so is unforgettable.  (Those “buttheads” are especially freaky.)  Because of that, Awakening of the Beast is one hell of a trip. 

AKA:  Ritual of the Maniacs.

THE STRANGE WORLD OF COFFIN JOE (1968) ****

After the incredible one-two punch of At Midnight I Take Your Soul and This Night I’ll Possess Your Corpse, director Jose Mojica Marins and his amazing creation Coffin Joe made a slight pivot.  This time he returns with a wild horror anthology that is nearly as good as its predecessors.  Despite the fact that it’s called The Strange World of Coffin Joe, the title character only appears briefly in the intro.  (At least Marins takes center stage in the third story where he plays a thinly veiled variation on Joe.)

The first story is “The Dollmaker” (****).  An old man and his four virginal daughters make beautifully handcrafted dolls.  One night, four men break into their home and rape the daughters.  The men soon learn the terrible secret behind the dolls’ lifelike eyes. 

If you’re making a horror anthology, having a story about creepy dolls is a veritable prerequisite.  What’s interesting about this one is that it doesn’t lean into the supernatural realm as it’s essentially a tale of revenge.  That doesn’t mean it isn’t atmospheric as hell.  The shots of the eyeless dolls’ empty sockets are particularly eerie. 

“Obsession” (****) is next.  A pathetic balloon salesman pines for a sexy woman who passes him by on a daily basis.  After the woman is murdered (on her wedding day, no less), the hunchbacked street vendor sneaks into the woman’s crypt and violates her corpse. 

This one has a great gimmick as it’s told without dialogue.  That helps to amplify the atmosphere that Marins has created.  He also does a fine job of tiptoeing around some pretty icky subject matter.  Some may be miffed by the abrupt ending, but the fact that there is essentially (spoiler) no plot twist is more surprising than anything O. Henry could’ve come up with. 

The final tale is “Ideology” (****).  Marins stars as a professor who goes on national television and claims love doesn’t exist.  One of the hosts is intrigued by his proclamation and the professor invites him and his wife to his home.  There, he shows them various displays of vulgar lust and depraved degradation and puts their love to the test. 

Although Marins dresses similarly to Coffin Joe, he acts differently enough to make the professor come off as a distinct character in his own right.  He still has the same kind of hardline viewpoints that make Joe so much fun.  Directing wise he does another fantastic job.  Marins effectively blurs the line between sex and horror during the sequences inside the professor’s dungeon where the kinky goings on make Madame Olga look like Mother Teresa.

So, if you like your horror anthologies a bit more on the depraved side, you should definitely take a trip to The Strange World of Coffin Joe.

THIS NIGHT I’LL POSSESS YOUR CORPSE (1967) ****

Coffin Joe (Jose Mojica Marins) returns looking for a woman who will give him a male offspring.  (“Man is only immortal through the fetus!”)  To achieve his goal, he kidnaps women from his village, which naturally riles up the menfolk.  He eventually finds his mate in Laura (Tina Wohlers) who says, “I don’t mind being the mistress of the Devil!”

What I like about Joe is that although he is technically correct about some of his ideals, the way he goes about fulfilling his ambitions is often monstrous.  In some ways, he reminds me of Magneto in that he rallies against the evil inherent in man in an evil way.  However, he is insulated by his beliefs, which makes him blind to the fact that he is fighting tyranny by being tyrannical. 

He’s also full of fascinating contradictions.  Even though he detests people, he has a soft spot for kids and even saves one from being struck by a motorist.  Yes, I know a main character that’s obsessed with eugenics and creating a “perfect race” would be considered “problematic” by today’s standards.  That said, with his top hat, unibrow, and long ass nails, Coffin Joe is such a badass that you can’t help but root for him. 

This sequel to At Midnight I’ll Take Your Soul is full of impressive and atmospheric sequences.  The highlight comes when Coffin Joe unleashes a horde of spiders on his potential brides while they are sleeping.  There’s also a gnarly bit where he throws acid in a woman’s face.  When we’re talking about Marins as a director, the most obvious comparison is Mario Bava.  However, it’s the strong religious and social themes that set his work apart from his contemporaries and makes him a one-of-a-kind filmmaker. 

The movie really takes off when Joe is dragged down into Hell.  It’s here where the film switches from black and white to full color.  Think Wizard of Oz, but like a hundred times cooler.  Speaking of being cool, Marins’ depiction of Hell is one of the most inventive and original in cinema history.  Instead of the traditional flames, Hell is an endless series of icy caverns where workers whip and stab frozen prisoners. 

Marins’ next was The Strange World of Coffin Joe. 

AKA:  This Night I Will Possess Your Corpse.  AKA:  This Night Will Make Your Corpse Incarnate.  AKA:  Tonight I Will Eat Your Corpse.  AKA:  Tonight I Will Make Your Corpse Turn Red.  AKA:  Tonight I Will Paint in Flesh Color.  

FACES OF DEATH (2026) ** ½

Remaking Faces of Death is a risky proposition.  Renting the video was a rite of passage for many people back in the ‘80s.  Word of mouth (most of which stemmed from its questionable authenticity), combined with its notoriety, ensured it would have a long shelf life.  (One character in this movie refers to it as “the original viral video!”)  How can you replicate that kind of success in the age of social media and Tik Tok where you can see all kinds of fucked-up shit on your phone?   Well, the filmmakers have come up with a way, and it works… up to a point. 

The conceit is that a serial killer is remaking scenes from Faces of Death and posting them on a social media platform called Kino.  Barbie Ferreira is a moderator for the site who flags suspicious and/or inappropriate content.  When the videos cross her desk, she is fascinated and appalled by them.  She does some digging and learns the killer’s location and sets out to save his latest victim.  By doing so, she runs the risk of starring in his next recreation. 

If you have to remake Faces of Death in this day and age, I guess this is the way to go about it.  However, it’s a “damned if you, damned if you don’t” proposal.  If you go too hard on the gore, you’ll get called out for taking things too far.  If you water it down, you run the risk of alienating fans of the series.  By taking the Meta approach, the film is able to let itself off the hook.  Since a “bad guy” is committing the crimes, it absolves the viewer from any guilt of watching scenes of death and slaughter.  Instead, it flips the guilt to the characters in the film that want to be “internet famous”. 

There are some good moments here to be sure.  The recreations of the scenes from the original are well done.  The biggest kick, however, comes from seeing clips of the original on the big screen, albeit briefly.  I also liked the fact that Barbie was a plus-sized Final Girl, which is something you rarely see in horror, if ever. 

I just have a feeling that if you took Faces of Death out of the equation, there wouldn’t be much to it.  If the killer was making a regular snuff movie, it would’ve been okay, I guess.  The Meta approach certainly gives it an interesting wrinkle, but unfortunately the filmmakers kind of sever the connection to the original by the time the third act rolls around, and the killer begins taking “artistic license” with the murders. 

Oh, and despite what you may have been led to believe, Charli XCX is barely in the movie.  She has two brief scenes as Barbie’s snippy coworker.  At least she acts like a total brat. 

Overall, Faces of Death isn’t bad.  Strictly taken as a slasher film, it gets the job done.  I just have a suspicion that no one is going to be sneaking it into slumber parties or renting it as a rite of passage any time soon. 

BRING HER BACK (2025) ** ½

After the death of their father, a pair of siblings, Andy (Billy Barratt) and Piper (Sora Wong) are placed in foster care.  Their new foster mom Laura (The Shape of Water’s Sally Hawkins) dotes on the blind Piper and pretty much ignores Andy.  Right away, we learn something screwy is going on as her other ward Ollie (Jonah Wren Phillips) tries to strangle cats and eat knives.  Laura’s obviously off her rocker too as she manipulates both her new foster kids, but naturally, Piper is unaware of what’s going on.  Eventually, we discover Laura has her dead daughter locked in her freezer and she’s using Piper to… well… read the title. 

Bring Her Back comes to us from Danny and Michael Pillipou, the directing brothers behind Talk to Me.  Like that film, this one has some good moments.  I think I might give Bring Her Back the slight edge since it contains some choice gnarly bits of gruesomeness tucked in here and there.  (Like when the little kid starts eating everything in sight.)

Unfortunately, it’s one of those slow burn deals that takes its sweet time to get where it’s going.  Since we already pretty much know the destination, it makes for a rather long trip.  It doesn’t help that the audience is at an advantage since Piper is unaware of the shenanigans her new mum is pulling.  Add to that the fact the film relies on rather sensitive subject matter (grief, child abuse, foster care, etc.) for its shocks.  You also have to put up with the cliched scenes where nobody believes Andy (even Piper). 

The young cast members are quite good though.  Phillips is especially memorable as the creepy kid who runs around the third act with a distended stomach.  As the foster mom you love to hate, Hawkins really plays the role to the hilt.  Maybe if they decide to do a sequel they’ll bring her back.