CONFESSIONS OF A TEENAGE PEANUT BUTTER FREAK (1975) ***

Billy (Zachary Strong, who also co-wrote and directed) is an awkward teenage loser who gets picked up by a gas station attendant named Priscilla (Helen Madigan).  They go back to her place for a peanut butter sandwich and she makes a couple of obvious passes at him.  Unfortunately for Priscilla, he’s too busy eating peanut butter and talking about his various sexual misadventures to even notice.

Confessions of a Teenage Peanut Butter Freak contains some rather kinky material.  There’s food play (this is the first time I’ve ever seen anyone use peanut butter as KY jelly), incest, strap-ons, bondage, butt play, interracial, etc. The thing that makes it all work is the fact that you can sympathize with a lot of Billy’s sexual blunders.  (Well, except for maybe his peanut butter fixation.)  Despite some wild moments, there are a few scenes that are surprisingly true to life.  I'm sure there are moments of poignancy here that will ring true for some people, which makes it a nostalgic coming of age movie (no pun intended). 

Strong is great in the lead.  His awkward tics are amusing, and his stuttering while nervously engaging in sexual intercourse are good for a few laughs.  John Holmes has a small role as Strong’s friend.  For some reason, Holmes does a different accent for nearly every line of dialogue.  I’m not sure why Strong let him get away with doing something so bizarre, but then again, Holmes wasn’t hired for his acting abilities.  Madigan is enormously appealing, and Jacque Hanson is a hoot as Strong’s sex-crazed aunt.  

The sex scenes themselves are a bit uneven, with the best ones being weighted towards the beginning.  It loses points for the weird, overlong, dreamlike ending depicting Strong’s surreal wedding ceremony.  This could’ve been cut out and no one would’ve noticed.  Other than that, Confessions of a Peanut Butter Freak is a lot of fun.  It has a goofy, playful feel that makes it work as both pornography and a relic of ‘70s low budget filmmaking.  There’s an innocence here that you just can’t find in today’s adult market, and that alone makes it highly recommended.

AKA:  Confessions of a Teenager.  AKA:  Peanut Butter Freak.  AKA:  She Can’t Get Enough.

THE EVIL SNAKE GIRL (1976) ** ½

I'm a sucker for movies about evil snakes.  Films about snake girls are even more up my alley.  Imagine my excitement when I found a flick called The Evil Snake Girl.  Unfortunately, it just couldn’t live up to its awesome title, but there are enough goofy moments here to make it worthwhile for B movie fans.

Manda (Rosemarie Gil) is born with snakes for hair.  Her parents are understandably freaked out, but they try to make the best of it.  When she gets older, Manda wears a scarf on her head to hide the squirmy snakes.  Not only does she have a head full of snakes, she has the ability to control snakes with her mind and make them do her bidding.  While walking home one day, a bully tries to make her remove the scarf and gets bitten.  After he dies, villagers show up at Manda’s door brandishing torches and screaming, "Give us the child!"  (Movies about angry villagers screaming, “Give us the child!” are another favorite subgenre of mine.)

So far, so great, but the movie is just unable to keep up the oddball momentum.  Now, I didn’t mind the subplot where Manda takes charge of a gang of thugs to act as her muscle.  (As if mind-controlled snakes weren’t enough.)  I liked the parts detailing Manda’s quest for revenge.  (The scene where a guy leans in to kiss Manda and winds up getting bit square on the lips by a snake is among the highlights.)  However, things get increasingly spotty once the flick turns into a martial arts hybrid.  

As a horror film, The Evil Snake Girl has a nasty streak to it that makes it enjoyable.  As a Kung Fu flick, it lacks… ahem… kick.  The action is rather ho-hum and the fight choreography leaves something to be desired.  It’s not bad or anything, it just seems rather staid next to the stuff with the evil snake girl.  The subplot with the Kung Fu Master taking it upon himself to rid the world of Manda works slightly better than the scenes where he beats up random people.  I dug the finale where he Kung Fus a bunch of mind-controlled snakes.  I just wish there was more of this brand of nuttiness throughout the picture.  It also doesn’t help that (SPOILER) the evil snake woman dies when she accidentally falls off a cliff.  Talk about anticlimactic!  

AKA:  Devil Woman.  AKA:  Manda the Snake Girl.

CREEP 2 (2017) ***

Serial killer Aaron (Mark Duplass) is still up to his old tricks, placing personal ads online, coaxing potential documentary filmmakers to his home, and then killing them.  He gets more than he bargained for when Sara (Desiree Akhavan) shows up.  She doesn’t flinch when he tries to scare her or recoil when he reveals intimate details about his victims.  In fact, she encourages him to go further.  It just might be a match made in Heaven.  Or probably Hell.

Creep 2 is superior in every way to the original.  Much of that has to do with the performance of Akhavan.  In the first film, it was basically Duplass’ show all the way.  With this sequel, he has someone worthy of his talents to bounce off of.  Not only that, but she’s his match nearly every step of the way.  When he tries to scare her off by getting naked minutes inside of their first meeting, she nonchalantly chucks her clothes off too.

Their efforts to film the documentary often lead to some big laughs.  I liked the part in the creek where a bird chirping continuously interrupts Duplass during a pivotal scene.  It’s hard to tell if all of this was scripted or improvised, but that in itself is a testament to Duplass’ performance.  Akhavan is also quite good and the chemistry between the duo is genuine, which alone makes it well worth watching.

Creep 2 also moves like lightning.  Even though it’s longer than the original, its zippy pace gives it a faster and looser feel.  The ending (which is usually a foregone conclusion in Found Footage horror movies) is genuinely surprising too and makes me look forward to Creep 3 in the near future.

COP CAR (2015) **

I was a huge fan of Jon Watts' Clown and Spider-Man:  Homecoming.  Because of that, I was excited to see this flick, which he made sandwiched in between the two.  Even with the presence of the always entertaining Kevin Bacon at the wheel (so to speak), Cop Car left me cold.  It's not bad or anything, it's just that there’s not a whole lot to it.

Two runaway kids (James Freedson-Jackson and Hays Wellford) stumble upon an abandoned cop car and decide to take it for a joyride.  Minutes later, its owner, a dirty cop (played by Bacon) comes back and finds it missing.  He then takes off in hot pursuit of the kids. 

Part of the problem is that the kids aren't that likeable.  When we first meet them, they are literally trying to say every curse word they can think of, which doesn’t quite endear them to the audience.  It also doesn’t help that neither Freedson-Jackson nor Wellford are strong enough performers to really get you to care about them.  A lot of that has to do with the script, which doesn’t do a whole lot to flesh their characters out.

Bacon is incapable of giving a bad performance, but he never ratchets up the menace.  Like the kids, his character is underwritten, and he seems more like a plot device than a flesh and blood human being.  Perhaps if he tweaked his persona a bit more and made the cop truly scuzzy, it would've upped the suspense.

Another problem is the story itself is pretty flimsy.  It almost feels like a short film that’s been indifferently padded out to get to an eighty-seven-minute running time.  Even with a relatively short length, it feels much longer.  

If I had to pick a section that worked the best, it would be the middle sequence where Bacon discovers the car has been stolen.  Once the kids find what's inside the trunk, the movie sort of flatlined for me.  The finale is lackluster too.  Ultimately, Cop Car spins its wheels for far too long before finally running out of gas. 

SOUL BROTHERS OF KUNG FU (1978) ***

Bruce Li stops some goons from beating up a black coworker.  He kicks their ass in short order, but he winds up losing his job as a consequence.  Bruce then tries his hand at prize fighting as he strives to be the next Bruce Lee.  The goons then kill his girlfriend and beat him within an inch of his life.  Bruce bounces back and perfects an "Iron Finger" technique to take them down.

Soul Brothers of Kung Fu (there’s only one soul brother, but never mind) is a fast moving and action-packed slice of chopsocky.  It’s anchored by a strong performance by Li, who carries the movie effortlessly, often beating the crap out of somebody without even cracking a sweat.  The endless array of fight scenes come at you fast and furious as Bruce mops the floor with someone every five minutes or so.  Because of that, it’s highly entertaining.

Like Li’s best stuff, there's some oddball moments along the way that help separate Soul Brothers of Kung Fu from your typical Kung Fu flick.  The funniest part is the training sequence where Bruce uses a state-of-the-art mannequin as a punching bag.  This punching bag is something else.  It comes complete with a set of glowing balls when Bruce hits it below the belt!  Even with the hilarious moments peppered throughout the film, the finale, where Bruce finds out his “soul brother” has been killed, is oddly affecting.

It’s a hooker though who gets the best line when she tells the villain, "Your bedroom Kung Fu is better than [Bruce’s]."

AKA:  Kung Fu Avengers.  AKA:  The Last Strike.  AKA:  Going the Distance.

PLASTIC GALAXY: THE STORY OF STAR WARS TOYS (2014) ***

My family and I have been eating up The Toys That Made Us on Netflix.  After watching the entire first season, we’ve been jonesing for more documentaries about toys from the ‘70s and ‘80s.  Plastic Galaxy:  The Story of Star Wars Toys helped to scratch that itch for a little more than an hour or so.

If you’ve seen the episode of The Toys That Made Us on Star Wars toys, a lot of the information will be familiar to you.  It follows the rise of Kenner, a small toy company in Ohio that became an overnight sensation when they created toys for Star Wars.  Since they didn’t have the toys ready for Christmas (the deal wasn’t inked until two months before the movie came out), they had to gamble on an “Early Bird” special, which essentially sold consumers an empty box, along with the promise of actual toys in the months to come.  Well, the gamble paid off and Kenner became a powerhouse in the industry for the next decade.

Even though the episode of The Toys That Made Us was shorter than this, it feels like they did a better job at telling the ins and outs of the company, the various production lines, and how the toys continued to evolve to this day.  That might be because of Plastic Galaxy’s tendency to feature fans who are only too eager to show off their toy collection.  As a collector myself, I enjoyed seeing all the cool toys (especially the old displays from the toy stores), but they ultimately get in the way of Kenner’s narrative.

That’s a minor qualm, really.  There’s still plenty of cool figures and neat info here, even if a lot of it was regurgitated on The Toys That Made Us.  The sixty-seven-minute running time flies by, and the short and sweet approach is appreciated in the long run.  Any Star Wars collector worth their salt will want to check it out.

FLESH AND BULLETS (1985) ***

Flesh and Bullets was made by former pornographers and it shows.  The production is often cheap looking, the performances are uneven, and the music is funky.  That is to say, I had a pretty good time with it.

It’s basically Strangers on a Train, with healthy doses of sex.  Two divorced men meet in a casino bar (maybe it should’ve been called Strangers in a Casino) and commiserate with their shared experiences of being constantly hassled by their ex-wives for alimony.  They decide they should kill each other’s wife, that way there will be no suspicion cast upon them.  Complications ensue when they wind up hopping into bed (and consequentially falling in love) with the other man’s wife.

The set-up is briskly handled, and the unorthodox method of having multiple narrators, constant flashbacks, and unusual subplots (like the bank robbery opening) prevent things from becoming dull.  Of course, you could always call the narrative “clumsy” and/or “slipshod”, but when it winds up working despite itself, I like to call it “unorthodox”.  

I also got a kick out of seeing the guest stars Yvonne DeCarlo, Caesar Romero, Aldo Ray, and Cornel Wilde looking totally out of place.  I bet they filmed their scenes while on a coffee break from another movie.  DeCarlo and Romero are literally in it for a minute and I swear they shared the same costume.  (They both play judges.)  Ray and Wilde are in just two scenes, but their characters have no bearing on the plot, so it feels like they were only there for marquee value and to pad out the running time.

Robert Z’Dar shows up late in the game as a jealous boyfriend of one of the ex-wives.  It’s far and away the best performance of the movie.  You can also have fun spotting porn stars Sharon Kelly, Mai Lin (as a hooker who is so horny she gives it away for free), and William Margold turning up in small roles. 

AKA:  The Wife Contract.