THE DEVILS (1971) ***

I’ve heard so much about Ken Russell’s notorious film The Devils over the years that I guess I was bound to be somewhat disappointed by the time I actually saw it.  That’s not to say it’s a bad movie.  Far from it.  It looks great, has some terrific acting, and memorable set pieces.  It’s just far from the shocking spectacle I always pictured it to be. 

Maybe that’s because the version on Shudder is the American cut.  Apparently, the UK version is racier, but I guess us Yanks are too prudish to enjoy it.  (Which is weird given all that “Video Nasty” shit the Brits go on and on about.)  Even in its censored version, it’s still a solid flick.

Oliver Reed (who was also in Russell’s Tommy) stars as a priest with lust in his heart who knocks up a young virgin.  Vanessa Redgrave is the hunchback nun who has the hots for him, but naturally, he doesn’t give her the time of day.  Scorned, she plots her revenge by accusing him of witchcraft.  Soon, the townsfolk the priest has enraged along the way also team up to have him tortured and executed as a heretic. 

I’m sure The Devils was shocking as all get-out when it first came out.  I think the best thing I can say about it is that it went on to inspire the “Nunsploitation” craze of the ‘70s as well as the skeevy likes of such exploitation favorites as Mark of the Devil.  Any exploitation movie scholar should see it as this was the first of its kind (although The Conqueror Worm had similar witch hunting sequences, just without the religious overtones).  However, the films it would later inspire are a lot more depraved and nastier if you ask me.

Reed is great as the boastful priest.  His character is interesting because in a way, he kind of welcomes what’s coming to him if only so he can show his faith in God.  He’s a fornicator and a cheat, but he’s not exactly evil as he bravely defends his village and his congregation from outsiders seeking to tear down the city walls.  Redgrave is a hoot as the gnarled nun with a horny streak.  Too bad I didn’t get to see the uncut version where she apparently gets it on with a human bone.

Because it is a Ken Russell film, it looks beautiful, has some impressive (sometimes exhausting) camerawork, and is gleefully over the top.  However, it’s not particularly scary or shocking.  I guess that all depends on your upbringing.  If you were a choirboy, I’m sure it will all seem quite blasphemous.  To someone like me who is well-versed in exploitation movies and gross-out horror, it was just another day at the office. 

BOSS LEVEL (2021) ***

Former soldier Frank Grillo wakes up to find that he is living (or more accurately, dying) the same day over and over again.  He is pursued by a gaggle of wildly different “bosses” who murder him in a number of violent ways.  He eventually learns that the only way to stop the never-ending time loop is to save his scientist ex-wife (Naomi Watts) from being killed by her sadistic boss (Mel Gibson) who wants to use the time loop machine for his own devious aims.

Directed by Joe Carnahan, Boss Level is basically the action movie version of Groundhog Day.  Or Edge of Tomorrow.  Or Happy Death Day.  Or Happy Death Day 2U.  Or Lucky.  Look, originality is not this movie’s strong suit.  Normally, I take films to task for being repetitive, but that’s sort of this one’s M.O.  As with those features, as the character repeats his day over and over again, he learns to be less selfish and begins to help others.  Unlike Groundhog Day, this one has a lot of shootouts, decapitations, and scenes of Michelle Yeoh playing a Kung Fu sword master.  Because of that, I dug it.

As far as those Emmett/Furla DTV actioners go (or in this case, DTH… which is short for Direct to Hulu), Boss Level feels the closest to being a real movie.  That’s mostly because Carnahan is the goods.  Even if the flick borrows heavily from other films, he is able to imbue it with a sense of fun, energy, and quirkiness. 

The cast is solid, which helps tremendously.  Watts’ character is mostly Ms. Exposition, but she and Grillo have enough chemistry for you to overlook some of her scientific gobbledygook-heavy dialogue scenes.  Gibson has a few choice moments (although they are mostly weighted towards the beginning) and really seems to be relishing biting into the scenery. 

Really, this is a tailormade vehicle for Grillo.  He gives one of his best performances.  He’s essentially a video game character and he certainly has the look for it.  (I mean that in the best possible way.)  However, he’s good enough to suggest the character is deeper than what’s on the surface when it suits, and has enough fun with the role to revel in the loonier aspects of what the script requires him to sometimes do. 

The premise is little more than an “elevator pitch”.  However, Carnahan keeps the momentum going at such a breakneck pace that it hardly matters.  Sure, the characters may be stuck in a time loop, but the movie most assuredly doesn’t chase its tail.   

COMING 2 AMERICA (2021) ****

The original Coming to America was a pleasant but inessential fish out of water comedy.  I’m usually wary of belated sequels (the movie pokes fun at them as well), but this one turned out far better than I ever expected.  Hiring the director of Dolemite is My Name, Craig Brewer was a smart decision.  In that film, he got the best out of Eddie Murphy, not to mention the ensemble cast.  Here, with a broader canvas, he is able to juggle a lot of subplots, thematic material, musical numbers, and still deliver something that feels fresh, energetic, and most of all, funny.

Murphy reprises his role as Prince Akeem, who is now King of the African nation of Zamunda.  He’s in desperate need of a male heir to unite his kingdom with a warring neighboring country led by the sly General Izzi (Wesley Snipes).  As luck would have it, Akeem learns he has a son in Queens, a product of a one-night stand he had while he was in America in the original movie.  Along with his trusty pal Semmi (Arsenio Hall), they return to America to find him.  Once Akeem’s son, Lavelle (Jermaine Fowler) learns of his heritage, he travels to Zamunda where, much to his father’s chagrin, he decides he’s going to do things his way. 

Despite the title, most of the action takes place in Zamunda and it’s brimming with vibrant costumes, sets, and energy, which gives the film its own identity from the original (while probably owing a debt of inspiration to Black Panther).  Many would lazily call it a flip-flop of the first film, but Coming 2 America’s theme is what makes it unique.  It’s about the importance of finding your own identity while simultaneously honoring the past and blazing your own path towards a bright future.  Just as the young prince is able to do all that, so does the movie.

The early scenes are the funniest.  There’s a great funeral sequence that features many great cameos and some awesome musical numbers.  Once Murphy and Hall (who practically look the same even if there is some CGI de-aging during the flashback scenes) go back to America, we get some great callbacks to the original.  Naturally, there’s another hilarious barbershop scene, which is the comedic highpoint.  (Never mind the fact that the old dudes in the shop haven’t aged a day in thirty-three years.)

When the action switches back to Zamunda for the second act, the story’s momentum shifts from the father to the son.  I initially thought the movie would start to peter out at this point, but Fowler’s performance was quite good, and his quest to find his own place in the world was unique and absorbing enough for me to be won over.  By the end, I was pleasantly surprised by how much I enjoyed seeing the baton being passed from father to son. 

In short, Coming 2 America is one of the best movies of the year.  It’s a heartfelt, funny, and sweet film.  I can’t wait to go back to Zamunda.  Hopefully, Murphy doesn’t make us wait another thirty-three years to do so.  

WILD HIPPIE ORGY (1967) **

Wild Hippie Orgy originally ran as a co-feature with Psychedelicsex Kicks.  It’s easy to see why as they are thematically similar (both involve hippies and orgies).  Not only that, but Psychedelicsex Kicks was short (less than an hour) and this one is even shorter (about a half-hour), so it made sense to run them as one ninety-minute attraction.  Even though this is only half as long as Psychedelicsex Kicks, it feels much longer thanks to the stagnant pacing, lackadaisical editing, and (mostly) disinterested performers.

People arrive for a party in a cramped apartment.  There is drinking, conversation, dancing, and music.  Some people are already naked when the party starts.  Others are in the midst of disrobing.  Eventually, more and more people get naked.  A dude starts playing the bongos, which leads to more dancing and jiggling.  Finally, a few people start making out and/or having sex.

Wild Hippie Orgy plays like an overlong stag loop.  There’s no plot, things just sort of happen, and you have to wait a long time before you get to see any action.  Although there is one sort of psychedelic sequence, I don’t remember them showing anyone actually getting high, so I’m not exactly sure what they were tripping out on.  Once the psychedelic sex action kicks into gear, the lovemaking scenes slowly become superimposed over each another while flashing lights go on and off.  Unfortunately, by showing the naughty bits in such a “trippy” fashion, it makes it hard to tell what the hell is going on.

The girls are slightly better looking than the ones found in Psychedelicsex Kicks, so that’s a plus.  Some of the music isn’t bad either.  However, it’s far from what I would call “Wild”.  (There have been Christian Mingle socials that were crazier than this.)  I’m not even sure if some of these folks could be considered “Hippies” now that I think about it. 

PSYCHEDELICSEX KICKS (1967) ** ½

A dirty hippie goes to Golden Gate Park (“This park has swings, and better yet—Swingers!”)  and does his “Pied Piper bit”.  By that, I mean he blows on his pan flute, mesmerizes a couple of babes, and has them follow him home.   He then gets them stoned and gives them LSD before they undress (VERY slowly) and make out.  Once the drugs REALLY kick in, they are joined by another gal who initiates a psychedelic body painting orgy.  Eventually, things start getting weird once a snake shows up looking for a good time.  (You know there’s always that one asshole who brings a snake to an orgy.) 

The hippie’s constant narration sounds like Rod Serling reading Timothy Leary, and while much of it is unnecessary, there are a few funny lines.  Halfway through, one of the women takes over the narrating duties as slowly, more and more psychedelic effects begin to be superimposed over the action.  Some of the effects are typical, like the kaleidoscopic lights, but some of the surreal imagery is surprisingly effective (like the scene where “the guru” crawls after one of his conquests in a room full of balloons). 

Psychedelicsex Kicks isn’t exactly what I would call “erotic”, (the participants don’t exactly look thrilled to be there, and they sometimes look directly into the camera), but it’s short (under an hour long), features a lot of nudity, and has plenty of sleazy atmosphere.  It also makes for a great ‘60s time capsule as it is brimming with outdated fashions, slang, and go-go dancing.  Although it is kind of slow to start, once it gets moving, there’s enough scenes of horny hippies jiggling their jugs to make it an OK way to kill fifty-one minutes.  (The body painting scene in particular, is a lot of fun.) 

Overall, Psychedelicsex Kicks probably won’t be much of a “turn-on”, but it’s entertaining enough to make sure you don’t “drop-out” before all is said and done.

AKA:  Psychedelic Sex Kicks.

COTTON CANDY (1978) **

Ron Howard directed this tame, harmless, innocuous, and forgettable TV movie shortly after making Grand Theft Auto for Roger Corman.  Howard’s co-star from American Graffiti, Charles Martin Smith, Terry the Toad himself, stars as a George, a high school senior who doesn’t make the football team.  He then sets out to join the town’s hottest rock n’ roll band, “Rapid Fire”, who reject and humiliate him.  Undeterred, George starts his own band, Cotton Candy, and almost immediately falls in love with his drummer (Leslie King, of Gas Pump Girls and Cheerleaders’ Wild Weekend fame).  Naturally, their bliss is shaken when she gets accepted into MIT, and it threatens to tear their relationship, and the band, apart.

Cotton Candy pretty much plays like an overlong After School Special.  Either that, or an unsold pilot.  There are moments that WANT to be semi-risqué (there’s a strip poker scene that is predictably cut short), but you have a feeling that Opie didn’t want to tarnish his squeaky-clean image, so it just winds up being watered-down.  (There are even silly variations on curse words like “flush you!” that just seem forced.)

Smith (who was also in The Buddy Holly Story, which came out the same year) is pretty good.  Howard’s brother, Clint (who co-wrote the screenplay with Ron) is goofy as usual as the band’s manager, Corky.  It was a family affair all around as Howard’s dad Rance also appears in a small role (as well as produced).  King has a likeable presence, and it’s a shame she didn’t make more movies because she really holds her own here.

Cotton Candy (the band) are kind of square.  Their songs are forgettable, and Howard’s staging of their performances is lackluster.  Fortunately, when Rapid Fire takes the stage, the film fitfully comes alive during their hilariously bad numbers.  The sequence where they perform the whitest version of “I Shot the Sheriff” you have ever seen, is a ripe slice of must-see shitty ‘70s Made for TV nonsense. The rest of the movie, not so much.

GROUP MARRIAGE (1973) **

Chris (Aimee Eccles) and Sander (Solomon Sturges) are a free-spirited couple who pick up Dennis (Jeff Pomerantz), a seemingly square parole officer hitchhiking.  Chris takes a shine to him and soon invites him for a romantic rendezvous.  Dennis surprises them with a bit of sexual freedom of his own as he asks his friend Jan (Victoria Vetri) to join their joint arrangement.  Before long, a handsome beach bum (Zack Taylor) and a sexy lawyer (Gator Bait’s Claudia Jennings) also join their ever-growing polyamorous relationship.  Things become increasingly complicated once Chris gets pregnant and the neighborhood, who doesn’t take kindly to their nontraditional lifestyle, causes a ruckus.

Directed by Stephanie (The Working Girls) Rothman, Group Marriage tries to be a low rent version of Bob and Carol and Ted and Alice.  However, the plot mostly feels like a series of set-ups to corny jokes complete with unfunny punchlines.  The other, racier scenes often play like filmed versions of the old comics you used to see in Playboy.  The silly sitcom scenarios and predictable plot twists would’ve been tolerable if the skin quotient was there, but there’s ultimately not enough nudity to make it worthwhile. Also, while the film has a progressive attitude towards polygamy, it’s filled with dated stereotypes, which may turn off some modern-day viewers.  

The women in the cast help propel it along, not only because they are all sexy, but because they also deliver fine performances.  It’s just a shame that Jennings, the loveliest one of the bunch, has the lamest storyline. She also unfortunately doesn’t show up till the movie’s halfway over.  

The theme song, “Darling Companion” is pretty great though.  It was written and sung by none other than The Lovin’ Spoonful’s John Sebastian, which seems like a good get for a low budget drive-in skin flick.  The song was later covered by Johnny and June Carter Cash on the Johnny Cash at San Quentin album, if you can believe it.