Sheena (1984)

How does one earn the ceremonial title of Queen of the Jungle? In 15 minutes or less, Sheena shows us: by having your geologist parents be killed by falling rocks while searching for the source of the fabled “healing earth” in a primitive African village.

Okay, so it’s a little more complicated than that, but that little white blonde grows up to be the zebra-riding, hedgehog-summoning, lion-ordering, vine-swinging, breast-bouncing leader of the Zambuli tribe. One credit sequence later, she’s bathing full-frontal nude under a waterfall — not just in broad daylight, but played by Tanya Roberts in her Bond-girl prime, her eyes both sultry and vacant. She looks like she’s auditioning for the part of Eve in Playboy’s The Bible.

Her quiet existence is upended when Sports World journalist Vic Casey (a bland Ted Wass, Curse of the Pink Panther) and rotund cameraman Fletcher (Police Academy vet Donovan Scott) fly to Africa to shoot a segment about the football glory days of Prince Otwani (Trevor Thomas, Inseminoid). A royal assassination occurs, and the patsy for it is the Zambuli shaman (Elizabeth of Toro), whom Sheena has on telepathic speed dial.

Sheena tries to keep the peace and protect her land. Vic tries to tap that.

If there’s one thing kids love in live-action adaptations of comics, especially ones they have no familiarity with, it’s warring political factions, right? This nonsense is like quicksand to Sheena’s pacing; there’s simply not enough of the Tarzan-style action and adventure present in the Will Eisner-created comic book and 1950s TV series. What little exists is supremely silly, with Sheena leading all creatures great and small in some sort of jungle-based Justice League (for which a rule against public defecation presumably has been waived), culminating in an elephant destroying a helicopter.

Whereas 2017’s Wonder Woman sees its heroine as empowerment embodied, Sheena sees its as merely a body. Even if Roberts’ nude scenes were excised, that still would leave all the leering shots up her loincloth, with John Guillermin reusing low angles from his ’76 King Kong as she climbs — which is often. (The nudity is something of a miracle for a PG-rated film, especially since the PG-13 was a month old.)

Sheena is also rather dumb, because when Vic first kisses her, she says, “Mouths were given us to eat with. Why did you touch yours to mine?” And that raises a Big Question: Does she brush and floss? It’s a valid inquiry, given her diet of “locust bean cakes” and “fermented buffalo milk.”

This claptrap goes on and on for two hours. If the natives are restless, think how you will feel. —Rod Lott

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Psycho from Texas (1975)

As the son of an abusive backwater prostitute, Wheeler (John King III, Alien Zone) can’t help but be a Psycho from Texas. With hair not unlike a witch’s broom, he works odd jobs here and there — in this film’s case, it’s to kidnap oilman William Phillips (Herschel Mays), who lives in a mansion with his hot daughter (Candy Dee) and appears to drive the Family Truckster from National Lampoon’s Vacation.

Wheeler succeeds with the help of his not-so-slick partner, Slick (Tommy Lamey, Timestalkers), he of the poo-log mustache and habit of chewing strike-anywhere matches. Post-abduction, Wheeler goes to town to cash a big, fat Phillips check and score some weed; meanwhile, Phillips wrangles loose and runs and runs and runs, through woods and wild hogs, with Slick right behind him.

It’s not exactly roiling with plot. However, being a low-budget hicksploitation effort, no one demands it be. The only movie written, directed and produced by stuntman Jim Feazell, the El Dorado, Arkansas-lensed Psycho from Texas is an entertaining single serving of sleaze and a marvel of atonality. The soundtrack’s boing-boing-boing of a jew’s harp is squarely at odds with the homicidal action onscreen. Same goes for the original song “Yesterday” — not that one — which gets needle-dropped in the oddest of places, possibly to justify whatever Feazell paid for it.

If the regional thriller is remembered for anything, it’s as the debut for scream queen Linnea Quigley (Witchtrap). She plays a barmaid to whom Wheeler brings a box of Kentucky Fried Chicken and demands she dance for him. She refuses. He forces her, with the howler of a line, “Now, bitch, let’s dance!” As she tearfully gyrates, he keeps screaming, “Dance! Dance!” and dumps a pitcher of beer over her fully nude body. With this scene, King goes for broke and kick-starts a career — just not his. —Rod Lott

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2019: After the Fall of New York (1983)

The year is 2019. America is under the rule of a tyrannical despot that will, without mercy, capture and kill those who don’t meet his idea of genetic perfection simply to attain his primarily dark goals of world domination. No, it’s not the long-awaited Donald Trump biopic — give it a few years, though — instead, it’s the Martin Dolman Sergio Martino flick 2019: After the Fall of New York.

In a now-alternate timeline devised by the unusually prescient Martino (Hands of Steel), the world is currently a radiated cesspool that is under the dubbed thumbs of the megalomaniacal Eurax conglomerate, a united league of unspecified evil that rounds up the deformed humanity that roams the wastelands to do far-fetched cybernetic experiments on them. At least I think so.

Meanwhile, in the vastness of the desert that now resides outside of New York City — I’m thinking New Jersey — a Snake Plissken-type that goes by the name of Parsifal (Michael Sopkiw, Blastfighter) rules most of the primitive sporting events of the time — including the demolition derby, unsurprisingly — winning dirty coins and dirtier women; he’s very much a serviceable anti-hero with a five-o’clock shadow, a kicky headband and one questionable quip after another.

Hearing of his somewhat heroic deeds in the field, a rival confederacy called the Federation tells him that not only is the only fertile woman in the world hidden somewhere in the Big Apple, but that he needs to rescue her before a (completely obvious model of a) rocketship shoots the few chosen survivors into space in order to, I’m guessing, restart the human race on the moon.

Once in New York, however, there’s no time for sightseeing, as a rather pathetic group of dwarf-killing mutants who rope and wrangle rats for various barbecued meals are looking for an unnecessary fight; it’s here where Parsifal meets his smudgy ladylove, Giara (Valentine Monnier, Devil Fish), as well as the wily little person Shorty (Louis Ecclesia) and a monstrous big person named, suitably enough, Big Ape (George Eastman, Warriors of the Wasteland).

It’s Big Ape, by the way, who, when they find the working womb sleeping in a hyperbaric chamber, proceeds to have unconscious sex with her, spreading his diseased genes even further and hopefully into space; it’s a bit of sexual assault that Parsifal makes a cool aside about as his armored station wagon makes it past some of the worst traps that the obviously dense Eurax army has to offer.

Widely regarded to be one of the best spaghetti rip-offs of John Carpenter’s Escape from New York — and it is — 2019: After the Fall of New York is actually far more entertaining than its original source material, from the lonely jazzman who blows a golden trumpet among the ruins to the Eurax leader who has his eyes ripped out and cybernetic ally re-implanted. By the time the open ending came around, I was kind of wishing that 2020: After the Fall of L.A. were a real thing. —Louis Fowler

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Hide and Go Shriek (1988)

To celebrate high school graduation, four couples have concocted an utterly monstrous, mind-roasting plan: to spend the night in a furniture store. And not just any furniture store, but Fine Furniture downtown, whoa-ho! John (Sean Kanan, The Karate Kid Part III) even knows the ropes — because Dad owns the place — so it’s going to be totally bitchin’! On the agenda are beer, food and, of course, sex in the showroom beds.

Seeing the maze of mattresses and mannequins scattered across the joint’s multiple stories, Kim (Weekend Pass’ Annette Sinclair, a former Mrs. Bob Seger) suggests an epic, pre-dinner game of hide-and-go-seek. As the film’s title of Hide and Go Shriek confirms, that’s exactly what they do. The title also makes clear that some of the players aren’t going to live to see morning, because a killer is afoot.

The only movie ever directed by one Skip Schoolnik, the obscure Hide and Go Shriek arrived well after the ’80s slasher wave crested, but deserves wider awareness. That has zip to do with the acting, which is loud and bush-league, and everything to do with an ahead-of-its-time reveal I won’t spoil. Despite editing that saps any suspense, the film lands on the slasher genre’s comfort-food side. Giving it a big shove are the effects from Screaming Mad George (Beyond Re-Animator), with an elevator decapitation as a gruesome highlight, and the gratuitous nudity, including a rather hysterical sequence in which Judy (Donna Baltron, Bikini Squad) is so nervous about losing her virginity, yet launches into a striptease act so polished, her upper thighs have to smell like dirty dollar bills.

The idea of horny teens staying overnight in a department store had been done much better in 1986’s Chopping Mall, thanks to that Jim Wynorski pic’s satiric edge. By contrast, Shriek’s laughs are not intentional, what with these crazy kids’ $6 haircuts, Chinese fire drills and Bloom County T-shirts. —Rod Lott

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The Banana Splits Movie (2019)

Nostalgia-amped superfans of Sid and Marty Krofft’s The Banana Splits Adventure Hour from the late 1960s and early ’70s — back when the phrase “Saturday morning” meant something — may be horrified to see what awaits under the innocuous title of The Banana Splits Movie: a honest-to-God slasher movie (and to complain about that is no better than the fanboys whining about girls being Ghostbusters). But in this ready-to-market age of IP revivals, reboots and reheats, it’s nice to see one that doesn’t just thumb its nose at the source material, but urinates on it, too.

In the direct-to-disc flick, the Krofft show exists (albeit under the name of Taft) in the real world of present. Speaking of present, it’s the birthday of young Harley (newcomer Finlay Wojtak-Hissong), a friendless boy who likes to wear butterfly wings while dancing along with his favorite show on TV, much to the dismay of his macho-asshole father (Steve Lund, TV’s Bitten). However, Mom (Dani Kind, TV’s Wynonna Earp) is so supportive that she’s scored the fam tickets to a live taping.

No one in the audience knows the episode being taped will be the last, as The Banana Splits has been axed — fresh news taken not so well by the animatronic foursome, thanks to a pre-curtain programming upgrade. Behind the scenes and at the post-show meet-and-greet, the Splits (Fleegle, Bingo, Drooper and Snorkel) take the frustration of unemployment out on everyone who deserves it, as dictated by slasher-movie rules, which director Danishka Esterhazy (Level 16) clearly delights in depicting — after all, it’s not every day you get to shoot a giant robot lion and dog respectively flambé a pushy parent’s face or saw an Instagram “influencer” in half.

But maybe it should be. Whatever possessed Warner Bros. to turn a beloved, kiddie-courting property into R-rated Grand Guignol … well, I’m for it. I’m guessing the runaway popularity of the Five Nights at Freddy’s video-game franchise among grade schoolers — now in high school with more rebellious taste — proved an unofficial factor. Yet from the start of the Krofft empire, the line between their creations and childrens’ therapy appointments has been drawn with the sharpest of washable markers, so it takes only one turn of the screw to reimagine the cute and cuddly as vile and violent. Essentially a two-location picture, The Banana Splits Movie looks flat and cheap, but self-parodic subversiveness and perversity work in its favor. —Rod Lott

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