Miami Connection (1987)

miamiconnectionThe story behind Miami Connection would be more compelling than the story of Miami Connection, if the movie had one. As is, characters aren’t introduced so much as they just show up, and plot elements are established, only to be abandoned immediately. This, of course, is why you should watch it. Thanks to someone at Austin, Texas’ legendary Alamo Drafthouse buying a 35-mm print off eBay on a whim, the world can.

An independently funded blend of martial arts and crime, it concerns a band of five metaphorical brothers who attend college by day, rock nightclubs as Dragon Sound by night, and practice tae kwon do in between, sometimes onstage during their performances. Dragon Sound’s synth-laden numbers have the appearance of being for adults, even if their lyrics read like Zig Ziglar and Dale Carnegie cut a record: “Friends through eternity, loyalty, honesty / We’ll stay together through thick or thin / Friends forever, we’ll be together / We’re on top because we play to win.”

miamiconnection1The rock group booted from the club in favor of Dragon Sound doesn’t take the diss lightly, so its members order the peaceful quintet of black belts to be killed. Somehow, this comes to involve a clan of black-robed ninjas brandishing very sharp swords, a cocaine ring, a guy with a beard that appears to have been swiped from a G.I. Joe doll, a motorcycle gang, various gym rats with beer bellies and, perhaps most notably, a missing father. Don’t miss the dramatic mail-opening scene!

Leading the guys of Dragon Sound — all of whom live together — is Mark, played by producer Y.K. Kim, a real-life inspirational speaker who barely speaks English, yet nabbed the starring role and co-wrote. As with everyone else in the picture, he cannot act, but his sincerity shows through to a point of infection. Whereas some might find his unconvincing fake-the-guitar skills as horrific, I found them charming. It’s about the only Connection that Miami manages to make.

After a violent and bloody 80 minutes, the movie ends with the sobering title card, “ONLY THROUGH THE ELIMINATION OF VIOLENCE CAN WE ACHIEVE WORLD PEACE,” so there. —Rod Lott

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Hot Cars (1956)

hotcarsNick Dunn (John Bromfield, Revenge of the Creature) is the worst kind of used-car salesman: honest. His sales position at the Big John lot is eradicated after he lets a $700 MG sale collapse because he points out all its safety features, or lack thereof.

Dangling wads of cash, a flashy man named Markel (Ralph Clanton, 1950’s Cyrano de Bergerac) hires Dunn for one of his lots in a deal that seems to good to be true. That’s because, as Dunn is informed by a nosy detective (Dabbs Greer, Invasion of the Body Snatchers), it’s a “real cozy hot car racket” for stolen vehicles. Being a square-jawed, stand-up guy, Dunn quits … but then asks for the gig back when a hospitalization of his infant son for some vague malady forces him to change his tune.

hotcars1Steered with no-nonsense efficiency by Western TV director Don McDougall, Hot Cars runs exactly one full hour, giving the story no time to idle. It’s a nice, tidy forgotten chunk of noir with a booming Les Baxter score and winning tough-guy dialogue, even for the dames: “I’ve got broad shoulders, Nick. I’ll even let you cry on one of them.”

That line is spoken by Markel’s mink-wrapped, big-bosomed, kept-blonde hussy (the hubba-hubba Scopitone fantasy girl Joi Lansing) who tests Nick’s loyalty to the wedding ring ’round his finger. And speaking of dangerous curves, the film famously ends with a thrilling fistfight-to-the-death on a moving roller coaster. —Rod Lott

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The Harrad Experiment (1973)

harradexperimentAt Harrad College, they preach and practice free love. Boys and girls are paired up as roommates, encouraged to plug away and attend morning yoga sessions in the nude. This is all fine and dandy if you’re a smooth and suave ladies’ man like Don Johnson, wearing a beret and neckerchief, but a little daunting if you’re, well, Bruno Kirby (City Slickers).

Ironically, Bruno’s character, Harry, warms up and gains confidence with his skinny, sexy roomie (Laurie Walters of TV’s Eight Is Enough), whereas Stanley (Johnson) finds out — thanks to his homely partner, with whom he bonds over pot farming — that love can be, goshdarnit, so, like, complicated.

harradexperiment1As heads of the school, James Whitmore (Planet of the Apes) and Tippi Hedren (The Birds) are top-billed, but hardly in it, to make room for all the young wangs and thatches. That Hedren, mother of Melanie Griffith, later would become Johnson’s mom-in-law in real life lends their sex-charged scenes a higher level of creepiness.

Certainly the wildly dated The Harrad Experiment remains an embarrassment to all involved, which makes it top-notch, unintentionally hilarious entertainment for you and me. “All involved” includes Ted Cassidy (Lurch on TV’s The Addams Family), of all people, for helping pen the screenplay, and director Ted Post, for whom only The Baby tops this for sheer weirdness among his CV. And about the only thing more unsettling than seeing Fred Willard in a flick like this is knowing that Brillo-haired comedian Marty Allen did the following year’s sequel, Harrad Summer. Zoom, zoom, zoom! —Rod Lott

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A Christmas Tale (2005)

xmastalePart of Spain’s Films to Keep You Awake series, A Christmas Tale takes place in December 1985, and the year can’t be coincidental. That summer saw the release of the Steven Spielberg production The Goonies, which this film so closely resembles it’s like the unauthorized Spielbergian-tribute counterpart to J.J. Abrams’ official one in Super 8.

With virtually no apparent parental supervision, four tween boys and one girl ride bikes and hang out and watch VHS tapes. One day in the woods, they happen upon a deep pit, into which has fallen a grubby woman in a Santa Claus suit. Upon learning from the TV news that she’s the “extremely dangerous” bank robber Rebeca Expósito (Maru Valdivielso, Romasanta: The Werewolf Hunt), they decide against helping the injured fugitive to safety, but for keeping her as their “secret pet.”

xmastale1They even get a crash course in extortion, exploiting her hunger to learn the whereabouts of the millions she stole. An escape, however, is only a matter of time, and Rebeca’s shuffling, ax-dragging body chasing them through an abandoned amusement park reminds the kids of Zombie Invasion, a film-within-the-film (starring Beyond Re-Animator‘s luscious Elsa Pataky) whose rules of undead-killing they appropriate to get out of their particular pickle alive.

The only thing running more heavily through A Christmas Tale (aka Xmas Tale) than danger is nostalgia. These kids play Milton Bradley’s Simon, worship Star Wars, and rewind the crane-kick climax of The Karate Kid in amazement. That’s not to suggest the film doesn’t have balls; [REC] franchise director Paco Plaza appears all too happy to burst out the gore when it’s called for, and the ending leans more naughty than nice. —Rod Lott

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Silent Night, Bloody Night (1972)

snbnOn Christmas Eve 1950, the only thing roasting at the Wilfred Butler mansion was Wilfred Butler himself! Mysteriously dying by fire, he left his estate to his only surviving family member, grandson Jeffrey (James Patterson, In the Heat of the Night), with explicit instructions to leave the house untouched. Twenty years later, Jeffrey and his attorney (Patrick O’Neal, The Stepford Wives) — neither of whom has stepped foot inside the place — come to town to negotiate its sale.

Coinciding with their yuletide arrival, the sleepy small town is terrorized by an escaped lunatic out for revenge, citing the ol’ crimes-commited-years-earlier reason. What director Theodore Gershuny (Sugar Cookies) attempts to pass off as suspense is actually poor story structure. By not revealing pertinent facts until the second half, viewers are left to wonder just what the holy hell is going on.

snbn1That’s why the back half of this mouse-quiet shocker is better, if not gorier. The extended asylum-revolution flashback is genuinely disturbing, as is the finale. Alternately stylish and amateurish, Silent Night, Bloody Night is often slow-moving, but effective in building atmosphere that’s palpable even in the shoddy public-domain prints.

Over the years, I’ve found it’s a movie that improves a bit with each viewing — all but its gratuitous Mary Woronov voice-over — once you come to peace with what it is and what it is not. And it is most definitely not Silent Night, Deadly Night, so don’t confuse the two. —Rod Lott

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