Tag Archives: B-Movie

CAPSULE: THE MASK (1961)

366 Weird Movies may earn commissions from purchases made through product links.

AKA Eyes of Hell; Face of Fire

DIRECTED BY: Julian Roffman

FEATURING: Paul Stevens, Claudette Nevins, Bill Walker, Martin Lavut

PLOT: A South American mask causes its wearers to have 3D hallucinations when they wear it, and then to strangle women afterwards.

Still from The Mask (1961)

COMMENTS: The Mask is short, weird, good movie covered up by a shoddy B-movie. The premise is simple: a bunch of Canadians wanted to rake a bundle of Canadian dollars by making a 3-D horror film, but the 3-D process itself was expensive, so they didn’t want to shell out cash to make the entire film pop. Therefore, we get three short (four to five minute) scenes set in the third dimension, with a flat, lame wraparound story about a cursed mask that causes its wearer to hallucinate. Whenever the 3-D segments are about to begin, a voice commands the mask’s victim (and the audience) to “put the mask on now!,” and the stereoscopic horror show begins.

Fortunately, the brief hallucination sequences are memorably bizarre and surreal—proto-psychedelic, truth be told. The mosaic Aztec mask appears floating in the air, and turns into a skull with two eyeballs popping out. Later, the eyeballs melt away and snakes crawl from the empty sockets, coming straight at the viewer. A zombie walks through a haunted forest. Hooded and cowled figures flank an altar over which the now-giant mask floats. Pillars spout claws. Charon takes us on a boat ride. The mask shoots fireballs. This dialogue-free stream-of-archetypes is accompanied by one of those noisy period horror/sci-fi scores, full of futury noises, shrieks, and heavy reverb. These scenes are straight-up coolness.

The problem comes with the majority of the movie, a formulaic horror scenario where nothing makes much sense (in a thoughtless way, not a surrealist way). The cursed mask is passed from a young archeologist to his psychiatrist. A contrived chase scene where the psychiatrist’s fiancee wrests the mask away from him and runs off with it, get into a cab, tip the cabbie enough so that he takes the forbidden artifact and hides it in the Natural History museum for her, only for the psychiatrist to walk in and find it in an office almost immediately, burns up about five minutes of screen time. The mask itself doesn’t seem to have given much thought to its end game: it possesses scientists, one at a time, makes them hallucinate and strangle, sure, but what’s it all leading to, really? There has to be more an evil entity could do with its incomparable supernatural powers than gaslight the occasional idiot. There’s a perfunctory attempt to portray the mask an allegory for drug addiction, but the story’s still a yawner.

The soapy acting is only slightly better than the script: the first victim is a poor excuse for a hand-wringing  , the lead cop is solicitous and ineffective, the psychiatrist breathlessly recites silly lines like “I must experience the greatest act of a human mind: to take another life,” and the fiancee leaves no impression whatsoever.

It’s not that the narrative section doesn’t show some directorial talent; the camera swings the angle where a trembling sapling blocks our view of a too-gruesome-for-the-day strangling. In a similar vein, the camera cuts away from a suicide to focus on a nodding  bobblehead. Touches like these imply that Roffman’s talents lay entirely with visual storytelling; he doesn’t have much of a way with actors, dialogue, pacing, or the other elements in a filmmaker’s toolkit. Or, maybe, Roffman (whose only other feature credit is the unremarkable juvenile delinquent B-movie The Bloody Brood) really was a complete hack, and the credit for the movie’s successes should go the art department and to one Slavko Vorkapich, who is credited with “script for the dream sequences.”

This unevenness—boring, senseless exposition wrapped around three relatively brilliant experimental shorts—puts The Mask in an odd category of movies that aren’t all that good, but which you should hunt down anyway. It’s a bucket list movie, but it’s at the bottom of the bucket.

The cardboard red-blue glasses that come with the Kino Blu-ray or DVD worked a treat. The disc even provide a sample image for you to calibrate them. The DVD also includes an audio commentary, twenty minute documentary on Roffman, and a twenty minute 3-D introduction to the film. The Blu-ray includes all the above plus the 2015 3-D animated short “One Night in Hell.”

WHAT THE CRITICS SAY:

“…an exercise in strangeness, but only in spurts… Surreal horror meets television procedural in the mediocre feature, which carries an abundance of eeriness, encountered through the display of some truly unsettling visuals.”–Brian Orndorf, Blu-ray.com (Blu-ray)

(This movie was nominated for review by “Nick,” who elaborated that it “incorporates really surreal nightmarish visions throughout the entire film when the ‘mask’ is put on; it’s very strange, especially when the year it was released is put into perspective.” Suggest a weird movie of your own here.)

CAPSULE: DEAD END DRIVE-IN (1986)

366 Weird Movies may earn commissions from purchases made through product links.

DIRECTED BY: Brian Trenchard-Smith

FEATURING: Ned Manning, Natalie McCurry, Peter Whitford

PLOT: After two of his tires are jacked at a drive-in theatre, Jimmy finds himself trapped in the car lot with his girlfriend and hundreds of society’s rejects.

COMMENTS: It’s a glorious thing to randomly stumble into a movie and find out that it’s Australian. This pleasant surprise was augmented by an error on the part of the video streaming service, which claimed that Dead End Drive-In was from 2011. I was awed at how the filmmakers had captured everything about New Wave dystopian aesthetics a quarter century after the fact. When I saw the copyright date at the end of the credits I was somewhat disappointed, but also relieved. (“That makes a whole lot more sense,” my brain acknowledged.) Still and all, it Brian Trenchard-Smith’s “ozploitation” picture is a helluva lotta fun.

Trenchard-Smith was the brains behind Turkey Shoot, another “society collapses, and here’s a mess of violence” film, set in the post-apocalyptic year 1997. It hasn’t gotten as bad by the time Dead End Drive-In takes place, but it’s getting there. Jimmy (Ned Manning) is a wiry weenie of a guy who wishes his rough, tough brother would let him in on his lucrative towing business. Car parts are a hot commodity, so whenever a car gets smashed up, the first wrecker on the scene gets the bounty. Jimmy borrows his brother’s ’57 Chevy to take his sheila to the Star Drive-In for a movie and sex, during which the passenger-side wheels are swiped. Jimmy is informed by the fatherly drive-in operator that, no, he’s not going anywhere. Ever.

The misfit milieu found within this open-air prison (which doubles, nightly, as a drive-in theatre) is everything one could hope for from a mid-’80s assemblage of the best deadbeats society has on offer. Transvestites, drug users, vandals, welfare bums… I put these all in the same list not to cast any particular judgment or insinuate moral comparability, but because they all fit in the slot that button-down 80s traditionalists would consider “undesirable.” However, they’ve formed a raucous-but-welcoming society within this prison. There are occasional brawls, sure, but there’s a camaraderie, as evidenced by the freely intermingling coteries and the pick-up games of cricket.

Dead End Drive-In‘s camera work is worlds better than should be expected for a B-movie actioner. An early foreshadowing shot of a jogging Jimmy beautifully frames him behind a chainlink fence, the center demarcated by two perfectly placed tail-fin cars. The “Star Drive-In” first appears in a postcard-worthy frame. And a low shot of a police van approaching a cockerel on the lot captures the startled bird as it is flanked by the moving vehicle tires.

My one criticism of the film would be its strangely shoe-horned social commentary. When a convoy of Asian prisoners arrives at the drive-in, the locals immediately get riled up and speechify about the intruders. Obviously the director is trying to say something, but it’s both a little unclear (is all “white trash” racist?) and over-the-top (everyone but our hero immediately goes from zero to vicious in their racist mania). Regardless, Dead End Drive-In is a wonderful diversion filled with New Wave classics, gratifying camerawork, and Australians.

WHAT THE CRITICS SAY:

“…a doozy of an Ozploitation piece packaged with crazy characters, bizarre situations and solid action.”–Ian Jane, DVD Talk (Blu-ray)

(This movie was nominated for review by “dirty_score.”  Suggest a weird movie of your own here.)

CAPSULE: JIU JITSU (2020)

366 Weird Movies may earn commissions from purchases made through product links.

DIRECTED BY: Dmitri Logothetis

FEATURING: Alain Moussi, Nicolas Cage

PLOT: Jake awakens in a secret military facility in Burma with no recollection of his past, but with much recollection of jiu jitsu.

COMMENTS: Jiu Jitsu currently rates a mere three stars on IMDb. That’s two more stars than actually appear in it. Of course, when that single star is Nicolas Cage, it suggests one of two things. The first possibility is that it’s that once-in-five-or-ten-years alignment of the cosmos during which our boy Nic does something serious and taps into his capacity for gravitas. The second, much more possible, possibility is that Nic shows up, scatters his eccentric magic during his all-too-brief screen time, and raises a “crummy B-movie” to the level of a “crummy B-movie, but with Nicolas Cage!” Even someone as slow on the uptake as myself knew that this would be the latter, but I can say that Jiu Jitsu is not the worst 2020 release I’ve seen–by a long shot1.

As any practitioner of the art can tell you, “jiu jitsu” was taught to mankind about two millennia ago by a traveling space creature desiring to hone his fighting skills by popping through a portal in a Buddhist temple which opens up every six years as augured by a cyclical comet. If this alien—let’s call it “Brax”, as per the director/writer’s advisement—does not get to jiu-jitsu his way through nine fighters when he visits, he will lay waste to all life on the planet. Bad news for mankind? Hardly. We’ve got two things Brax isn’t counting on: square-jaw superman Jake (Alain Moussi) and the wiley warrior Wylie (Nicolas Cage). With these jiu jitseleros and their team of seven interchangeable associates, Brax gets more than it’s bargained for.

Your patience for—and, conceivably, enjoyment of—Jiu Jitsu will hinge on two things. First thing: your appetite for staged martial arts ticklings. Leading man Moussi made his career as a stuntman, so he’s got the chops. And all the side-characters may not be able to act, but they do seem comfortable with the thwack-thwack-thwack element. (Though you may not quite believe it when you see Cage’s character do a leaping flip.)

Which brings me to the other thing: what is your devotion to Nicolas Cage? I cannot recall any film that I was not happy to see him on-screen in (be it wielding a chromium axe, spraying his girlfriend’s daughter with a hose, or riffing off himself during one of those “one-in-ten-year” roles). Hearing his delivery of bad dialogue as the druggy(?), crazy(!) mentor never failed to rouse at least a chuckle—particularly when he drops the bon-mot, “Just remember the one thing you always have with jiu jitsu… leverage.”

And with that bomb, I’m dropping the mic.

WHAT THE CRITICS SAY:

“Jiu Jitsu feels like a deeply 2020 movie in that it is a barrage of WTF choices that hit without mercy until you either give in and go with the flow or just go mad. Or, hey, maybe both.”–Kristy Putchko, IGN (contemporaneous)

CAPSULE: SPOOKIES (1986)

366 Weird Movies may earn commissions from purchases made through product links.

Beware

DIRECTED BY: Genie Joseph, Thomas Doran, Brendan Faulkner

FEATURING: Felix Ward, Maria Pechukas, Alec Nemser, Dan Scott

PLOT: A mad warlock with his would-be bride in a coffin needs human blood to bring her back to life, so he sets up a mansion full of monsters to slaughter hapless travelers; the plan almost works.

Still from Spookies (1986)

COMMENTS: Bear with me this time, because Spookies takes some explaining. It’s well-established as a bad movie, and yet has a cult following. That cult, contrary to the norm, loves Spookies not in a so-bad-it’s-good ironic way, but for being a certain kind of niche “good.” The limited appeal of Spookies depends upon one’s appetite for carnival dark rides, AKA ghost trains, the horror-themed indoor track ride you find at every state fair and boardwalk. These rides are chock full of random scary props, rubber suit monsters, blaring air horns, blasts of compressed air, strobe lights, hairpin turns leading from mad scientist’s laboratories into mummy’s crypts and whatnot, and—attend carefully here—no logic. Here’s dark ride YouTuber Carpetbagger with a tour of one. The point of a dark ride is not to experience an enriching story. The point is to make your girlfriend scream and cling to you when the rubber bats swoosh overhead.

I have just perfectly described the experience of watching Spookies, right down to the “no logic” part. It is unrelentingly stupid. But if you’re the kind of person who never passes up a tour through those haunted house attractions that pop up around Halloween, this is your Citizen Kane. Come and get your monsters, we got all your monsters here! We got your vampire monsters, your zombie monsters, your eight-limbed spider-woman monsters, your possessed demon monsters, your green goblin monsters, a werecat monster, a skeleton monster, any monster you want! Grim Reaper fans, yes, you too, we got a Grim Reaper attack just a little after the 1:00 hour mark. It’s never a dull moment here at Mad Marvin’s Mansion o’ Monsters, come on over for Witching Hour when all our curses are half-price!

Just leave your brain at home. This movie was also allegedly produced in sections: either two half-finished movies nailed together or an unfinished movie that later got footage added, depending on who you ask. I’m going to try telling it in alleged filming order, not movie order, because this will help it make what little sense it can.

We have two carloads of teenagers, plus older people hanging out with them for some reason, who are driving around lost at night looking for someplace to party. They find the big spooky mansion located in a cemetery surrounded by foam headstones. “What a silly place for a house!” they titter as they stagger inside. Doors slam, lights go out, monsters attack for about an hour and fifteen minutes. This is all triggered when one member of the party finds a Ouija board in the house—she obviously missed her OSHA class on “Never Use A Ouija Board In An Abandoned Mansion In A Cemetery” day. This part of the movie was supposed to be a horror-comedy called Twisted Souls, but it was never finished.

In the tacked-on part, we have a “warlock” Kreon (Felix Ward) brooding in a secluded sanctum, far from the action, as he laments his late, pretty bride in a coffin, Isabelle (Maria Pechukas). To bring Isabelle back to life, he needs human sacrifices, so, it turns out, he is the one controlling the monsters. Earlier a young boy, Billy (Alec Nemser), ran afoul of one of Kreon’s monsters while running away from home because his parents forgot his 13th birthday. He got buried alive and resurrected as a vampire boy in a Little Red Riding Hood outfit, who plays candle-lit chess while Kreon discusses his plans in his Transylvanian Baron Von Hissing-Lisp accent. With all those people he slaughters to bring Isabelle back to life, is she going to be grateful? What do you want to bet? Ah, posthumous love, thy name be treachery!

So like I say, this is a stupid mess. Nobody can act, the scripts for both film fragments suck hot vacuum hose, and everyone on Team Carload of Teenagers is an idiot who obligingly stumbles right into the claws/fangs/tentacles of Team Monster. Team Monster, however, brings its A-game of practical effects at the cutting edge of 1986 technology (but sadly not a minute later). Although at one point even Team Monster has a setback, with a gang of sludge monsters (made of mud?) who fart when they walk. In a group, every step, “Prrt! Prt! Prrrrt! Prrt!” But for the most part, we keep to that dark ride pace, a fresh monster attack in a fresh room every ten minutes, whether you were ready for the next one or not. Which, once again I have to point out, makes it braindead, but never boring for a second.

As confounding as Spookies is, I still can’t recommend it specifically for our list.  We have haunted house movies, and when it comes to monster-per-minute low-budget horror, Turn in your Grave‘s weirdness-factor flush beats Spookies‘ bigger-budget straight. By sheer nose (snout) count, The Cabin in the Woods has more monsters. In fact, B-movie monster-mashes aren’t that uncommon; it’s just that Spookies did it in peak ’80s style, when rubber masks with pulsating goop were in their prime.

WHAT THE CRITICS SAY:

“[The later additions] made an already kooky movie even weirder, creating a disjointed plot no matter how hard they tried to shoehorn in the sorcerer. Yet, it also made it even more memorable at the same time, because it’s so nonsensical.”–Meagan Navarro, Bloody Disgusting

OTHER LINKS OF INTEREST:

The story behind making-of Spookies

Thorough YouTube review of Vinegar Syndrome’s 2020 Blu-ray

CAPSULE: BEYOND THE DOOR (1974)

366 Weird Movies may earn commissions from purchases made through product links.

Chi Sie?, AKA The Devil Within Her

DIRECTED BY: Ovidio G. Assonitis, Robert Barrett

FEATURING: Juliet Mills, Gabriele Lavia, Richard Johnson

PLOT: Jessica is having a baby; but maybe it’s going to be a little imp?

Still from Beyond the Door (1974)

PRE-COMMENTS DISCLAIMER: If I am to go on reviewing rip-offs of The Exorcist, I need to come out of the closet about something. This may be a shock, but here it goes: I HATE the original Exorcist! If you don’t hate it, that’s because you have “Exorcist syndrome,” which causes you to only remember the final twenty minutes of the movie.

I admit, those last twenty minutes are a good horror movie.

As I time it, the first 1:06:46 running time of the movie is a boring medical sitcom called “What’s the matter with Regan?” We wade through tests, doctors, therapists, prescriptions, brain scans, hypnotists, aromatherapists, dietitians, horoscopes, so on forever. Somebody finally utters the word “exorcist” at the 1:06:46 mark for the very first time, while we’ve been screaming at the screen “it’s demons, you idiots!” all along. It is frustrating and boring because we could see the poster for the movie when we walked in. It said “THE EXORCIST,” not “The Exorcist Who Wasn’t Needed Because It Turned out to Be ADHD.” Then, finally, the movie truly begins at the hour+ mark as we start setting up for the last twenty minutes, which again, are awesome.

So everybody take a minute to get over that. Cry into a pillow if you need to. Go watch the movie again before you respond here. Deep breath together now. At least I made you forget about the coronavirus for a minute, right? Onward with the review:

COMMENTS: Beyond the Door prepares you for a goofy time when you see there’s tag-team directors on board as well as no less than ten, count ’em, writing credits. We have Juliet Mills of Nanny and the Professor fame—in a horror movie? She’s going to play a San Francisco native while making absolutely no effort to hide either her London accent or the fact that she’s completely out of her depth here. It turns out that not only does this movie rip off The Exorcist (1973), but it also helps itself to Rosemary’s Baby (1968) for an aperitif. By the opening credits, we’ve encountered Satan himself narrating to us with dialog you’ll swear was lifted from Zardoz‘ opening, complete with cute puns. Satan browbeats a Bearded Trenchcoat Creepy Dude (hereby known as “BTCD” until he gets a name) into taking on his next infernal mission: find a pregnant woman who shall whelp Satan’s spawn (I dunno, it’s a prophecy or something, go along with it). Did I mention the snazzy ’70s funk and experimental jazz soundtrack? This is Eurotrash, but it’s the finest grade Eurotrash, never good but also never boring.

Meet Jessica Barrett (Juliet Mills), wife of Robert Barrett (Gabriele Lavia). He’s a music executive, and the pair are parents to two snot-nosed little brats with foul mouths. Minutes in, we find out Jessica’s Continue reading CAPSULE: BEYOND THE DOOR (1974)

CAPSULE: ROBOGEISHA (2009)

366 Weird Movies may earn commissions from purchases made through product links.

DIRECTED BY:

FEATURING: Aya Kiguchi, Hitomi Hasebe,

PLOT: A pair of geisha sisters are abducted by an executive of an evil arms corporation, who plays on their sisterly rivalry to turn them into cyborg killing machines.

Still from RoboGeisha (2009)

COMMENTS: In 2008, Noboru Iguchi made a movie called The Machine Girl about a Japanese schoolgirl who installs a Gatling gun in her arm and goes on a murderous rampage of revenge. A year later, he came out with RoboGeisha, which is totally different. This one is about two geishas who install Gatling guns in their breasts and go on a murderous rampage of revenge.

There are other major differences between the two flicks, of course. RoboGeisha takes a (slightly) more serious stab at a plot than Machine Girl‘s bog-standard revenge template. It features two sisters with an unexpectedly complex love/hate dynamic (“sisters are… complicated,” says one, after the other appears to have been blown up during an assassination). Their relationship even comes with a minor twist at the end. RoboGeisha also favors comedy over the nonstop action and gore that marked Machine Girl. RoboGeisha‘s budget seems to be lower than its sister’s; nearly all of the special effects are rendered in CGI rather than through practical effects. The ludicrous sparkly gunshot effects from Machine Girl are carried over, but the sudden reliance on digitized blood spatters is especially disconcerting. The computerization sort of wastes the talents of special effects director , who’s at his best when building prosthetic limbs for Iguchi to lop off and hooking up hoses full of red karo syrup for him to direct onto the faces of his long-suffering actors and actresses.

I personally think that the tweaks Iguchi made to the formula result in an improved product. Many disagree. Gorehounds, in particular, may be disappointed by the paucity of severed heads and the bare trickle of scarlet bursting from neck-holes. And many complain that the focus on plot at the expense of action slows down the nonsense. To me, however, the relative restraint in the violence allows the movie to focus on the absurdity that is what I treasure in this trash. Acid breast milk, a folk protest song, fried shrimp eye-gouging, brain-caressing, and bleeding buildings are among the bizarro attractions to be found in this sleazy funhouse. And this is a movie  that doesn’t simply posit the existence of cybernetic butt-swords; it explicitly demonstrates how awkward a duel would be when the contestants have to crane their necks over their shoulders and backpedal into each to parry and thrust (while muttering, “how embarrassing”). That’s the kind of attention to detail Western B-movies tend to gloss over.

As was often the case with Japanese B-movies of this ilk and period, the DVD release contains a bonus “spin-off” short utilizing leftover sets, costumes and concepts. This one is called “GeishaCop: Fearsome Geisha Cops – Go to Hell” and is partly centered around a plot device requiring girl-on-girl kissing.  It includes a scene where members of the geisha army, still incognito as Kageno Steel Manufacturing workers, drink the blood of male captives during their lunch break, leading the protagonist to declare, with what some might view as understatement: “Something about this is strange. This is one twisted office.”

Unfortunately, the DVD is out of print in North America, and the available VOD version does not include the short, and offers only the English-dubbed version, to boot. It’s still worth a look if you like this genre.

OTHER LINKS OF INTEREST:

Reader review by “Cletus”

WHAT THE CRITICS SAY:

“It’s not that I loved either of the team’s previous efforts… but at least each had moments of truly unique creativity and even beauty amongst all the strange and grotesque gore. ‘Robogeisha’, however, contains only concepts, weird ideas and a few moments of self-reflexive humour. Otherwise it was mostly a pretty big bore.”–Bob Turnbull, “Eternal Sunshine of the Logical Mind” (festival screening)

APOCRYPHA CANDIDATE: SHE (1984)

366 Weird Movies may earn commissions from purchases made through product links.

Recommended

DIRECTED BY: Avi Nesher

FEATURING: Sandahl Bergman, David Goss, Harrison Muller

PLOT: Two brothers in a post-apocalyptic wasteland go off on a quest to rescue their kidnapped sister, meeting a menagerie of mid-grade antagonists along the way as a million flavors of all hell breaks loose.

Still from She (1984)

WHY IT MIGHT MAKE THE LIST: What a tragedy that She (1984) is so obscure, its title so Google-unfriendly, and its competing versions so better-known. If not for these handicaps it might have squeezed onto the List. It is a gonzo anything-goes claptrap of nonstop action with costumes, sets, and indeed whole scenes made out of whatever the filmmakers had lying around. If weird movies are a flea market, She rolls in Crazy Glue and runs through the bazaar, buying whatever sticks.

COMMENTS: The first rule of She (1984) is that it sets out to break every rule of filmmaking, and the second rule of She is that it circles back to break the first rule again. The goal of all this seems to be to make film reviewers look like fools; so allow me to draw the roadmap for the twists and turns ahead. She starts out bluffing with a trite and cliched approach, then steadily gets friskier along its run-time, until by the end it has become a completely different movie. It’s like the whole crew grew up over the course of shooting, or else they just improvised and got lucky. It starts out as a tired post-apocalyptic action clunker in the same vein as Mad Max and Tank Girl, only way less interesting than either of those. Somewhere between shooting the beginning and the end, the crew must have discovered—I’m guessing—Monty Python, Mel Brooks, something in that vein. It’s like they tried to make a serious Road Warrior-ripoff, but gave up after twenty minutes and decided their budget was better suited to making a campy satire; but, rather than withering away the fun, as you’d expect, they discovered they happened to be really good at comedy. Whatever happened, they sure as hell chucked the source material. This is allegedly an adaptation of “She: A History of Adventure,” but if you’re expecting anything to do with H. Rider Haggard‘s typical Victorian adventure universe of Allan Quatermain and King Solomon, you’re queuing in the wrong line.

After elaborate animated credits which also have nothing to do with the movie, we’re plopped “year 23 after the Cancellation.” Siblings Tom, Dick, and the sister Hari pilot a barge to a post-apocalyptic flea market selling cereal and chess sets, when a warrior tribe of “Norks” (composed of Clockwork Orange droogs, bikers, quarterbacks, Roman centurions, and Nazis) raid the market and haul Hari away screaming. The brothers now have a convenient plot: they have to go rescue Hari! If you liked that fight scene, you’ll look forward to the rest of the movie, which has one noisy brawl after another. The defining characteristics of post-apocalyptic people here are that they’re all Continue reading APOCRYPHA CANDIDATE: SHE (1984)