Bad Girls Do Cry (1965)

badgirlsdocryBig girls? They don’t cry-yi-yi; it’s just an alibi. But what about bad girls? Oh, they totally do, as would you if you became a daytime whore.

Sally Downs (former burlesque star Misty Ayres) is just a small-town girl living in a lonely world, aka the big city to which she’s moved. Clothes start to shed before the film hits the three-minute mark, as Sally strips to her undies to don her “best ‘get a job’ dress.” It works, because in the next scene, she’s behind a diner counter, tending to a customer who encourages the naive girl to become a “model”; naturally, he happens to know a guy.

badgirlsdocry1Being a dumb blonde, Sally immediately decides to pursue this line of “work,” only to find herself making a negative career move from slingin’ hash to slingin’ leg. Yes, Sally has become a professional prostitute at a bona fide whorehouse — or, from the looks of the two rooms in which most of the hour-long movie takes place, the living area and master bedroom of someone involved in the production.

In those two spots, the ladies lounge on the couch, dance and wrestle, sometimes in lingerie. Ayres’ beauty was a Marilyn Monroe-esque one, but the similarities did not extend to talent. In that aspect, Ayres is in great company, for Bad Girls Do Cry is full of performances and other things that fail to reach even mediocrity. The directorial debut (and next-to-last effort) of character actor Sid Melton (1951’s Lost Continent) and shot a decade earlier than its release, the drama has nothing to it but a time-capsule look at ladies’ undergarments. Its highest stakes arrive when a drunk hooker unknowingly takes a big swig of spoiled milk. —Rod Lott

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Octopus (2000)

octopusA little-known piece of history: During the Cuban missile crisis, a Russian sub was downed by American torpedoes, causing it to spill its contents — more specifically, barrels of anthrax — deep into the ocean, thereby causing an octopus to mutate to gigantic proportions.

Flash-forward nearly four decades and an American sub carrying a Russian terrorist-cum-prisoner finds itself being slapped around by the eight-armed beast. Strangely, none of the passengers takes the news with much surprise. “From what I can tell,” says the hot oceanographer calmly, “we’re dealing with a giant sea creature.” And no one bats a freakin’ eye.

octopus1The octopus threat actually is secondary in Octopus, compared to a plot thread that has the Russian’s pals hijacking a cruise ship in order to rescue him, eventually culminating in an absurd finale where the octopus mounts the mighty liner and starts whipping the shit outta all aboard.

Directed by Shadowchaser trilogy shepherd John Eyres, this cheesy underwater monster movie is one in which the token minority dies and dead bodies have the habit of “popping out” while live bodies walk by it. The fake rock music seems lifted from that cable series where Emmanuelle was in space.

In an entire cast of no-names, Carolyn Lowery (Candyman) stands out as the oceanographer, mostly because the script gives her three opportunities to strip down to her underwear. She seems a little saucy and ditzy to be an oceanographer, but she does a good job, considering she’s in the movie Octopus. —Rod Lott

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Bear in the Big Blue House: Potty Time with Bear (1999)

pottytimeWTFNo sooner has this delightfully creepy children’s video began than a giant bear with a pleasant voice starts shaking his massive behind while singing a self-penned ditty about the benefits of “going potty.” One of the lyrics is “You’ll feel like a millionaire / When you pull up your underwear.” What correlation exists between financial independence and the ability to hike one’s briefs successfully to waist level is lost on me, but that’s really beside the point.

With Bear in the Big Blue House: Potty Time with Bear, what I should be most concerned about is that there is an obese bear who, although a total stranger, really wants to teach our children about proper anal usage, and his eagerness to do so just strikes me as — how to put this? — wrong and illegal in most of the 48 contiguous states.

pottytime1As he plays checkers with a mouse who I think was named Tutter, Bear asks his little friend if he needs to use the bathroom. Tutter says no. Bear asks again. Tutter again declines. Undaunted (or perhaps blessed with the power of mind control), Bear asks yet again, practically willing a full intestinal tract on his rodent pal, so Tutter rushes off to the toilet to take a dump. We join Tutter on the pot as he tells Bear he won’t be much longer: “I just have to wipe!”

I never thought I’d see the day when a Jim Henson program would feature a puppet in mid-defecation, and not only that, but one that would use the word “wipe” as a verb, in a context that involved wadded-up two-ply and the risk of fecal contamination. But that day indeed came, and it was Dec. 8 — a date that will live in infamy.

Bear excuses himself upstairs, where another of his noticeably younger chums is engaged in voiding bodily waste. Bear joins this tot in the bathroom and they carry on a conversation while the little one has his pants ’round his ankles. And I really couldn’t watch any further. —Rod Lott

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The Case of the Bloody Iris (1972)

casebloodyirisBruno Nicolai’s theme to The Case of the Bloody Iris is a jaunty, joyful number I never tired of hearing, even when it is not appropriate to the flavor of the scene, which is to say each and every one of its appearances, opening credits included. I hardly minded.

The film itself hits another of my pleasure centers: high-rise settings. In this case, it’s an apartment building home to a couple of recent tenant murders committed by a man in black — and that includes his hat and panty-hosed head, making him look like the DC Comics character The Question, if dipped in India ink. One poor woman was offed in the elevator; the next, tied up and drowned in her own bathtub.

casebloodyiris1On the plus side: Hey, ladies, a vacancy! And in moves Jennifer (Edwige Fenech, Your Vice Is a Locked Room and Only I Have the Key), a lovely young model trying to escape her abusive ex. Making a play for her is the building’s architect (George Hilton, I Am Sartana, Trade Your Guns for a Coffin), a real gentleman, but a real wuss when it comes to the sight of blood. However, when Jennifer’s daffy roommate (Paola Quattrini) becomes the killer’s next victim, the architect is offered up as one of many likely suspects.

For once, the mystery’s solution was not startlingly obvious to me, but maybe I was too busy soaking up the film’s groovy, dreamy visuals to notice. Alternately known by the utterly incredible title of What Are Those Strange Drops of Blood Doing on Jennifer’s Body?, this giallo from Giuliano Carnimeo (Exterminators of the Year 3000) is eye-popping in its Pop Art veneer, its moments of shock and its leading lady, who has the worst luck in keeping her clothes from being torn by the greedy hands of others. —Rod Lott

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Chatterbox (1977)

chatterboxChatterbox wastes no time with its setup, so neither shall I. This infamous comedy begins when pretty Penny (Candice Rialson, Hollywood Boulevard) discovers she has a talking, singing vagina.

Its first words come right after Penny has had sex with her boyfriend, Ted (Perry Bullington), about whose bedroom performance the vagina complains. Ted’s immediate reaction is anger, prompting the vagina to chide, “Can’t you handle a little wisecrack?”

I could not.

chatterbox1While Virginia — as the speech-imbued genitals are dubbed — goes from medical discovery to the talk-show circuit, the viewer is assaulted with essentially the same joke told dozens of times. Worse, while the movie moves fast from scene to scene, the proceedings are slow. The material might make a great sketch, but as a full feature, it feels interminably humorless. When the end arrives, it does so with a threat of a gender-flipped companion piece, eventually carried out by 1988’s equally patience-taxing Me and Him.

Director Tom DeSimone (Reform School Girls) should thank his lucky stars the radiant Rialson agreed to star in such drivel — nonpornographic, it should be noted — as the put-upon salon employee whose parts interfere with her customer service, but who knows what he was thinking by casting comedian Rip Taylor as her boss. Putting Rip Taylor in a movie about a vagina (no matter its skills) is like adding bacon bits to a bowl of Froot Loops. —Rod Lott

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