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  1. SpiderBabe
  2. Dinosaur Valley Girls
  3. Dungeon of Desire
  4. Robotrix
  5. Playmate of the Apes
  6. Lord of the Strings
  7. Killer Klowns From Outer Space
  8. Hot Vampire Nights
  9. Erotic Witch Project
  10. Chosen One: Legend of the Raven
  11. Inn of 100 Sins
  12. Bobbie Jo and the Outlaw
  13. Scrapbook
  14. Erotic Survivor
  15. Vamps Deadly Dreamgirl
  16. Psycho Sisters
  17. Candy
  18. Midnight Madness
  19. In The Flesh
  20. Lethal Seduction


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The Tales From the Crypt-inspired Dark Romances cover
Dark Romances Volume One: Born Evil
Dark Romances (1998) is the perfect title for this series from Mark Shepard and Patricia Miller. The scenes are dark, the lighting is dark, the basis of the stories are dark and the romantic relationships within the film are dark. Dark scenes are the hardest scenes to light and record on film. Shepard pulls it off with style and grace just as though he'd studied lighting under Dario Argento (Devil's Daughter, 1990) and considering the pace at which the scenes are edited one might think that it was imported from Italy.
In a style similar to Creepshow (1982) Shepard sets out to tell a pair of creepy stories within the confines of a single feature. The result falls short only due to the first segment, The Black Veil which should have a life all its own and would have had a better chance as a feature unto itself because it would have a wider appeal to fans of slower-paced import mysteries. Heading off a series with appeal to a much hipper audience will only lessen the potential impact of the series (and since this is referred to as Volume One, one can only assume that Shepard intends to persue a future volume or series).
The hip, Tales From The Crypt (1989) inspired box art will appeal to the proper audience but the outcome would be similar to buying a ticket for a death-defying rollercoaster ride, although after you've bought the ticket, you are taken to a curtain and behind the curtain is a pony ride . . . granted, the exciting ride may be coming but to have to start off with a pony ride?
Technically speaking, the production values are sound although superfluous visual effects prevent the story from unfolding at a reasonable pace. All that said, Shepard pulls off some brilliant feats of magic. He recruits cult/b-movie actress, Brinke Stevens (Cyberzone, 1995) to participate in the film and solicits an endorsement from Steven King whose quote appears on the box as follows:
"Go out and get a cheesburger; this one's worth it"
Okay, on with the show:
In a 19th Century Parisian Asylum, Meg (Elizabeth Moorehead) harbor a box that she guards with her life. Pychiatrists desire the box but she will only release the box to them if they first listen to her story (The Black Veil, penned by John Strysik and Patricia Miller). As she tells the story, we are transported back in time . . .
Meg is summoned to meet with an classmate, Justine (Julie Carlson) who is now the Grande Damme of Le Grande Guignol and a Laudanum (a tincture of opium) addict who suffers from severe headaches. The blood and guts theatrics are augmented by some behind-the-scenes real murder and mayhem which sets the entire cast off-kilter.
Justine is on the brink of insanity, is involved in some weird-ass witchcraft to complicate things even more and she kills the show's ringleader, Demetrius (Robert Rothman) in the wake of her drug-induced rituals. Brinke Stevens in the buff
Diana (Brinke Stevens) is the High Priestess behind the Grande Guignol coven and desires to recruit Meg into the black magic fold. It's a battle between Diana and Meg, between good and evil as Justine's life hangs in the balance. Don't miss the Alien(1979)-inspired gut-ripping-baby-demon effects.
Now, get off the pony and lock yourself into the cockpit of your roller coaster for the main event in the show, Listen to Midnight by Samuel Oldham and Mark Shepard. It takes 75 minutes to get here but this is what you paid for:
Todd (Rod Rolek) is a sexually-deviant photographer who seduces model wannabes, takes photos and abuses them sexually. The hard life of professional photography has taken its toll on him and he is little more than a bitter, destructive asshole and we see him in action with Gwen (Jessie Horsting) proving the point, just in case you thought that he might have some redeeming quality.
Frustrated with women who are "pushovers" he sticks a gun in his mouth and pulls the trigger: Click, then writes himself a note to remind him to, "buy bullets."
At the local bar, the bartender (Will MacMillan, Bad Girls, 1994) warns that he should, "stop hurting" people. Todd ignores the warning and ends up getting entagled with Ginger (Anita Coelho), and under-aged street-urchin in a fashionably torn t-shirt, fishnet stockings, spiked heels, leather accents and a dog collar.
He takes her back to the studio and a wild-sex-fest breaks out but this time it looks as if Ginger's in charge. She is the sum total of all the women's feelings that he has ever wronged unleashed in human form and screws him to death while his cameras record the event. (Whew!)
Hey, Shepard: Make future segments more like this one and you'll have yourself an underground hit for sure!
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ADDICTED TO MURDER Sasha Graham on the Cover of Addicted to Murder
Kevin Lindenmuth and Tom Piccirilli bring us a twisted screenplay that would make me proud if I'd written it. Although produced on a tight budget, this doesn't get in the way of a potentially solid story line. (Did he say, potentially solid?) Yes, he did. Had the screenplay been handed to Tim Burton (Edward Scissorhands, 1990) or Roger Corman (Vampirella, 1996) this could have instantly been a cult hit. Lindenmuth, the independent video steamroller, powered by an uncontrollable desire to make movies, (the curse of the indie filmmaker) undertakes the production himself and the result is Addicted to Murder (1995).
In an attempt to give the film the feel of a larger production extraneous exterior shots are intercut which provide little more than a noticeable delay in the story. The 90 minute film might have had more mainstream appeal by going back to the editing table and winding up with 75 or 80 solid minutes. In a style similar to Rob Reiner's in When Harry Met Sally (1989) and This is Spinal Tap (1984), Lindenmuth interrupts the story with interviews about the characters or background information.
Lindenmuth was able to assemble a respectable cast of players including Laura McLaughlin (Twisted Tales, 1994) who is a hot commodity with a future in films if persued. So often those who appear in indie films fade away before they are ever given a chance. Hopefully, she hangs in there and could be an up and coming Sigourney Weaver. Also headlining is Sasha Graham (The Vicious Sweet, 1997) who is making quite a name for herself and may well be on her way to becoming a Scream Queen in her own right. Mick McCleery (Alien Agenda: Out of the Darkness, 1996) is the film's main character whom we follow throughout the story.
A solid cast, a good story and regardless of the constraints of a limited budget indie flick, you need to see this film. What? Still don't believe me? Okay, here's the story:
This is what happens when a young boy witnesses a murder being committed by Rachel (Laura McLaughlin), a beautiful vampire seductress, and is befriended by her. She and he become friends and as he matures, their relationship takes on a new twist. Rachel (Laura McLaughlin) being killed by Joel (Mick McCleery)
As Joel (Mick McCleery) gets older and hormones rage, Rachel has her needs also. She desires that they meet privately under varying circumstances and has Joel murder her. Rachel can only taste a sense of her own humanity in death. Joel, who is in love with her, complies and kills her using a variety of ways and means (i.e., stabbings, electricution and riding a chainsaw like a wild pony, etc.).
Joel wants Rachel to embrace him so that they can be together forever . . . Rachel is not ready for an eternal commitment, so in an effort to protect him, she splits.
It's no surprise that Joel turns into a psychopathic slasher whose drive to murder women is a gnawing hunger that he must feed to stay alive. In an effort to maintain a normal "front" he marries Kathy (Bernadette Pauley, a NYC stand-up comic -- but you'll see no comedy here) and treats her kindly even though he calls out Rachel's name during sex while he continues his affair of murder and mahem on-the-side. Two years later, Kathy leaves and files for divorce.
Joel maintains his search for Rachel and gets de-railed by Angie (Sasha Graham) a vampire who hangs out at a club aptly named, "The Hungry." Joel and Angie enter into a relationship much like the one that he shared with Rachel, except in this instance, Angie embraces Joel.
In Joel's first vampiric kill, he gets access to a woman's apartment, kills and feeds upon bathing Sabrina (Candice Meade) and his transformation begins.
Angie turns on Joel telling him that Rachel doesn't want him anymore and that Rachel had given him to her. That tips the scales for Joel who turns into a pissed-off SUPER VAMPIRE KILLER! In a 1987's Evil Dead 2-inspired ending which is the perfect way to get the audience to anticipate a kick-ass sequel.
Now, THAT is the basis of one "killer" film. It's worth it and will leave you wanting more!
UPDATE: The film has been recently re-released and you may Click Here for more information on obtaining a copy of your very own.

Dead Women in Lingerie
Some people just do not appreciate the concept behind the independent film and the producers and directors behind it . . . even if it help launched one's career. Actress Maura Tierney (Liar, Liar, 1997) says of her starring role in the independent film, Dead Women in Lingerie (1990) that it was the biggest embarrasment of her career.
What?!? Check this out:   Former porn director Erica Fox (Endless Lust, 1984) makes a career move to directing TV shows (Tales From the Darkside, 1984) and TV movies (Not MY Kid, 1985) and makes the transition smooth and successfully. She wants to be taken seriously and teams up with co-writer John Romo to make a film that can be taken seriously, doing the art-house film festival circuits.
Going it alone can be a scary undertaking so you try to hedge your bets as much as possible. On your shopping list you have some basic things:
Find a co-writer = John Romo = check

Find some recognizeable experienced talent = Jerry Orbach (Law & Order, 1990), Dennis Christopher (Stephen King's It, 1990), June Lockhart (Lost in Space, 1965), Lyle Waggoner (Wonder Woman, 1975), Ken Osmond (Leave It To Beaver, 1957), J. Patrick McNamara (Bill & Ted's Excellent Adventure, 1989), Travis McKenna (Road House, 1989) = check

Find a nobody with some TV experience that has potential star quality to feature = Maura Tierney (The Van Dyke Show, 1988) = check

Fill in cast with experienced talent = Give the co-writer a major part in the film, cartoon voices a chance to appear on screen (Candi Milo and Jim Johnson), same with stunt coordinator Rick Barker and use only seasoned extras = check

Not to mention one of the best titles I have ever heard of . . . Put that kind of raw talent in the hands of Mark Shepard or Kevin Lindenmuth and LOOK OUT! It's the kind of team that indie's dream of. The concept of the film is sound:
It is a hot April in Los Angeles -- especially in the colorful garment district -- where a gorgeous young model working for lingerie manufacturer Bartoli (Jerry Orbach) is found brutally murdered in the alley behind Bartoli's show room.

Maura Tierney

Although a murder investigation is initiated by the police, the company's fashion designer (Maura Tierney), is outraged when it becomes apparent that the investigation of her friend's murder is not high on the police priority list.
Intent on uncovering the murderer, Molly hires an aggressive, off-beat young private detective, Nick Marnes (John Romo). But matters get worse as, during his investigation, several other of Bartoli's lingerie models are found murdered.
Molly and Nick get close -- both to each other and to finding the identity of the murderer. And when they get too close, the murderer must make Molly the next victim.
Throw in a counter plot addressing illegal immigrants seeking a better life and you have everything you need to make a successful film. This film was a success in launching Maura Tierney's career and introduced us to another side of Erica Fox, who continues to have a successful career in television and made-for-TV movies.
So, if you're a fan of Maura Tierney, you will want a copy of this film, regardless of what she says and as far as I'm concerned the ungrateful *&%#* can kiss my ass. (I think she did a great job.)
Dead Women was never meant to be a large, commercial blockbuster. It excells as being a personal statement of ability and a tribute to Ms. Fox's mother in an effort to express one's self. In that light, I applaud Erica Fox on a job well done.
INTRODUCING JANET aka RUBBERFACE Jim Carrey on the cover of Rubberface
Here is the kind of marketing to beware of when you unsuspectingly go into your local video store to rent a video featuring your favorite star:
Back in the day, the mulit-million-dollar-talent of Jim Carrey appeared in a 48 minute film entitled Introducing Janet (1981), long before The Mask (1994). The star of the film was not the then unknown Jim Carrey but a budding actress by the name of Adah Glassbourg who has since disappeared and has never been heard of since.
After seeing that Jim Carrey was the rising property of the film, it was time to pull the print out of mothballs and release it to the unsuspecting public and video rental stores under the name Rubberface (1983). Nothing changed but the title and the box art (a common practice in the industry). After all, no one's going to rent Introducing Janet just to see Jim Carrey in a bit part, right? Adah Glassbourg and Carrey in Introducing Janet
The film is more likened to an After School Special where an overweight Janet (Adah Glassbourg) suffers from low self-esteem and mom's no help as she routinely tries to push her into the limelight and skimpier clothing against which Janet rebels.
Halfway through the film (okay, so it's more than a bit part), Janet meets up with Tony Maroni (Jim Carrey) a waiter at Giggles, a comedy club. He desires to one day be in the spotlight on that very stage but his material sucks.
Jenny offers to help him build material for his act by combining his natural goofiness with a look at her own life from a different perspective with an illuminating humor and freedom of expression.
Of course, the big event is scheduled . . . it's a one-shot deal and Tony comes down with laryngitis at the last minute and the show must go on, so meek and mild Janet timidly takes the stage and discovers that it was she who was the comic the whole time.
True fans of Carrey will want to add this to their exclusive collection of Carrey titles because when you're bored and there's nothin' else to do you can invite some friends over crack open a case of beer and make fun of him in his first feature role as an actor.
UPDATE: The film has been recently re-released and you may Click Here for more information on obtaining a copy of your very own.
Drive-in movie poster art for Hollywood Knights
Once upon a time in L.A., a long time time ago there was a cheesey film made that attempted to be a cross between Animal House (1978) and American Graffiti (1973). That film was none other than Hollywood Knights (1980) brought to us by Floyd Mutrux, responsible for seventies' classics like Freebie and the Bean (1974), American Hot Wax (1978) and more recently, Dick Tracy (1990).
In 1980 his talent for being able to spot an up and coming actor or actress was at its pinnacle as he assembled a cast of unknowns for this silly little tribute to the irreverence of teenagers in 1965.
There is an abundance of cheap-thrills-nudity, half-wit police, jokes and one-liners pointed at authority, flatulance and assorted female body parts. With an attempt to be a hilarious romp, Robert Wuhl (Alexander Knox in Batman, 1989) playing Newbomb Turk is a damn hoot, the rest is humorous nonetheless.
The story is simple and plainly that they're closing Tubbies, the favorite drive-in hangout of the teens and this film documents their rebellion against the establishment and a bold statement about their protests being made known.
Truth of the matter is, no one really cares about the story line of this film. The attraction of this film, which has yet to be released on video, is in the cast that Director, Floyd Mutrux assembled for the film. Make certain that you're sitting down when you read this list of kids who later became stars: Hollywood Knights was Michelle Pfeiffer's motion picture debut
Tony Danza (Who's the Boss?, 1984), Michelle Pfeiffer (Ladyhawke, 1985), Fran Drescher (The Nanny, 1993), Playboy Playmate, Michele Drake (History of the World: Part I, 1981) and Gary Graham (Alien Nation, 1989).
Mutrux also enlisted the aide of support members who appeard in American Hot Wax, i.e., Carl Weaver, Al Chalk, Arnold McCuller, Moosie Drier, Will Thornbury, Garry Goodrow, to help roundout the cast as well as veteran Cinematographer, William A. Fraker (WarGames, 1983).
Although not an independent production, this is a must-see event and has yet to grace the video industry. Until its inevitable videorelease you may be able to catch it in the 3:00 a.m. cable broadcast time slot. You'll appreciate being able to witness these young stars at work prior to solidifying their careers.
UPDATE: The film has been recently re-released and you may Click Here for more information on obtaining a copy of your very own.

Dave Lewis, a bonifide Video Addict, is constantly on the lookout for strange and unusual videos. If you have an independent film (with or without good production values) or know of a rare or unique film that may be good for review, please write:
Dave Video Addict, P.O. Box 1753, Aberdeen, WA 98520. Or, e-mail Dave at

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