Cult Movies

Ever wanted to see an evil Spiderman fight Captain America and Santo in Turkey? Well now you can thanks to T. Fikret Uçak and his bizarre creation - 3 Dev Adam. Whilst the picture quality isn't the greatest (Turkish films have been rather neglected sadly) amongst the fuzziness there's a crazy film that throws all caution to the wind in the name of entertainment.

Basically a rip-off of Escape From New York and The Warriors, with elements of The Village People thrown in for good measure.... As you can imagine from this blend this isn't a film to be taken to seriously and this is more than apparent from the "plot". This is purely a "so bad, it's good" piece of cinema.

Highlights include a roller skate gang (complete with safety gear), a Cabaret gang (I won't spoil this magical moment for you), the 80s hair, the awful dubbed dialogue and a biker leader who walks like he's shit himself... For a Castellari (Big Racket, Street Law) film this is surprisingly devoid of explosions (though that's made up for in the sequel) but there are enough over-the-top moments and unintentional humour to make this a must have.

This is a highly entertaining black comedy that manages to combine a wonderfully surreal plot with over-the-top performances. Price plays the devious Dr Phibes, a man driven to avenge the death of his wife whom he believes was murdered by the incompetent hands of doctors. The film follows Phibes as he dishes out his revenge via various ingeniously twisted methods.

Brightly coloured and carried off with tongue firmly in cheek, this film will be enjoyed by those with a dark sense of humour. Price revels in his role and allows himself to run riot with his character. Some may dismiss this as mere cheesy cinema but it's one that's been executed with precision and style. This is certainly worth your time.

Disillusioned with the steady proliferation of hardcore pornography (the onset of VHS was just around the corner), Russ Meyer decided to call it a day, making Beneath The Valley of the Ultra-Vixens his last feature-length film.

Unfortunately this disillusionment is evident in the film with numerous shots being repeated far too often and the overall structure is rather messy. Of course the film is still full of voluptous women but they aren't as pleasing on the eye as some of his earlier "stars". Narration duties this time goes to Stuart Lancaster which whilst fun does grate after a while. Meyer's infamous manic editing is at a far less break speed here but this actually detracts from the film's appeal.

Overall, if you are a Meyer fan then you will no doubt enjoy this film regardless but unfortunately it's a rather tame effort for the King of Sleaze to go out on.

During the 1970s an explosion of drive-in cinemas and grindhouse movie houses led to an increase in production of sleazy exploitation flicks. One of the more "interesting" off-shoots from this period was the Woman In Prison genre, of which B-movie stalwart Jack Hill provided two entries (this and the follow-up The Big Bird Cage). of course this film also set in motion the career of the curvy, charismatic cult actress Pam Grier.

Admittedly the appeal of this film will be somewhat limited, no doubt the majority of people will scoff at the poor acting and laughable plot. However for 70s B-movie aficionados like myself this is a neat little package of tongue-in-cheek dialogue, sleazy action and unintentional humour. From the mud fights to the shower scenes and ridiculous gun battles, this film dishes out more than its fair share of memorable moments. Whilst the content of the film is considerably tamer than some of its European/Asian WIP counterparts, this should prove essential viewing for Hill/Grier/Haig fans alike

Two inmates, one black - Lee Daniels (Grier) and one white - Karen Brent (Markov) find themselves in priosn and at the mercy of tough loving lesbian guards. However, Brent's association with a group of revolutionaries means that the pair have to be moved to another prison but along the way they get ambushed and the women escape. Whilst they are on the run they are pursued by gangster Ernesto, a cowboy bounty hunter named Ruben (Haig), and the aforementioned revolutionaries, all of whom occupy various sub-plots.

During the 1970's exploitation flicks flourished and all imaginable sleazy tastes were catered for. Whilst the Women In Prison (WIP) genre began in the late 60s, the 70s saw it peak. This entry comes from one of the genres more talented directors, Eddie Romero whom had just finished shooting his low budget "Blood Trilogy". Co-written with Jonathan Demme (who himself directed the WIP "classic" CAGED HEAT) this is a decent, if rather muddled, interpretation of the genre.

After surviving a car accident, Mary (Hilligos) becomes plagued with visions of a mysterious white-faced man and finds herself drawn to an abandoned pavilion. Despite its low budget origins and flimsy script, Carnival of Souls is an atmospheric piece of cinema that will delight "old school" horror fans. With its crisp black and white cinematography and art-house surrealism, this is a genuinely eerie and haunting title. With a cast of mainly amateur actors, performances are a little on the wooden side, but this is more than made up for in the visual department.
A curious but interesting oddity.

One of the few genuine exploitation classics of the 1970s, The Candy Snatchers is a film that succeeds where numerous others have failed - in that it effectively combines the sleazy realism of a low budget production with a solid script to produce a chilling piece of cinema. The plot follows the nefarious activities of a rag-tag group of wannabe criminals looking to make a quick buck by kidnapping a local jeweller's daughter (the titular Candy). Unfortunately things don't quite go to plan and the simmering tension present amongst the group some begins to boil.

Tight pacing, dark in tone and ripe with youthful energy, Candy Snatchers produces wonders within its obviously limited resources. Despite the lack of acting experience the cast hold their own, with Director Trueblood's own son playing the spookily mute little boy who witnesses Candy's ordeal. Everything else is kept lean and trim which enables to move the film along even when it looks like it may stutter.

Now available from Subversive in it's full, original form I recommend you go out and buy it.

Not as foxy as Grier but Dobson is able to kick some ass none-the-less.

This 1974 Drive-In "classic" reunited to of the finest purveyors of 70s American B-movies - Pam Grier and Jack Hill. Whilst the pair had worked together on the WIP title THE BIG DOLL HOUSE, this was the first of two collaborations under the blaxploitation genre (FOXY BROWN being the other). However the effective partnership of Grier's on-screen charisma and the slick, off-beat direction of Hill ensured that COFFY reached a larger audience than the usual genre fans.

The plot itself is a familiar one - someone's life is being ruined by local drug dealers (in this case Coffy's sister is an addict) and the only way to deal with them is via some hard vigilante "justice". However, this film succeeds over other examples of this genre thanks to Hill's ability to crank up the cliches into overdrive. the violence is fairly graphic in places, King George wears some of the most outrageous pimp suits committed to celluloid, the topless cat fight is hilarious and the dialogue is highly quotable.

Those unfamiliar with the style of B-movies may struggle with the mediocre acting on show and the sometime nonsensical plot, but for those who relish kitsch, OTT films you'll love this one. This is purely popcorn cinema at its best and would provide anyone with an open mind a night's entertainment.

Giallo inspired murders, lesbianism, sex scenes, nail gun attacks, cheesy dialogue and a convoluted plot = an amusing piece of 90s "erotic" thriller trash. Bruce Willis is Dr Bill Capra, a therapist who finds himself tangled up in a web of murders amongst his colleague's therapy group. As the body count rises it's upto Capra to identify the murderer in his midst...

Probably a film that's been quietly left off Willis's resume, Color of Night is the kind of film that trash fans like myself lap up. I can only imagine the bemusement that was felt by Willis fans when they picked this little gem off the rental shelf. If you are looking for Die-Hard style exploits then walk away now but if you are looking for no-brainer fun then slap this into your player now!

Low on quality, high on fun. Ignore the awful acting and nonsensical plot and instead reveal in the cheesy dialogue and pretty impressive effects.

Another brilliant installment of Ray Rudy Moore badness! Trash cinema at its finest!

One of the finest bad cinematic experiences you'll ever have.

If you are looking for an example of jaw-dropping ineptness, awful dialogue and point-it-and-shoot style directing then one is a humdinger! Obviously an attempt to cash in on the popularity of flesh-eating flicks like Cannibal Holocaust and the Don't Go Near titles of the late 70s/early 80s, this plays more like an unintentional comedy than a horror film.

Acting and dialogue is more wooden than Noah's Ark but is all the amusing for it. True it does drag a little towards the end but you'll be too dazed and confused to really notice. Avoid alcohol or drug consumption while watching this movie otherwise they'll cart you off to that nice white padded cell.....And to think this was actually banned by the BBFC in the UK during the 1980s....

How you react to this film will depend entirely on your appetite for Z-grade schlock. Fans of cheese monger Adamson will revel in the numerous continuity errors (check out the various incarnations of Dracula's face make-up), an ad-hoc plot and laughable dialogue. To be fair to Adamson the largely incoherent script was forced on him by producer Sam Sherman - apparently he was looking for more bangs for his bucks (hence the abysmal "bad-guy" skirmish and pointless ageing hippies sub-plot).

Amongst the random stock shots of surfers and protestors (there's even some shots of a seagull!), there are some wonderfully awful pieces of cinema that will have you shaking your head in disbelief. The acting is woeful (Naish is obviously reading a card and Chaney is reduced to gurning at the camera) and the effects made on the back of a 10 cent budget.

Not everyone loves this train wreck of a feature but I enjoyed it purely for its sheer stupidity value. Sit back and enjoy.

Laura Mars (Dunaway) is a New York fashion photographer whose life in the fast-lane screeches to holt when a number of acquainatnces are bumped off in a series of bloody murders. To make matters worse she actually witnesses them through the eyes of the killer.

To begin with, yes Barbara Streisand does sing the theme tune but don't let this painful experience put you off watching the rest of the film since this is pure, unadulterated trash. Big hair, pounding disco music and over-the-top performances are the order of the day and this all rounded off with some delightfully disastrous improvised dialogue.

Obviously influenced by the Italian Giallo genre, this film, believe it or not, is based on a story by John Carpenter (although he disowned the film). For fans of bad movies this will be a natural choice and is worth renting solely for the most absurd murder motive ever committed to film.

This is trash of the highest order and should become a instant hit for those who like bad movies.

Considered by many to be one of the finest examples of trash cinema, Faster Pussycat! exudes more than a faint whiff of the camp and kitsch. From the go-go dancing antics of the lead trio (who were all actual club dancers) to the bitchy dialogue that's spat out with such meaningful venom. However, what makes this film really unique (for Meyer at least) is the complete lack of nudity, although that didn't stop Meyer casting his usual "top heavy" leads (here the wonderfully catty performances come from Satana, Haji and Williams).

If you aren't familiar