THE AGFA HORROR TRAILER SHOW - BLU-RAY REVIEW

Right from the opening frames of Europix-International’s now-famous “Orgy of the Living Dead” triple-feature trailer, which kicks things off in fine style, the folks at the American Genre Film Archive (AGFA) really revel in all the lurid ballyhoo these long-gone trailers always delivered. You will see plenty of familiar trailers in this Blu-ray collection, which was curated by AGFA’s and Bleeding Skull’s Joe A. Ziemba, but it also delivers a number of unique, eye-opening surprises along the way as well. For anyone well-versed with their oeuvre, AGFA’s HORROR TRAILER SHOW is very much in the same vein as their amazing Mystery Mixtapes, bringing together several intermission ads for the likes of Pepe’s Pizza, cigarettes, flea markets and other regional attractions, loads of (quote) “disgustingly-photographed food snipes”, as well as several other, oddball commercials too, such as one for a novelty product called “Flamer – The Electric Football.” As Ziemba points-outs in his enthusiastic audio commentary, this is like a (quote) “curated night at the drive-in from Dimension X”!

“You’re about to enter the 21^st Century of terror!” opines the narrator on Troma’s trailer for NIGHTMARE WEEKEND (1986), an unclassifiable bit of gory ’80s mayhem, which serves as a wholly-appropriate WTF beginning to this fast-paced compilation. This is immediately followed by the U.S. trailer for WITCHCRAFT ’70 (1970), an Italian-made mondo movie from director Luigi Scattini, which was reedited by American director and exploitation vet, Lee Frost. Here appearing under its much-shorter alternate title THE TEENAGE PSYCHO MEETS BLOODY MARY, Ray Dennis Steckler’s trash classic THE INCREDIBLY STRANGE CREATURES WHO STOPPED LIVING AND BECOME MIXED-UP ZOMBIES (1964) was allegedly filmed in (quote) “shocking Bloody-Vision!” In keeping with the carny spirit, a spot for Leonard Kirtman’s CARNIVAL OF BLOOD (1970) also shows up (“This picture begins where Hitchcock stops and climaxes in nerve-shattering terror!”).

 

Even though the trailers aren’t necessarily compiled into specific separate sections, ’80s slasher flicks are given plenty of coverage, beginning with SPLATTER UNIVERSITY (1984) and J.S. Cardone’s wonderfully-atmospheric THE SLAYER (1982). Other titles include Stu Segall’s DRIVE-IN MASSACRE (1976)—which, hilariously, comes complete with a misspelled title card!—plus Dominick Brascia’s low-budget oddity EVIL LAUGH (1986) and Jimmy Huston’s much-maligned FINAL EXAM (1981), whose trailer bears the memorable tagline, “Some may pass the test, God help the rest!” Mexican horror films are also well-represented with several oddly-tinted trailers for Fernando Méndez’s THE VAMPIRE’S COFFIN (1958), Chano Urueta’s insaniac THE BRAINIAC (1962), Rafael Portillo’s THE ROBOT VS. THE AZTEC MUMMY (1958) and also the same director’s wonderfully-titled TERROR SEXO Y BRUJERIA (originally released as Cautivo del mas allá [1968]), a film with a remarkable release history, and one that definitely warrants a BD release of its own! A choppy—if most welcome—trailer for Walter Boos’ MAGDALENA, POSSESSED BY THE DEVIL (1974) and a quite lengthy if strangely mesmerizing one (featuring a Christopher Lee intro) for Evan Lee’s MEATCLEVER MASSACRE (1977) are just a couple of the other rare coming attractions nuggets contained on AGFA’s disc. 

 

Featuring a new 2K scan from a (quote) “newly-struck 35mm theatrical print of the show,” each trailer looks terrific, even though the quality does fluctuate from trailer to trailer, with all the scratches, dirt, debris and other surface damage of the celluloid emulsion you might expect so many years after the fact. That said, there really isn’t anything to complain about, though. The DTS-HD master audio 2.0 also sounds fine, despite the inherent imperfections of the various audio tracks used. Of course, plenty of extra features accompany the ‘main feature’ (i.e., the trailers themselves), beginning with a breezy audio commentary by the AGFA team headed by Ziemba, which barely touches on the actual individual films themselves, they discuss how everything came about and their challenge of compiling something a little different alongside the numerous other trailer compilations on the market, including Garagehouse Pictures’ essential TRAILER TRAUMA discs, which Ziemba admits can’t be beat. They also enthusiastically discuss their earliest memories of seeing their first trailers; their nostalgia over VHS video boxes; and Something Weird Video’s contribution to film preservation and their amazing HEY FOLKS! IT’S INTERMISSION TIME compilations.

In what is easily the biggest surprise, AGFA’s disc also includes Videorage (70m42s)—highlighting the (quote) “most ghastly, repulsive and unbelievable shot-on-video and direct-to-video horror trailers the underworld has ever seen!”—which is surely going to please even the most jaded horror junkie, despite the fact that most of the, uh, ‘films’ represented herein aren’t worth sitting through in their entirety; although several SOV staples, such as Christopher Lewis’ Oklahoma-shot BLOOD CULT (1985), and both Jon McBride’s CANNIBAL CAMPOUT (1988) and WOODCHIPPER MASSACRE (1988), are included, AGFA’s (quote) “video dungeon” also showcases Todd Jason Cook’s zero-budget anthology HORRORSCOPE (1994) and DEATH METAL ZOMBIES (1995); Todd Sheets’ CATACOMBS (2000); the U.S. trailer for Olaf Ittenbach’s German gorefest THE BURNING MOON (1992), which emphatically declares, “No matter what you’ve seen, you’ve ain’t seen nuthin’ like this! Banned in 14 countries!”; Nick Millard’s mind-numbing DEATH NURSE (1987), whose home video preview is also hilariously pathetic; Andrew Jordan’s Canadian-lensed and shockingly-awful THINGS (1989); plus Ron Switzer’s nigh-on-unwatchable SCIENCE CRAZED (1991), another Canadian (non-)production. An exceedingly loooooong trailer (which seems like more of a demo-reel!) for Doris Wishman’s A NIGHT TO DISMEMBER (1983) also appears, as do several homegrown—and highly energetic—Nigerian (“Nollywood”) movies, such as Kalu Anya’s SPIRITUAL CHALLENGE (2007) and Emeka Nwabueze’s ENJOYMENT IN HELL (20??). Not enough, you say? How about video previews for Mack Hail’s MR. ICE CREAM MAN (1996), Doug Robertson’s HAUNTEDWEEN (1991), Don Dohler’s BLOOD MASSACRE (1991), and Mark and John Polonia’s HOLLA IF I KILL YOU (2003), which are just a few more of the titles included in this very welcome bonus feature. 

 

As if all that lot ain’t enough, AGFA also include Say Goodbye To Your Brain (6m50s), a short (quote) “found footage experiment” comprised of lightning-fast clips and titles from a wide range of horror films. This totals an all-round great comp, that is worthy of repeated viewings. Order it from Vinegar Syndrome.

THE ZODIAC KILLER - BLU-RAY REVIEW

In the same general time period as everyone in northern California, and San Francisco in particular, was inundated with news about the still mysterious – and now-infamous – so-called “Zodiac Killer”, part-time actor, fast-food mogul and wannabe filmmaker Tom Hanson hatched a one-of-a-kind idea: make a movie to try and capture the Zodiac, whilst in turn breaking into the movie business.  But, while his ambitious plan didn’t result in the capture of the title serial murderer, the culmination of Hanson’s efforts nevertheless did result in THE ZODIAC KILLER (1971), an entirely unique, never-to-be-duplicated film whose back story proves to be even more fascinating; all of which is nicely documented on this newest – and most impressive – Blu-ray / DVD Combo that also partners together the American Genre Film Archive (AGFA) and the legendary Something Weird Video.

Beginning with an ominous title card – accredited to Paul Avery, the real-life reporter who worked at The San Francisco Chronicle and was a consultant on this film – to help create (quote) “an awareness of a present danger”, Hanson’s THE ZODIAC KILLER appears to be (at first glance, anyways) a cautionary tale of sorts, which will try and recount the actions of this enigmatic killer, but through a shortage of either hard facts or a general lack of skill, Hanson’s film becomes something altogether different: an insane bit exploitation hokum, which even recreates some of the actual murders.  The first act tries its best to cast suspicion on a number of eccentric characters, including Grover (Bob Jones), an angry truck-driver currently on the rebound following his divorce (“That no-good bitch was holding me back!”) and Jerry (Hal Reed), a mild-mannered postal worker who also just happens to have a collection of bunny-rabbits down in his basement.  Even renowned comic actor Doodles Weaver appears as Jerry’s neighbour to warn him about conniving women (“Don’t let them dames get their claws on ya!”) while brandishing a pair of garden shears. Although the killer is revealed earlier than expected, the film continues to revel in ‘senseless killings’, some of which are actually based on factual evidence, while many are simply made up.  Not surprisingly, the double murder that occurred at Lake Berryessa on September 27^th, 1969 is easily one of the film’s strongest and most alarmingly effective scenes (“I’m going to have to stab you people!”), but later in the film, during a completely ridiculous and over-the-top moment, Zodiac viciously murders a lady with her own car hood while erratic fuzz / acid guitar blasts on the soundtrack… and just you wait until the killer visits his locked-up father at the local loony bin!

In 1985, under the slightly altered title THE ZODIAK KILLER, this made its home video debut on U.S. VHS videocassette from Academy Home Entertainment (“Don’t ask him his sign…”), but neglected to generate any interest (“I want headlines!”) until Something Weird Video resurrected it as part of their “Sharpshooter Triple Feature” DVD in 2003, which also included Barry Mahon’s THE SEX KILLER (1968) and Lee Frost’s ZERO IN AND SCREAM (1970).  Appearing faded and rather worn, it was still quite a miracle that this ever appeared on DVD at all, and along with its co-features, the disc also included a number of trailers and a “Gallery of Sick Sixties Sex Stills and Audio Oddities”.  Making the jump to Blu-ray, Tom Hanson’s film gets a fresh 4K scan, which was taken from (quote) “the only surviving 16mm blow-up elements”, and the results are definitely a very notable upgrade; which, according to the restoration team at AGFA received some (quote) “basic colour correction” and that (quote) “no other digital enhancements” were made.  Despite some visual debris here and there – especially around reel changes – and a few vertical scratches, things look mighty fine considering the elements they had to work with.  The DTS-HD MA 2.0 audio also sounds fairly solid, and is a marked improvement over the old SWV disc.

The extras compiled on this Blu-ray should really earn AGFA and SWV the accolades they deserve.  The first – and easily the most informative – extra is a feature-length audio commentary with the film’s director Tom Hanson and producer / writer Manny Nedwick, moderated by AGFA’s Joseph A. Ziemba.  The first 10 minutes are taken up by Ziemba and AGFA’s head archivist Sebastian del Castillo, who discuss their philosophies about working with theatrical film prints (“let them bloom”), which includes refraining from digitally enhancing their transfers.  They also discuss their debt to SWV and the tireless efforts of the late Mike Vraney and his wife Lisa Petrucci, who currently runs the long-standing company.  It makes for a nice primer before they head off to Burbank, California for the remainder of the commentary, which also includes occasional comments from Hanson’s sons, Jim and Robert as well.  First, they discuss Hanson’s Pizza Man restaurants and actor Bob Jones, who sold franchises for him and came from a (quote) “hustling background”, and who essentially (quote) “played himself” in the film.  Of course, they also discuss their strategy of trying to capture the Zodiac (“We figured he would show up!”) in the very theatre where the film was playing.  They relate some incredible and quite frankly unnerving stories, including one about a contest to win a motorcycle (Kawasaki actually sponsored the event!) through filling-out yellow customer comment cards (“I think the Zodiac kills because…”), which in turn allowed them to forensically examine entrants’ handwriting samples!  Hanson also goes on to discuss the rushed schedule and how he had (quote) “very little to no prep work” and how they took many liberties with the story because they (quote) “needed enough murders to fill the running time.”  It’s a wonderful, good-humoured track full of amazing anecdotes related to the production, involving much of the cast and, most importantly, their attempts to catch the killer.  Absolutely essential listening!

Also on hand are a couple of brief on-camera interviews with Hanson and Nedwick in “Let’s Get This Guy” (3m35s), which covers similar territory as their engaging commentary but also touches on some of Hanson’s previous acting gigs; how much of the film was put together with (quote) “friends and family”; and Hanson’s fearlessness in his attempts to catch the Zodiac.  Next up is a collection of “Tabloid Horror Trailers from the AGFA Archive”, which includes Leonard Kirtman’s CARNIVAL OF BLOOD (1971, “A colorful merry-go-round of death!”), Frank Howard’s THE OTHER SIDE OF MADNESS (1971, “See what actually happened that horrible night!”), Dennis Donnelly’s THE TOOLBOX MURDERS (1978, “Simple tools became the instruments of death!”) and a couple of TV spots for Kentucky Jones’ THE MANSON MASSACRE (1971) and William Girdler’s THREE ON A MEATHOOK (1972).  A nicely-illustrated liner notes booklet is also included, which contains a slightly abridged interview with Hanson (“This is not the Zodiac Speaking!”) by Temple of Schlock’s Chris Poggiali.  For the full interview click here.

Trade Ad courtesy of Mike Ferguson & The Fentonian Institute.

In keeping with the “tabloid horror” theme, the disc also contains a worthy co-feature, namely Dave A. Adams’ ANOTHER SON OF SAM (1977), which makes Hanson’s film seem positively impeccable in its execution.  Riding on the headlines of the, then recent, “Son of Sam” or “.44 calibre killings” which plagued New York City from 1976 to 1977, this threadbare North Carolina production has more similarities to a typical slasher film than a tabloid horror.  Escaping from the local asylum, a mentally deranged patient (“He couldn’t function in our society”) goes on a killing spree at a college campus during Spring Break while a couple of trigger-happy cops give chase.  Weird, out-of-place slow-motion, random inserts, freeze-frames and some pre-HALLOWEEN (1978) P.O.V. shots are all unconventionally cut together, which certainly makes it distinctive… but it’s still awful nonetheless!  Scanned in 2K and presented in its original 1.85:1 aspect ratio, it’s a little faded with the usual debris inherent in an old 35mm film print, but miles better than previous releases, so kudos to AGFA and SWV for including it, just the same.  It’s a nice unexpected bonus.

Absolutely unclassifiable, Tom Hanson’s THE ZODIAC KILLER (1971) is a one-of-a-kind jewel to the cinematically broad-minded, and this new Blu-ray from the combined forces of AGFA and SWV only sweetens the deal.  Utterly indispensable!  Order it from DiabolikDVD or Amazon today!

RIVERBOAT MAMA - DVD-R REVIEW

Hackneyed in its conception, Bob Favourite’s RIVERBOAT MAMA (1969) is about as cheap as they get, which is immediately demonstrated by credits handwritten on the backs of numerous publicity photos of the film’s top-heavy star Morganna, billed hereon as “Morgana, The Wild One.”  Through the use of some amusing—if wearisome—narration, we learn that “Many years back, somewhere along the ol’ Mississippi, an ol’ river rat by the name of Matt Blackjack [Art Schill] and his sidekick Moon” didn’t just haul “grain for farmers as such”, but captured girls along the way and then hauled them “forcefully up the river to sell to the gamblers and settlers.”

While trekking through the muddy marshlands, Maude (Morganna) hitches a ride on Matt’s illicit riverboat, because she’s (quote) “tired of workin’ over yonder!” unaware of Matt’s true cargo, which includes three women whom Moon kidnapped earlier (“They some fine specimens!”).  After sampling the goods and revealing Morgana’s ginormous mammaries—which wouldn’t be out of place in any of Russ Meyer’s top-heavy tit-pics—Matt bursts into a li’l ditty:

“Muddy Maude, she makes my heart quiver / Muddy Maude, she lives up the river.”

Maude soon realizes what’s really happening and organizes a revolt with the other captives, which consists of ‘smothering’ Moon and stealing his guns.  Once liberated, the girls turn the place into a showboat, and for what seems like an eternity, they stand around modeling all sorts of dresses (“You got big boobs!”), a sequence which is shot with a painful lack of imagination in a single poorly-blocked camera set-up.  Continuing on upriver—with apparently no one at the helm of the boat!—the charismatic capitalists in search of (quote) “men and money” have no qualms about gettin’ down and dirty for a little greenback; that is, until Tim Sweetbreath (Chuck Davis)—who wears one of the most ridiculous blond wigs ever—becomes smitten with Maude (“You’re the prettiest thing I’ve ever seen in my life!”).  However, just when (quote) “Maude thought everything was comin’ up roses, Matt and Moon were comin’ back to claim their boat!”

Maude (Morganna) organizing a revolt with the other women.

Morganna (a.k.a. Morganna Roberts) was an exotic dancer and entertainer who is probably better-known to most mainstream audiences as the infamous “Kissing Bandit” who rushed onto baseball fields throughout the ’70s, where she attempted to put the smooch on any number of popular baseball players.  Her ample proportions were always, shall we say, at the (ahem) “forefront” of her career, and director Bob Favourite definitely uses that as his prime selling point with this poverty-stricken production.  While dramatically sluggish, RIVERBOAT MAMA does feature ample requisite nudity—including some quite risqué shots for ’69—with copious shots of Morganna’s disproportionately busty figure, and much like Favourite’s INDIAN RAID INDIAN MADE (1969; also starring Morganna), it’s mostly played for laughs, but these come few and far between indeed.  Art Schill, who appeared in all three of Favourite’s films—including his Florida-lensed THE BRIDES WORE BLOOD (1972)—is, at the very least, somewhat memorable based solely on his “Muddy Maude” song, which he sings twice in the film!  On the other hand, Chuck Davis, another Favourite favorite, is downright silly as the Jethro “Golly”-type hillbilly, who does get to bed the title heroine, then proceeds to have one of the lamest post-coital fights with Matt without ever even getting out of the sack!

Maude (Morganna - on the left) taking over the boat!

Released by Harry Novak and his Box Office International Pictures with the usual hyperbole (“From bayou bitch to Mississippi Queen!”), RIVERBOAT MAMA definitely falls far short of Harry’s other, more infamous cornpone / hicksploitation films.   Despite taking place on a riverboat (provided by David Friedline), providing the film with the barest of production values, the piecemeal set decorations, which are supposedly the interior of the boat, are especially penniless, consisting of a few tables and the occasional bed(s), and make Byron Mabe’s SPACE THING (1968) seem positively state-of-the-art by comparison!  Unimaginatively shot with bland, static camera set-ups, Bob Huntley’s photography only adds to the film’s sluggish pace, while the customary banjo-and-zither score just meanders along like the rest of the film.   

Matt Blackjack (Art Schill) singing' his l'il ditty, Muddy Maude!

RIVERBOAT MAMA—sometimes referred to as MUDDY MAMA—was released onto DVD-R by Something Weird Video, and like the rest of their Harry Novak catalogue is now, unfortunately, out-of-print.  Presented fullscreen, the film has all the usual scratches, occasional missing frames and other filmic debris, but is certainly watchable enough.  The 76-minute film appears to be complete, and as usual, SWV has filled their DVD-R with all sorts of trailers (including many Harry Novak ones) and promotional material, which includes Fredric Hobbs’ ROSELAND (1971), Nate Rodgers’ TANYA (“A grueling life of discipline and fear. And camaraderie!”, 1976), Frederick R. Friedel’s KIDNAPPED COED (1976) and Bethel Buckalew’s cornpone classics, TOBACCO ROODY (1970), COUNTRY CUZZINS (1970), The PIGKEEPER’S DAUGHTER (1972) and SASSY SUE (1973).  These are followed by promotional spots such as “Shock Stock”, “Go-Go Burlesque”, “Geeks and Freaks”, Cool Cats”, “Monsters, Muscles and Mayhem”, “Wild, Wasted and Delinquent” and “The Manly, The Macho and Southern Sleaze”, which just about highlight most of SWV’s catalogue.