Tag Archives: sexploitation

Sharpshooter Triple Feature

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Sharpshooter Triple Feature

The Zodiac Killer (1971)

The Sex Killer (1965)

Zero in and Scream (1970)

The cover to the Australian DVD release of The Sharpshooter Triple Feature

Film: You gotta love Something Weird Video! They don’t whitewash their lesser releases…they REVELL in them. These three films, The Zodiac Killer, The Sex Killer and Zero in and Scream, although not all containing ‘sharpshooter’ murderers, are classic examples of exploitation films, but somehow they are still kitschy fun and entertaining, if not just for the nudity, then at least for the acting, or the inappropriate soundtracks or just because they are dumb.

The Zodiac Killer

What’s that on your head? A WIIIIIIIIG

Produced and directed by Tom Hansen (who played Mongoose in The Hellcats), The Zodiac Killer is the tale of a motiveless killer who is terrorising San Francisco, ridiculing the police with letters and phone calls, but who is he…? This film is apparently based on the facts in the case of the ACTUAL Zodiac Killer, and features an introduction from a reporter who was ‘actually threatened by the Zodiac Killer’. This film is worth its weight just for the philosophical discussion about women over the age of 20 and the worst wig ever put on film. This film has no nudity in it but it more than makes up in violence, even if it’s of the red paint variety.

An unfortunate victim of The Zodiac Killer

The Sex Killer

Tommy entertains a young lady

Directed by Barry Mahon, upon who Steve McQueen’s character in the Great Escape was based, The Sex Killer tells the story of Tommy, a lonely, introverted manikin factory worker, who is taunted by his macho workmates and has an obsession with watching women sun-baking topless from the roof of a building using binoculars, but his fascination becomes a dangerous one, as Tommy becomes more obsessed, he turns to violence, murder and necrophilia. Funnily enough, a premise like that would make you think this film is like Maniac, unfortunately this B/W picture is as dull as they come, with some of the most plodding camera work ever seen…but there is a hell of a lot of topless women in it. Amusingly enough, POV shots of sunbathing women through his binoculars change viewpoints without him ever leaving the same spot on the rooftop. There’s also some hilariously bad continuity errors too, like underwear magically appearing under a characters clothes.

Tommy’s unfortunate secret.

Zero in and Scream

A tragic film artefact but the killer lines up for a shot

This film, directed by Lee Frost, who also directed Love Camp 7, is about a lonesome man, whose sense of solitude leads him to commit acts of violence against well heeled amorous couples in Hollywood. Of the three films this seems to be the one that gave the disc the ‘R’ rating. It is more a soft core porno with a murderer thrown in. His lingering looks through the sights of his gun BEFORE he has even cocked it are very funny. One of the funniest endings to a LRSK-themed movie you will ever see.

One of the killer’s victims

Let’s face it, when the makers of these films made them, they weren’t worried about the effects of the Viet Nam War on young minds, or how Kafka or Neitzche influenced modern thought, or any sociological ramifications these films might have, they wanted to make short movies with a lot of nudity and/ or violence in them. The story was only ever secondary to how many nubile young girlies could be butchered and/or whip out their boobs for a bit of male oriented entertainment. Luckily there were many such girls and we can still enjoy them today, although while watching I can’t help but think that most of these girls are probably grandmothers…

There is just so much on this disc it has to be given an average score just for the quantity, as for the quality, well, if exploitation sex films of the sixties and seventies are up your alley, you’ll love it. The film and audio value varies from feature to feature, but all in all you can clearly see and hear everything that is going on, and to be quite honest, the average quality adds to the sleaziness of it. A warning though for fans of the Brazilian or the shaven haven: you will be disappointed. The women in Zero In And Scream have more bush than Mike and Mal Leyland EVER saw. That’s not to say that there isn’t a bit of meat for the ladies either: in ZIAS there’s a fair bit of swimming pool-based penises as well!

Score: ****

The menu screen for the DVD

Extras: Trailers for ‘The Sex Killer’, ‘Zero in and Scream’, ‘The Psycho Lover’,’ Honeymoon of Terror’ and ‘Aroused’.

Gallery of Sick Sixties Sex films with Audio Oddities is a 10 Minute and 40 second montage featuring audio of radio commercials for such films as ‘Wife-Child’ and ‘Poor White Trash’ and others played over images of posters and one-sheets of films such as ‘A Smell of Honey, A Swallow of Brine’ and ‘Orgy of the Golden Nudes’ and others – this is one of those great montage sequences that Something Weird Video is so good at.

Score: **

WISIA: I don’t think I would watch these again, even though I enjoyed them a fair bit. They are in interesting snapshot of the exploitation films of the time.

Motor Psycho (1965) / Good Morning…and Goodbye! (1967)

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Motor Psycho (1965) / Good Morning…and Goodbye! (1967)

The cover to the Arrow release of the films

Film: I think comparing Russ Meyer to Walt Disney is a fair one. Both men created an empire by making films aimed at a specific audience, unfortunately, ol’ Russ never got to make himself a theme park based on HIS cinema… I am sure a Tura Satana roller coaster would have been an excuse to go to America alone!! I am sorry, but give me the Wonderful World of Russ Meyer over the Wonderful World of Disney any day! A world where political correctness means not being a dirty Commie, where ‘Double D’ is flat chested, the definition of a city is a petrol station, a strip club and a junkyard in the middle of the desert, fast cars are a sign of machismo and slapping a woman across the face after she has spat at you is classed as foreplay.

We can all only pray that one day the world returns to those old fashioned values. (Before you slam the site, yes, this is all tongue-in-cheek and I’m not serious)

In the meantime, we still have Meyer’s films to remind us that Misogyny isn’t an entrant is the Miss America pageant.

This particular disc has two of Meyer’s masterpieces on show, and they are the rape/ revenge flick Motor Psycho and Good Morning… and Goodnight, which is a tale that is hard to define in a sub-genre, though ‘immorality play’ might be the closest.

They may look like posties, but they are a tough motorcycle gang!

Motor Psycho tells of a three man motorcycle gang… well, I say motorcycle, but they are effectively of Postie’s scooters… who are general miscreants and civil disturbers. Led by War veteran, and total nutjob Brahmin (Steve Oliver) the three set about picking on women wherever they can. They chance upon Gail Maddox (Holle K. Winters) whom they set about harassing, that is until her husband; horse vet Cory (Alex Rocco) turns up and pushed Brahmin to the ground. This gets Brahmin angry and they hang around until Cory leaves the house before setting themselves on Gail.

Cory arrives home from a job only to find that his wife has been assaulted and raped, and sets it on himself to track the gang down himself, after the local Sherriff (E.E. Meyer aka Russ himself) discounts the assault and rape, claiming it’s what women are made for and the she probably brought it upon herself (oh yeah, you read that right).

So Cory sets out to track down the gang, and on the way picks up a sidekick in the form of Ruby Bonner (Haji) whose husband had been murdered by the gang, and she herself had been left for dead. The pair track the gang into some hills in the middle of a desert, and after an encounter with a snake, set about exacting their revenge.

Haji, ready for action!

This film is classic Meyer, and a blast to watch. It’s melodramatic to a T (wait until you see the delivery of the line ‘She was assaulted; criminally assaulted!’ when Cory speaks of his wife’s attack)The characters are all traditional Meyer’s ones; the tough guy, the busty hard chick, the doddering, emasculated ol’ fart… you know the ones… and his usual not so subtle indicators are there too; from Ruby being forced to suck out snake venom (Cory’s cries of ‘Suck it…SUCK IT!’ are hilarious)to when Cory finally gets an opportunity to get his revenge, the dynamite he uses is particularly phallic in its display. This really has all of Meyer’s favourite stuff in it: groovy music, hot babes and macho men… you know, everything, including the ‘kitsching’ sink.

The next feature is Good Morning… and Goodnight! Which I admit I did really enjoy at all except for the typically sexy and lumpy women, Meyer has used to play the female roles. I admit, that it starts perfectly, with Cara Peters running inexplicably naked through the woods in slow motion as a Greek chorus tells what sort of tale we are about to endure… I mean enjoy, and introduces the main characters…

… and then the enjoyment dries up.

This film tells of Burt (Stuart Lancaster) whose wife Angel (Alaina Capri) is dissatisfied with their sexlife, and so goes looking for schlong pretty much well anywhere she can find it, but repeatedly with local tough guy Stone (Patrick Wright). Unfortunately, Stone roots everything he can get his knob into, and starts looking at Burt’s daughter, Angel’s step daughter, Lana (Karen Ciral), who is starting to get sick of her boyfriend, the effeminate Ray (Don Johnson… no, not THAT Don Johnson) constantly checking out her step mother… are you following so far?

The very picture of innocence!

OK: While out  on his property one day, Burt comes (almost literally) across a witch, played by Haji, who using her spells and potions, allows Burt to reclaim his virility, control of his now wayward daughter, and his wife.

Awwww. What a nice ending.

This story is terrible, and unfortunately isn’t made any better by the lack of nudity, which would have been the only saving grace. Sure Motor Psycho doesn’t have any nudity in it, but the story is enough to keep interest.  We do get to see some ladies bottoms in this one, but nothing else, and the story just isn’t engaging enough to allow that to be enough (and honestly the bottoms aren’t  that great). The whole film is just people constantly insulting each other, but not in a Don Rickles/ amusing way and it becomes boring quickly. 

There are themes explored in this film that Meyer did SOOOOO much better in other films, Beneath the Valley of the Ultra Vixens immediately springs to mind.

Haji as the witch

As far as watching this disc as a whole is concerned, this is a nice pair of Haji flicks, but really its worth it only for Motor Psycho.

This is a quite uneven representation of Meyer’s films in my book. Motor Psycho is a cool, if not slightly innocent example of a rape/revenge flick, whereas Good Morning… and Goodbye! Is a morality play with no morals… which may be the point, but it feels like a single idea, of witchcraft helping a man regain his virility and control of his life, fleshed out for far too long. Still the women and dialogue is classic Meyer, and that in itself makes for a fun double feature.

Score: ***1/2

The menu of the dvd

Extras: Only trailers present on this disc, but they are trailers for faster Pussycat! Kill! Kill!, Blacksnake!, Mudhoney, Vixen, Wild Gals of the Naked West, Supervixens, Beneath the Valley of the Ultravixens, Cherry, Harry and Raquel and Common Law Cabin.

Score: **1/2

WISIA: I honestly can’t see myself watching these particular Meyer films again if I felt like watching a Meyer film or two.

Reviewed on the Arrow Video DVD.

Meyer’s films always seem to be set somewhere hot!

BOOK REVIEW: THE ART OF THE NASTY

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The Art of the Nasty by Nigel Wingrove and Marc Morris

My horror addiction doesn’t just stop at DVDs and Blurays (and a very small quantity of laserdisc and VHS), I also have a far-too-large collection of horror related toys, novels, board games, video games and comics, but my favourite non-plastic disc collectables are my books ABOUT horror films especially of they take a specific aspect of horror cinema and completely dissect it. At the top of those books that sit amongst my favourites is the wonderful second edition of Nigel Wingrove and Marc Morris’s The Art of the Nasty.

The book looks at the ‘Video Nasty’ part of England’s VHS and cinema history. Honestly if you are a horror fan and don’t know about this or at the very least haven’t seen the documentary Video Nasties: The Definitive Guide perhaps you should go outside and shake yourself, and then look it up before reading any further, but here’s a quick recap anyway: in the late 70s/ early 80s in the UK, during the rise of VHS, the politicians and media got stuck into home cinema because of the sex and violence contained within, and this may have been due to the way they were advertised and their lurid, and occasionally misleading covers which singled them out and basically lead to massive cuts as the British Board of Film Censorship (known as the BBFC, and the latter letter eventually changed to mean Classification) flexed its muscles and went on a cut-fest.

That’s basically what happened but obviously there is a HELL of a lot more to it. The effects are felt still today, as some films that have been released in other parts of the world uncut are still edited in the UK; Shameless’s The New York Ripper being a standout.

Anyway, this book is a celebration of the VHS covers of the time and just how the sex and violence of the contents were used to sell the film, seeing as how the covers were the ONLY selling point back in the non-internet days. Wingrove speaks from a firsthand experience in a lot of this, seeing as how he founded Redemption Films and Salvation Group and created the online experience Satanic Sluts. He also had his film, Visions of Ecstasy, refused distribution on the grounds of blasphemy!! His co-author, Marc Morris is a historian and broadcaster who mainly writes books about the middle ages, but also assisted Francis Brewster and Harvey Fenton with the book ‘Shock! Horror!’ another book about the art of the Nasty VHS.

The books opens with 2 forwards, titled The Nasties: A Personal View by Wingrove, one from the original edition from 1998 and the other more recently in 2009. The two forewards are definitely necessary as post-millennium so many previously banned films have been released, mostly completely uncut, and Wingrove discusses the change opinions in the new one.

The book then breaks down into chapter relating to different aspects of the Nasties. The Official Nasties, which covers the 39 films deemed obscene by the Director of Public Prosecutions (DPP), Nasties On Parole, which are the ones the DPP couldn’t get a conviction, Nasties – The Ones That Got Away, which are ones that completely avoided the DPP’s eye, Nice and Sleazy Does It, which looks at covers from the pre-certification era of VHS and finally The Good, The Bad and the Vomit-Inducing which is described as the best of the rest, still sleazy, but not to the extent of some of the others. The book concludes with a Video Company Listing which lists VHS companies and the films they released: essential reading for UK VHS collectors.

The book is, as you would expect, lavishly illustrated with some of the most striking images of VHS releases of the time and really, even as a devout horror collector, I am surprised by some of the images on these VHS covers (I don’t object to them, I just am surprised that middle class shop owners of the less-permissive early 80s would have allowed these images on shelves in their shops!!). All the images have a small blurb which tells the Original Title of the film, its country of origin, the director, the year and time and the video label that released that particular version. There is also a supportive paragraph which describes what the film was about and any interesting situations in which the film may have been involved. If I am to pass any criticism of this book, it is in these paragraphs as mostly I wanted more… but then again, the book is about the images, and essentially I can research any film on which I wish to gain more knowledge.

Each page also has a contextual historical snippet to show what was happening in the world at the time, which whilst not entirely necessary, is an interesting idea as it shows, now and again, what was happening in politics and other areas of pop culture at the time. It is a nice garnish to the feast that is the images and their accompanying text.

On the whole, this book is a horror gem, as inadvertently becomes a GREAT support to the aforementioned Video Nasties doco. It is well written and the bold images are an absolute treat!

Rating: *****

Mondo Topless (1966)

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One from the rewatch pile…

Mondo Topless (1966)

Film: You have to love ‘mondo’ movies! Titilation and cheap thrills disguised as serious documentaries by directors looking for a quick buck for a budget price, because stock footage and not having to pay for actors and special effects is cheap cheap cheap!

The most famous of these mondo movies usually feature animal slaughter, executions and bloodshed designed to disgust/ thrill the viewer… but these are NOT the ones for me. I prefer the soft, less violent films that feature what used to be called ‘the fairer sex’ before that became a totally sexist and outdated term. Now this film is certainly a product of its time, and today this type of film wouldn’t be produced and shown at a mainstream cinema, but when this was produced, these types of films, like Teaserama and others, replaced the ‘men’s’ club burlesque shows.

Every fan of exploitation should have a basic knowledge of Russ Meyer: World War 2 combat photographer who couldn’t get a break making ‘legitimate’ movies, who then moved into cheesecake photography for Playboy, and settled on making films, the way he, a self-confessed ‘titman’, wanted to see them. Over his career he made 23 films, the best known being John Waters’ favorite film Faster, Pussycat! Kill! KILL!

Mondo Topless starts as a travelogue of San Francisco, where a nubile naked wonder drives us around town showing us not just the city sights, but a couple of hers as well!! The footage is narrated by John Furlong, a Meyer regular, who introduces the city and each of the well-endowed women as well. Over the next 60 minutes we are treated to the sights of 15 women, performing pulsating pastiches of gyrating go-go, irresistible writhing and thrilling thrusting. The film travels to Europe, visiting various strip joints around the world with accompanying footage of dancers from each country. Also as an added bonus, some stock footage of Lorna Maitland, star of Meyer’s film ‘Lorna’, is also seen in random scenes, showing off her ample assets. The display of dynamic dames with dominating domes is not all the film is about though, each of these marvelously blessed misses has a lot to say about the troubles in their lives: the curse of curvaceousness, their opinions towards men who find them sexy or exciting, what they think of the problems in South America, and the threat of the Cuban missile crisis… Ok, so maybe they DON’T discuss some of those subjects, but at times, their now-dated opinions are hilarious, and to a younger viewer, possibly quite scandalous!

Now rest assured this is no soft core or hard core pornography… no no no!! It is pure go-go, GO!!! This is low-priced kicks at their finest, and filmed by King Leer, the Fellini of the sex industry himself: Russ Meyer, you know these women are going to be filmed at obscure angles aimed to excite!! Not all of the footage in this flick was filmed for this flick; some of it comes from Meyer’s 1963 Europe in the Raw feature, which was essentially the same film, but with only European performers in it. The surf guitar soundtrack is supplied by The Aladdins and is a classic example of its type, to be sure!!

Even though this was banned when it first was released in many countries, it is quite tame by todays ‘pornographic standards’… which I guess is an oxymoron, but you, dear reader, know what I mean!!

I would like to end this review with a quote from Meyer himself which sums up the film perfectly: ‘nothing is obscene providing it is done in bad taste’.

Score: **1/2

Format: This film was reviewed using the Arrow DVD release which is presented in an average 4:3 image that does contain a bit of grain and an occasional artefact. The audio is present in 2.0 stereo and isn’t special but the era of the film, and type of film don’t really lend itself to needed high quality sound.

Score: **

Extras: There is a bunch of really cool extras on this disc, not a huge amount, but a decent set… um… of extras… anyway:

Trailer Reel features trailers for Faster Pussycat! Kill! Kill!, Blacksnake, Mudhoney, Vixen, Wild Gals of the Naked West, Supervixens, Beneath the Valley Of The Ultravixens, Cherry, Harry & Rachel and Common-Law Cabin, which is a pretty fair overview of Meyer’s output, though a trailer for ‘Lorna’ was conspicuous by its absence.

Photo Gallery is 18 promotional pics from the film, and whilst I am normally not a fan of this sort of thing, it does show the advertising campaign for the film.

Johnathon Ross: Interview with Russ Meyer sees a very young Johnathon Ross (from 1988) interview the master himself, taken from his series of docos ‘The Incredibly Strange Film Show’. It runs for about 40 odd minutes and is a nice look at his history and a selection of his films. Also featured in this doco are Tura Satana, Roger Ebert and Malcom McClaren.

Score: ****

WISIA: Like all of Meyer’s films it’s not one to sit around and watch with the family, but I have to admit to having seen it several times but not due to the boobs: the dialogue is occasionally hilarious and the lounge music soundtrack is pretty awesome.

Supervixens (1975) 

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One from the re watch pile…
Supervixens (1975)

The cover of the UK DVD release


Film: I had read about soft-core porn filmmaker Russ Meyer long before I had ever seen any of his films. I remember seeing the image of a gigantic pair of boobs hanging from out the front of a cinema in Sydney in a magazine called Shocking Cinema which contained that particular image, with a small write up, within a ‘sealed’ section.

Just through magazine I read, and shops I frequented, like Land Beyond Beyond in Sydney, I became a little obsessed with Meyer though the opportunity to see any of his stuff didn’t become available to me until I managed to get my hands on a few releases Madman in Australia did on DVD a few years ago, and since then I’ve grabbed everything that Arrow Films in the UK have available, and have accumulated several books on the subject of Mr Meyer, including his experiences documenting WWII , as well as a photographer for Playboy in the early days.

The focus of Meyer’s movies are the female form, and the bustier the better! There are certain male attributes that are generally enhanced too when the opportunity arises for a peek though. His films are no doubt soft core porn, but there’s no ‘I’ve come to clean ze pool’ stuff in his work: no, these are articulate, rural black comedies that if you don’t just fast forward to the nudity, or turn them of when you have… um… ‘finished’, you’ll get a lot out of them

His movies are spectacularly weird too and he has been called the ‘Rural Fellini’, insomuch that his films merge fantasy, not just sexual but metaphysical and supernatural within the rural environments, like farming communities and small towns.

Supervixens is no variation on that.

Clint Ramsey (Charles Pitt) getting down and dirty


Poor Clint Ramsey (Charles Pitts) has a problem: his woman, Superangel (Shari Eubanks) is a suspicious, high-maintenance, voluptuous woman whose sexual appetite and penchant for violence is making his life a living Hell, even though she is a gorgeous.

After a particularly horrible argument, Supervixen calls the police, who send police officer Harry Sledge (Charles Napier). He quickly proves to be her undoing when he murders her after she tries similar shenanigans on him when he fails to satisfy her her in bed.

The titular Supervixen.


Sledge murders her and places the blame square in Clint’s lap, which puts him on a trip across country, evading the law and somehow ending up pursued by every horny, busty woman he …ahem… comes across, but will Sledge catch up with him?

This movie is heaps of fun and has some bizarre scenes that somehow make plenty of sense within Meyer’s eye. He has this amazing sense of cinematic style with the camera that once you see past the statuesque figures on screen, you really see a man who is totally in control of his craft. His previous occupation as a photographer is clear in the amazing way he frames his scenes.

The women in this film aren’t the only amazing thing within the camera’s eye: the locations are desolate and the heat of the desert is almost palpable.

I really love this movie, and though you probably should start any Meyer adventure with either Vixen or Faster Pussycat! Kill! KILL!, you really can’t pass this up.

Score: ****

The UK DVD menu screen


Format: Supervixens was reviewed using the U.K. Arrow Films DVD release which is presented in an ok 4:3 image with a pretty clear 2.0 audio. The image is a little artefacty at times but not to the detriment of the entire image.

Score: ****

Extras: Only two extras on this disc, but both are as entertaining as hell.

First there is an amazing commentary with director Russ Meyer where he doesn’t just tell amusing stories about the making of this film, but also interesting reflections of his life. 
Next, we have a trailer reel of Meyer’s films: Faster Pussycat! Kill! KILL!, Blacksnake, Mudhoney, Vixen, Wild Gals of the Naked West, Supervixens, Beneath the Valley of the Ultravixens, Cherry, Harry & Raquel and Common-Law Cabin.

Honestly Meyer’s trailers are the best ever made, not just because of the beautiful stars, but also due to the absolute Sideshow Huckster, P.T. Barnham styled voiceovers which deliver the hard sell like never before.

Score: ***

WISIA: It’s a funny, sometimes silly and occasionally violent piece of classic Meyer cheese: not for family viewing but I watch it when I can.

Harry Sledge (Charles Napier) looks back at future victims.

The Cheerleaders (1973) Review

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One from the to watch pile…
The Cheerleaders (1973)

The cover of the UK Arrowdrome DVD release


Film: The teen sex comedy was a huge thing in the 80s, and I reckon as a teenager I saw most of them, which were basically stupid jokes mixed with hot half-naked girls in a soft-porn environment. 

As a teen in those days it was hard to get your hands on prom so this was as close as you could get… you kids have it so easy these days.

The film, The Cheerleaders, from 1973, clearly inspired by the films of Russ Meyer, were personably an inspiration to those eighties films and there is a lot of the bare bones of them in this. 

Written and directed by Paul Glickler, this film was also a clear influence on 1978’s Debbie Does Dallas not so much plot-wise, but certainly with the environment and the over-sexed teenaged girls.

The Cheerleaders of Amorosa High need a new cheerleader to make up their squad, seeing as how one of them has ended up pregnant. Now these Cheerleaders are, well, somewhat slutty, and so the head (heehee, ‘head’) cheerleader Claudia (Denise Dillaway), in cahoots with the ladies physical education teacher, decide to get a virgin to be their replacement so they don’t have that problem of pregnancy flare up again.

Claudia (Denise Dillaway) is concerned about something over there.


The problem is Jeannie (Stephanie Fondue) is desperate to ‘lose her cherry’ and the rest of the team want her too as well… and she does! Very soon the team are caught up in a match rigging exercise where their team are tired out by a massive orgy organised by an unscrupulous crook, but to make things even the Cheerleaders kidnap all the opposing team and proceed to have their way with each and every one.

Jeannie (Stephanie Fondue) does her best Jan Brady impression


The acting is terrible and the jokes are sophomoric at best, but it has a weird charm to it, which honestly might just be due to its age, rather than actual quality… the fact I love 80s teen sex comedies probably play into that as well. Heaps of ‘ nice balls’ and businesses with the names ‘Beaver Wash ‘ (a car wash) styled jokes run riot. Its Carry On and Russ Meyer all mixed together.

The weird thing is the world in which this movie exists. All teenage girls are oversexed, men are dumb crooks, and every adult male is an ephebophile.

It’s fun and dumb and I reckon an absolute influence of the biggest teen sex comedy of the 80s, Porkys, but it doesn’t necessarily hold up like Porkys does.

Score: **1/2

The DVD menu screen for disc one


Format: The reviewed copy of this film was on the UK Arrow films release DVD, and was an ok image, but far from great. The films image is a 1.78:1 aspect and has heaps of artefacts and some streaks, but everything that needs to be seen, can be, so it’s not too detrimental to the viewing experience. The audio is in 2.0 stereo and is just fine.

Score: ***

Extras: This disc was one of Arrow Films’ ‘Arrowdrome” series of releases, and comes with a reversible cover, an Arrow Films catalogue and a booklet featuring an essay from Cinema Sewer legend, Robin Bougie.

There are two extras on disc one: the trailer and a radio spot for the film.

Disc two though, has the full feature length sequel Revenge of the Cheerleaders, and includes trailers, radio and TV spots for the film. Make sure you watch this one too as it does feature Cheryl ‘Rainbeaux’ Smith, and a young David Hasselhoff as ‘Boner’.

Score: ****

WISIA: Once was enough for me.

Peripheral vision was at an all-time low in the early 70s.