The perfect AIP Picture and a wacky Corman manifesto: art is whatever we decide it is, and we're pretty much all frauds. Dick Miller is just magnificent as the pauper turned murderous savant by mistake, possessing an "aw shucks" slowness that never loses its charm. Required viewing for exploitation heads.

An alien transmission, stitched together with SOV sinew as two trash artists cobble together their respective and collaborative works like a patchwork scum quilt, the throughline of LADY STREET FIGHTER becoming the only semblance of a coherent narrative. Watching three different works from three distinctly separated periods is like seeing space time fold in on itself, as James Bryan and Renee Harmon create exploitation home movies, replicating ethereal memory from spliced short ends. Unlike anything I've ever seen.

"Oh when the saints come marching in...oh when the saints come marching in..."

The devil went down to Miami, and He took the form of a woman, in order to pervert and destroy every man in sight. [35mm]

A feature length Wikipedia entry that never really makes a case for why you should watch Joe D’Amato’s movies, instead acting as a eulogy of sorts for a dude who was obviously beloved by everyone who worked with him (even if he hated making porn and Rocco Siffredi is introduced like some sort of big dicked Dracula at the end). Couldn’t help but be reminded of the Tony Jack gag from THE IRISHMAN, as Joe simply faded away from the world, leaving nothing but friends and a lot of cinematic misdeeds behind after he ed.

[Source: Severin Films Blu-ray]

Outlandish hybrid of "true" crime procedural and scuzzy horror cheapie that's charming mostly due to its perverse hucksterism and ineptitude. More "ZODIAC KILLER with a sword" than HALLOWEEN precursor; savagely tripping over its own weapon before the abrupt final warning to those necking in their own automobiles.

Smutty Nazisploitation jawn in which a bunch of GIs go all INGLORIOUS BASTARDS in the California Hills (excuse me...""), only to discover an undercover brothel of deadly Third Reich ladies. Sufficiently scummy, and possibly oversexed, even by John Hayes' standards. Still fun to watch him jam his X-rated sensibilities into whatever genre construct will have him. Toe fucking and "ass crack wine" are the "highlights".

a/k/a BAD LIEUTENANT: PORT OF CALL REDLANDS

Jazzy, sleazy, crime sexploitation curiosity that is actually breezier than SWEET TRASH while still as oddly bleak and gross. John Hayes is my new favorite King of Trash Sincerity.

Post punk smashed DV New French Extremity porno THELMA & LOUISE, complete with graphic, uncomfortable full penetration and a rejection of any sense of traditional morality. Closer to I STAND ALONE than anything else, and perhaps even more unpleasant to sit through.

Sort of like if somebody let Mark Zuckerberg write/produce/direct and star in THE SOCIAL NETWORK before social media even existed.

Girdler’s PSYCHO, complete with a post-slaughter POV shift, an overbearing parent, and a live concert sequence slathered in wah-wah guitar pedal. Funky as hell, and the early splatter comes courtesy of Pat “Dr. Gore” Patterson. As far as regional drive-in horror goes, this one’s pretty aces.

“You must be a Lie-bra.”