Tag Archives: Exploitation

1972 EXPLOITATION TRIPLE FEATURE: DRACULA A.D. 1972, VAMPIRE CIRCUS, AND THE THING WITH 2 HEADS

1972  is perhaps the most prolific year in the most prolific decade of horror and exploitation films. It’s also the year for what may be the quintessential midnight cult move: Pink Flamingos, now enshrined as one of the 366 weirdest movies of all time. Blood Freak, which is the first and only “Christian” movie to date about a turkey serial killer, is another Certified Weird 1972 exploitation picture. Competing with Freak fro sheer awfulness was Don Barton’s Zaat (AKA Blood Waters of Dr. Z), which went onto “MST3K” infamy.

In its Blu-ray presentation, ‘s maligned Baron Blood has proven better than its reputation, despite a miscast in the title role. Like most of Bava, it’s stylishly irresistible. The 1972 Amicus omnibuses Asylum and Tales from the Crypt both starred , and were critical and box office successes. Ben, Dr. Phibes Rise Again, and Beware The Blob were all inferior sequels—which is saying a lot in the case of an original monster who was just moving silly putty. tackled the two big undead kahunas (with plenty of added sex) in The Erotic Experiences of Frankenstein and Daughter of Dracula. The Count rose yet again in Count Dracula’s Great Love, starring Paul Naschy. Future King of Cartoons (William Marshall) and director William Crain fused horror with blacksploitation for the first time in Blacula. It was a enough of a box office success to warrant  (superior) sequel in 1973. Unfathomably busy, Cushing and teamed up for ‘ underrated Creeping Flesh, Gene Martin’s cult favorite Horror Express, Peter Sasdy’s misfire Nothing but the Night, and the Hammer opus Dracula AD 1972 (directed by Alan Gibson).

Widely scorned, Dracula A.D. 1972 reunited Cushing’s Van Helsing with Lee’s bloodsucker in a modern setting, even though Dracula himself is confined to a Gothic church. It’s one of ‘s favorite movies. The contemporaneous critical backlash was mostly justified. Lee, probably the best cinematic Count, is reduced to second vampire-in-waiting. But as an artifact of its time, Dracula A.D. 1972 is not entirely without virtue, enough to explain Burton’s affection.

It opens in the previous century with Dracula and Van Helsing locked in mortal combat aboard a stagecoach, which crashes, causing the vampire to be impaled on the spokes of the coach’s wheel. As Dracula attempts to free himself, a battered and bleeding Van Helsing interferes, driving the spokes in deep enough to snuff out the life of his nemesis before dying himself. Witnessing the scene is a Dracula disciple who, of course, leaves with the vampire’s relics (handy for later resurrection). Despite the preposterous   accidental impalement, it’s a red-blooded, Gothic prologue that is followed by 1972’s swinging hippies.

Still from Dracula 1972 ADInitially sounding more like old fuddy-duddy Edward Van Sloan than Peter Cushing, Lorimer Van Helsing, grandson of Abraham, lectures his granddaughter Jessica (Hammer babe Stephanie Beacham) all about the wrong crowd and premarital sex. Pooh-poohing gramps, Jessica heads straight for the wrong crowd, Continue reading 1972 EXPLOITATION TRIPLE FEATURE: DRACULA A.D. 1972, VAMPIRE CIRCUS, AND THE THING WITH 2 HEADS

1971 EXPLOITATION TRIPLE FEATURE: TOMBS OF THE BLIND DEAD, WEREWOLVES ON WHEELS, AND WILLARD

1971 began with one of the most stylish horror films ever produced: The Abominable Dr. Phibes, a near-perfect collaboration between director and star produced a “masterpiece” of a very different kind with Dracula vs.Frankenstein, featuring the most (unintentionally) frightening performance of poor .’s career and the most hilariously inept portrayal ever of the Transylvanian vampire count (by “Zandor Vorkov”). Director Eddie Romero and “star” John Ashley teamed up for both Beast of Blood and Beast of the Yellow Night, which may be as unimaginative as they sound, but would make a worthwhile, howling triple feature with Adamson’s opus.

 was still gifting the world lesbian vampires with Caged Virgins (AKA Requiem for a Vampire) and The Shiver of the Vampires. Following suit were Stephanie Rothman with The Velvet Vampire, Ray Austin’s The Virgin Witch (starring twins Anne and Vicki Michelle), and with the bluntly titled Vampyros Lesbos and She Killed In Ecstasy, both starring the tragically short-lived cult figure . Not to be outdone, Hammer Studios contributed to the thriving same-sex bloodsucker subgenre with as a “Calgon Take Me Away” Countess Dracula (directed by Peter Sasdy), and with Lust for a Vampire (directed by Jimmy Sangster and starring Yutte Stensgaard). Neither of these were as explicit as they promised and probably should have been. Considerably better was another Hammer opus with identical siblings (Playboy playmates Mary and Madeleine Collinson): Twins of Evil, stylishly directed by John Hough and featuring a superb authoritarian performance by . However, it was ‘s Belgian Daughters of Darkness, starring and Danielle Ouimet, that made the biggest impact, becoming an international cult hit that is still referenced today. Of course, hetero bloodsuckers were not be left out and had their moment under the sequel moon in The Return of Count Yorga (directed by Bob Kelljan and starring Robert Quarry), which failed to repeat its predecessor’s success. Night of Dark Shadows by Dan Curtis improved on the previous years effort, despite an absent Jonathan Frid. Oddly, it was the Japanese who were perhaps most suited to Transylvanian folklore in 1971 with Lake of Dracula (directed by Michio Yamamoto).

Still from Tombs of the Blind Dead (1971)Amando de Osario charted unexpected territory with his zombie monks in Tombs of the Blind Dead, the first of his Blind Dead series (he had previously made the unrelated vampire opus, Fangs Of The Living Dead, in 1968). Although short on actual plot, it’s arguably Osorio’s finest moment. Scenes of the blackened, dead Templars rising from their graves (resurrected by Satan) and mounting horses (juxtaposed to Anton Abril’s highly effective, eerily faint score) to ride into the slaughter (filmed in slow motion) are spine tingling.

These are zombies of a different sort who raise their swords to slash at victims, before draining their blood. Scenes of the Spanish Inquisition, failed crusades, misogynistic torture of women, and lesbianism are surprisingly low-key, and often poetically surreal. Although Osorio’s influences (including Mario Bava’s color palette) are in full evidence, his is a strongly original film, almost painterly. Decaying abbeys and a potential victim standing motionless to avoid the army of blind marauders evoke a sense of dread. Even a massacre on a train is artfully restrained.

Michael Winner presented a literal-minded prequel to Harry James’ Continue reading 1971 EXPLOITATION TRIPLE FEATURE: TOMBS OF THE BLIND DEAD, WEREWOLVES ON WHEELS, AND WILLARD

1970 EXPLOITATION TRIPLE FEATURE: EQUINOX, THE VAMPIRE LOVERS, AND TROG

The 1970s were probably the most prolific decade in production of exploitation and horror films. The decade started off with Gordon Hessler’s mediocre Cry of the Banshee, co-starring and Diana Rigg. Daniel Haller’s adaptation of The Dunwich Horror was also surprisingly uneven, despite its well-received source material. Hammer Studios was still in full throttle, although its output increasingly met with mixed reviews and decreasing box office. Peter Sasdy’s Taste the Blood of Dracula was considered by many to be the last decent Hammer take on the infamous Count. Roy Ward Baker’s The Scars of Dracula was universally panned by critics. Scars‘ star then made a stab at the character for a different studio in ‘s[1] Count Dracula, which co-starred and Herbert Lom. Noticeably shot on a lower budget, Franco’s Dracula was deemed a faithful adaptation of the novel, but a noble misfire. Franco and Lee also teamed up for The Bloody Judge, which was a second-rate rehash of ‘ final film, Witchfinder General.

Michael Armstrong’s Mark of the Devil, starring Herbert Lom and , was another offshoot of the late Mr. Reeves’ swan song, with the addition of graphic torture, and it’s reputation as one of the most revolting grindhouse films ever made still holds strong nearly a half century later. Piers Haggard’s Blood on Satan’s Claw was the third Witchfinder General copycat in one year. It disappeared quickly (rightfully so). At the opposite end of the spectrum is the camp-fest fundamentalist Christian exploitation Cross and the Switchblade, which aptly cast the whitest white man who ever lived—Pat Boone—as Hoosier Pentecostal preacher David Wilkerson, going to the ghetto to convert gang member Nicky Cruz (Erik Estrada). It was such a hit with the fundie circuit that they even produced a cross-promotional comic book that was littered throughout church pews to take home and keep “if you got saved.”

The primary influence on Sam Raimi ‘s The Evil Dead (1981), the microbudget horror Equinox has a substantial cult following, enough to receive the Criterion Collection treatment. Equinox is a holy grail for lovers of  backyard filmmaking, and is almost as famous for its making of narrative. The story began with three teenagers, David Allen, Dennis Muren, and Mark McGee, who got together and made a monster movie. Discovering the likes of Willis O’Brien and Ray Harryhausen through the pages of Forrest J. Ackerman’s influential “Famous Monsters Of Filmland,” aspiring stop-animation animator Allen placed a personal ad in a 1962 issue of FM, inviting lovers of King Kong to correspond. Muren, whose monster memorabilia collection had been featured in an earlier article of the magazine, was the first to respond, followed by McGee. Shortly after that initial introduction, the three were meeting regularly for screenings and discussions of creature features and experimenting with 16 MM shorts. In 1965 Muren received money from his grandfather to make Equinox.

Still from Equinox (1970)Influenced primarily by ’s Curse of the Demon (1957), the film also pays homage to Don Siegel’s Invasion of the Body Snatchers (1956), Robert Gordon’s It Came from Beneath the Sea (1955), and Don Chaffey’s Jason and the Argonauts (1963). The cast includes Muren’s grandfather as a hermit Continue reading 1970 EXPLOITATION TRIPLE FEATURE: EQUINOX, THE VAMPIRE LOVERS, AND TROG

  1. Having directed nearly two hundred films before his death in 2013, Franco is one of the most prolific directors in cinema history. He’s also unique in—by his own admission—never having made a good film. []

1969 EXPLOITATION TRIPLE FEATURE: SCREAM AND SCREAM AGAIN, IT’S ALIVE, AND SATAN’S SADISTS

After the success of 1968’s The Conqueror Worm (AKA The Witchfinder General, with a deliciously evil ), director was assigned dual films: The Oblong Box and Scream and Scream Again. Unfortunately, shortly after pre-production work on The Oblong Box , Reeves died at the age of 25 from an accidental, lethal mix of alcohol and barbiturates, putting an end to a promising career. The film must have seemed cursed, because scripter Lawrence Huntington also died. Gordon Hessler replaced Reeves and Christopher Wicking replaced Huntington. Given Reeves’ high critical standing, Hessler was immediately criticized as being unable to fill the late director’s shoes. While there’s little doubt that Reeves’  idiosyncratic style would be impossible to imitate, he was unenthusiastic about the assignment to begin with. Thus, whether he could have made a better film is pure speculation. Despite starring Vincent Price and The Oblong Box can hardly compete with ‘s AIP Poe series, but it does have an ambitious, somber, gothic style of its own and is well photographed by John Coquillon.

Of more interest is a genuine oddity in the AIP canon: Scream and Scream Again, which also starred both Price and Lee along with (in what amounts to a cameo) and the same writing/directing team of Wicking and Hessler. Released in the U.K in 1969 and stateside 1970, Scream and Scream Again is one of the queerest horror science fiction extravaganzas committed to celluloid, which may explain why proclaimed it among his favorite films. Wicking’s screenplay is an ambitiously brazen adaptation of Peter Saxon’s “The Disoriented Man.” Given that Hessler is a minor cult filmmaker, Scream and Scream Again is, likewise, a film with a minor cult reputation, one that deserves a broader audience. Although imperfect, it is creepy and perverse enough to be of interest to weird movie lovers who crave a challenge.

Still fromScream and Scream Again (1969)The fragmented plot (one of several) opens with a jogger in the park, keeling over from what appears to be a heart attack. He wakes up in a hospital bed to a nurse who won’t speak to him. After she leaves, the jogger finds that his leg has been amputated. He screams.

The corpse of a rape victim is discovered with two puncture wounds on her wrist.

In an unnamed European totalitarian state, a humanoid Gestapo soldier (a lurid Marshall Jones) murders his superior by squeezing his shoulder.

The jogger wakes up to find his second leg amputated. He screams again.

Inspector Bellever (Alfred Marks) of Scotland Yard sets up a sting to Continue reading 1969 EXPLOITATION TRIPLE FEATURE: SCREAM AND SCREAM AGAIN, IT’S ALIVE, AND SATAN’S SADISTS

1964 EXLPOITATION TRIPLE FEATURE: THE INCREDIBLY STRANGE CREATURES WHO STOPPED LIVING AND BECAME MIXED-UP ZOMBIES, 2000 MANIACS, AND THE CREEPING TERROR (WITH BONUS: STRAIGHT-JACKET )

1964 was nearly as productive a year for the cinematic horror genre as 1963 was. Coming from the barrel bottom was Jerry Warren’s improvement on 1960’s La Casa del Terror, Face of the Screaming Werewolf, starring (sort of) and Yerye Beirut (who later co-starred with in a string of Mexican films co-produced by ). Chaney was probably less embarrassed (although doubtfully any less sober) working for Hammer director Don Sharp in the relatively well-received Witchcraft. Fellow Hammer veterans Freddie Francis and collaborated on the actor’s only non- directed Frankenstein opus, The Evil of Frankenstein, which initially received poor reviews, but has since been reassessed in a more positive light (in some quarters). Without a star actor (or competent director) Hammer’s The Curse of the Mummy’s Tomb (dirMichael Carreras ) was as limp as its title character. However, the dynamic trio of Cushing, , and did their best work (despite a silly-looking title creature), as usual, for Fisher in The Gorgon. Lee didn’t fair as winningly in the Warren Kiefer/Luciano Ricci co-directed Castle of the Living Dead, despite having closing scenes directed by an uncredited . Lee downsized from a castle to a mere crypt in Crypt of the Vampire (directed by Camilio Mastrocinque), which was as pedestrian as its title, despite undeniable atmosphere. The icon of Italian Gothic cinema, (the last-living of the classic horror stars), was also at home in a castle setting in Castle of Blood (co-directed by and Sergio Corbucci) and teamed again with Magheriti for The Long Hair of Death (which we will be covering soon in a Steele triple feature). The final two Poe films from and , Masque of the Red Death and Tomb of Ligeia, were among their best received, although the latter features yet another ingratiatingly whiny, flowery performance from its star. Rounding out a busy year, Price starred in The Last Man on Earth (co-directed by Ubaldo Ramona and Sidney Salkow), the first of several big screen adaptations of Richard Matheson’s “I am Legend”—none of which, astoundingly, could get it right. Predictably, Blood and Black Lace became yet another cult film from , but even he could not compete with the legendary Kwaidan (directed by Masaki Kobayashi), which puts most Western horror anthologies to shame. Down several notches from those is the work of Del Tenney, who has an inexplicable cult reputation—but as 1964’s The Horrors of Party Beach proves, that status is undeserved for such a dullard (1971’s I Eat Your Skin would further confirm).

Still from The Incredibly Strange Creatures Who Stopped Living and Became Mixed-up Zombies (1964)Spiraling downward, ever downward, we come to ‘s biggest budgeted film, The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies, which is more famous for its title than for the film Continue reading 1964 EXLPOITATION TRIPLE FEATURE: THE INCREDIBLY STRANGE CREATURES WHO STOPPED LIVING AND BECAME MIXED-UP ZOMBIES, 2000 MANIACS, AND THE CREEPING TERROR (WITH BONUS: STRAIGHT-JACKET )

1963 EXLPOITATION TRIPLE FEATURE: THE SADIST, BLOOD FEAST, & THE WHIP AND THE BODY

1963 was such a productive year for horror/exploitation that even was involved in a better than normal effort. The Sadist is the film Hall Jr. will most likely be remembered for (if he is remembered at all). Here, Junior pivots away from the low-rent Elvis Presley persona that daddy  was crafting for him to instead play a cartoon psychopath inspired by the real-life sadist Charles Starkweather (in the first of several films loosely based on Starkweather’s infamous 1958 killing spree—to make sure we get the reference, writer/director James Landis names the antagonist “Charlie”). The Sadist is easily the best film of both this actor and this director, which is not to say that it’s great cinema. Surprisingly, the best thing about it is Hall’s energetic performance. Away from daddy, Junior bounces through the entire film with a near-perfect trash performance.

Still from The Sadist (1963)While Landis wasn’t quite the hack that was, he still hampers the production with rusty pacing and ill-conceived narration (supplied by Hall, Sr). The headlines of murderous mayhem proved to be the inspiration for the Landis/Hall Jr. team. They worked together in two additional features: 1964’s The Nasty Rabbit, about Russian spies smuggling killer bunnies into the U.S.A., and 1965’s Deadwood 76, which features Junior as a singing Billy the Kid. Both were written by Daddy Hall and again reveal a lead who clearly wants to be elsewhere. Junior seemed to reserve all of his enthusiasm and hammy tricks for The Sadist. He giggles. He slaughters. Once The Sadist locates Hall as its steam, it transforms into a model of creaky relentlessness. The small cast is exceptional, with Helen Hovey  memorable as Doris, who is pushed to the verge of victimization and fights back. Mother Nature serves Charlie his sentence.

At one end of the 1963 genre pendulum were productions from class directors, such as (The Birds) and (The Haunting). got his feet wet directing Dementia 13 for , and second-tier director Don Sharp helmed one of Hammer’s better non- opuses, Kiss of the Vampire. At the opposite end of the taste and quality spectrum was Blood Feast. Alternately (and arguably) dubbed the first splatter film and the first notable example of torture porn, Blood Feast catapulted horror into the art form for America’s white trash masses. Not surprisingly, is among the filmmakers who Continue reading 1963 EXLPOITATION TRIPLE FEATURE: THE SADIST, BLOOD FEAST, & THE WHIP AND THE BODY

1962 EXLPOITATION TRIPLE FEATURE: MONDO CANE, EEGAH, AND WILD GUITAR

“All the scenes you will see in this film are true and are taken only from life. If often they are shocking, it is only because there are many shocking things in this world.”

Thus, Mondo Cane not only introduced America to the mondo name and genre, it also was the first shockumentary to play in cinemas internationally, unsettling both critics and audiences who had never seen anything like it. It became a grandfather to countless pseudo-sequels and imitations, including the infamous Faces of Death, and for that reason alone Mondo Cane is of historical importance to bizarre cinema aficionados. Although dated and outdone by its successors, Mondo Cane retains its power to provoke—and that is the sole purpose of this film, which further renders it an original in every way.

Still from Mondo Cane (1962)Although Mondo Cane has been accused of having a xenophobic perspective, its hard to make that point when the filmmakers (Paolo Cavara, , and ) consistently contrast primitive and western customs through condescending narration. It’s really a series of mostly unrelated film clips. Food is the theme most explored: from Asians eating dog, to rattle snake entrails in the marketplace, to pigs beaten to death in New Guinea, to civilized diners devouring ants in a posh restaurant.

A scene of a sea turtle slowly dying on a radioactive beach is beautifully harrowing and juxtaposed against the extended, revolting spectacle of a bull goring a man to death. While recommending the film to anyone with suicidal tendencies probably would not be a good idea, Mondo Cane is not without some humor, seen in its pet cemetery vignette, and in the contrast of savage native women being fattened to become the bride of a chieftain with Western women rolling their fat away on the floor. Very well-shot and surprisingly endowed with a sterling score (by Nino Oliviero), Mondo Cane is cinema at its most bi-polar and nihilistic. How nihilistic is it? It’s the only film I know of that will inspire the viewer to pity a man-eating shark.

Eegah often makes top ten worst movies of all time lists for a very good reason: it is one of the most wretched movies imaginable. This is another sadomasochistic endurance test from the Arch Hall Sr./ team, which justifiably landed a showing on . That exposure has made Eegah Hall’s most famous film, such as it is. This low budget effort was clearly trying to ride the teen monster fad that began with I Was a Teenage Werewolf (1957) and, impossible as it may seem, Eegah was actually something of a hit for its producers.

Hall Jr mantles his typical pouty, coiffed protagonist teen persona as Continue reading 1962 EXLPOITATION TRIPLE FEATURE: MONDO CANE, EEGAH, AND WILD GUITAR

1961 EXLPOITATION TRIPLE FEATURE: THE CHOPPERS, HERCULES IN THE HAUNTED WORLD, AND WEREWOLF IN A GIRLS’ DORMITORY

is practically American cinema’s masochistic patron saint of Juvenile Delinquent exploitation garbage. Guided by daddy Arch Sr. (who penned the script and produced) The Choppers was Junior’s first film in a mercifully brief career (he retired in 1965 to become a musician and aviator—daddy was ex-Air Force).

To most contemporary viewers, Hall, Jr. is possibly best known for his second film, Eegah (1962), after it was featured on Mystery Science Theater 3000—although to the cult crowd, his crowning achievement is 1963’s The Sadist. Both of these will be covered here, along with Wild Guitar (1962), in upcoming exploitation collections from their respective years.

In Leigh Jason’s The Choppers, Hall is cast as Jack “Cruiser Bryan, the greasy-haired rockabilly leader of a gang of car-part thievin’ JDs. After stripping down cars, the Choppers take their loot to junkyard dog Moose (Z-movie veteran Bruno VeSota, familiar from Attack of the Giant Leeches, Wasp Woman and Bucket of Blood), who gives them ten cents on every buck!

Still from The Choppers (1961)Working out of their chicken coop truck, the Choppers also siphon gas out of unsuspecting vehicles, with Cruiser taking the role of the lookout guy who taps the steering wheel to the radio music he loves (which, the credits reveal, is Hall’s own song). For most of the film, the Choppers remain one step ahead of bland coppers and insurance suits. Later, we actually get to see Hall strum his guitar and sing “Monkeys in my hat band, I can do a handstand.” The jaw-dropping scene alone makes the entire film worthwhile. With rhyming genius like that, we can totally understand how Cruiser is a chick magnet who attracts a 1959 Playboy centerfold!

The yawn-inducing plot requires a comeuppance, which seems a tad harsh for the Choppers stealing car parts, but the producers probably realized a minute or so of something resembling excitement was necessary.

Mario Bava‘s Hercules In The Haunted World stars with apocalyptic hair. Bava and Lee, together with a bulging pair of male mammary glands in a loincloth (Reg Park), overcome laughably bad dialogue, near-fatal comic relief, echo boxes informing us that “these are gods!”, a prosaic plot, shrill dubbing, a green monster who must have been an ancestor of Sigmund the Sea Monster, and a bulimic budget to produce one of the most psychedelic sword and sandal fantasy flicks of the early 60s.

Still from Hercules in the Haunted World (1961)With painted sets and sky, diaphanous tints, swirling ink vapors, and transcendent camerawork, Bava’s cardboard Hades is the quintessence of orgasmic psychedelia masquerading as Continue reading 1961 EXLPOITATION TRIPLE FEATURE: THE CHOPPERS, HERCULES IN THE HAUNTED WORLD, AND WEREWOLF IN A GIRLS’ DORMITORY

1960 EXLPOITATION TRIPLE FEATURE: BEAT GIRL, HIGH SCHOOL CEASAR & DATE BAIT (1960)

America in the 1960s and 1970s hardly had exclusive rights to juvenile delinquent exploitation trash films. With Beat Girl (1960), the U.K. delivered the goods in one of the sleaziest examples of the genre. Having a cast including Christopher Lee and certainly helps, as does a John Barry score (his first).

“This could be your daughter,” screamed the ads; rather hypocritically, one might add, since the movie’s ambition is to titillate and to exploit its Beat Girl Jennifer (Gillian Hills, who would show up later in Blow-up and A Clockwork Orange). Or, perhaps the ad was meant for Donald “If she wasn’t my daughter, perhaps I might…” Trump.

Ignored by constipated architect daddy Paul (David Farrar) and hating his twenty-something French floozy wife Nicole (Noelle Adam), Beat Girl decides to get revenge by going to the local coffee shop to cruise for beatnik-styled man meat. She sucks on a popsicle, dances to jazz music (!), smokes cigarettes, and gets drawn into the dark side of caffeinated pheromones by Daddy-O J.D. (a young Reed, in full ham mode) and a strip club manager with sordid eyebrows ( Lee, of course).

Still from Beat Girl (1960)We learn that our favorite Hammer Horror Count, being the perpetual predator that he is, had previously sampled Nicole, turned her into a stripper, and now plans to repeat his pattern of debauchery on poor Beat Girl. Chris’ Dracula comparatively seems like a misunderstood, chaste monk.

Beat Girl is dank and grimy enough to have originally earned an X certification. Predictably, the family melodrama and obligatory reformation scene are secondary to Hills and Adam strutting their stuff and shaking their go-go assets. Although tame today, it’s still an entertaining hoot, stylishly directed by veteran Edmond T. Greville.

As close to a “star” as the drive-in circuit had, John Ashley shows suitable angst as Matt Stevens, the High School Caesar, which means (as it should) that he’s the bad guy. Helpful hint for next time you’re watching Bill Shakespeare’s “Julius Caesar”: Brutus and Cassius are the protagonists. Director O’ Dale Ireland gets it right. Channeling the old Bard himself, his High School Caesar is a bit of a soap opera: it’s more about rise-to-power than fast cars, fisticuffs, or shootouts (although this being trash cinema, there are, of course ingredients of all the above).

Still from High School Caesar (1960)Unlike most of cinema’s juvenile delinquents, Matt comes from a well-to-do family, albeit a dysfunctional one that paves the path for some spoiled rich kid thuggery. (No, it’s not about Trump). High School Caesar rules the student body through fear, intimidation, and demonization of every person and demographic that he imagines his enemy. (No, it’s not about Trump).

After a rigged class election and plenty of strong-arming, things begin to go south as we head to Matt’s comeuppance. Ashley, giving a suave performance, makes it work, as well in his own tacky way as Paul Muni’s Tony Camonte (AKA “Scarface”).

Still from Date Bait (1960)If there wasn’t enough premarital sex and drugs in Caesar, Ireland more than makes up for it in his Date Bait, which could just as easily been titled Date Rape. This one’s the epitome of JD flicks, opening with the rock-n-roll lyrics “she’s my date bait baby, and I don’t mean maybe.” When the local dopehead Danny (Gary Clarke) gets outta rehab and hooks up with date bait Sue (Marlo Ryan), you know that switchblade-wielding beatniks, drag racing, testosterone-overdosed males clashing over breasts (squeezed into tight white sweaters), and run-ins with the law are not far behind. Of these three features, only Date Bait keeps intact all the trash genre stereotypes, which unsurprisingly means it was also the most successful of the trio on the drive-in circuit.

It’s not as well acted as Caesar (Sue’s parents, reading their lines, never rise above lethargy, even when lecturing her about her white trash boyfriend), and (per the norm) all the teens are played by twenty-somethings (it shows). On a pure entertainment level it’s probably more accessible to those who prefer their JD diet to be campy and cheap.

In the next week’s triple feature, we’ll zoom ahead a full year to… choppers, psychos, and damaged goods.

Bring your own pizza.

CAPSULE: CONDEMNED (2015)

DIRECTED BY: Eli Morgan Gesner

FEATURING: Dylan Penn, Ronen Rubinstein, Johnny Messner, Lydia Hearst, Honor Titus, Jordan Gelber

PLOT: A rich girl runs away to live with her boyfriend in the condemned building he and his bandmate are squatting in; they are accidentally locked in as a virus that turns the residents into pus-faced killers spreads.

Still from Condemned (2015)

WHY IT WON’T MAKE THE LIST: More gross than weird, Condemned plays like a less-insane Street Trash by way of a less-intense [REC].

COMMENTS: Condemned is at its best during the half-hour long setup when it takes us on a tour of the human refuse that inhabit its filthy set: a pair of Nazi bodybuilders in an S&M relationship, a Chinese/Russian drug chemist who peddles his wares packaged in fortune cookies, a Haisidic pimp and his trans hooker, and various other sleazoids. In contrast, there are very few thrills in the by-the-numbers third act chase/massacre or in the anticlimactic finale. First time director Eli Morgan Gesner shows some visual flair—the condemned building is appropriately cluttered and littered with sometimes amusing graffiti (“paranoiac critical”), the rusty drainpipe cam is an idea that works, and the makeup is good for the budget. There are a few imaginative hallucination scenes: one with a flickering gravure idol, and another where a comic book comes to life as the text bubbles grow increasingly disturbing. This style is an important asset, because the script is—let’s face it—just plain bad. Just one example: why is there electricity and running water in a condemned building? (Silly me, I might not have noticed the conundrum, but the screenplay actually brings the issue up without actually explaining how it’s accomplished). It goes without saying that they don’t bother to explain how the virus arises, or why everyone doesn’t just flee out the first floor windows when a contrivance locks them in the building. Absurdity can be a plus, but it either needs to be wielded purposefully, or arise naturally from a rare incompetence. Here, incoherence springs from laziness.

One of the meager draws is debuting starlet Dylan Penn (daughter of and Robin Wright), who fares about as competently as you would expect. She has scream queen looks—and maybe a scream queen’s taste in projects, too. To her credit, you can’t blame her for abusing mommy and daddy’s connections to land a big Hollywood role she’s unqualified for. She’s legitimately starting out in the gutter.

Those addicted to wallowing in cinemas sewers may want to check Condemned out. Frankly, it’s seldom boring, although it also adds very little to its -esque boilerplate.

WHAT THE CRITICS SAY:

“The sort of Z-grade oddity Troma used to churn out for a faithful audience, the all-too-aptly-titled ‘Condemned’ won’t find the cult following it desperately craves in today’s crowded marketplace.”–Geoff Berkshire, Variety (contemporaneous)