Madcap Screencaps #42
Can you guess what movie or TV show we’re watching? We’ve turned on subtitles (when available) not to give you a clue, but to enhance that WTF effect! Leave your best guess in the comments to prove your true Flick Attackosity!
Bates Motel (1987)
Complain all you want about the sequels and Gus Van Sant’s shot-for-shot remake, but in reality, the made-for-TV Psycho spin-off known as Bates Motel does more damage to Alfred Hitchcock’s classic film than anything else. Cross Psycho with The Love Boat and you get this utterly miserable, hour-and-a-half comedic thriller.
Bug-eyed, open-mouthed Bud Cort (Harold and Maude) stars as Alex, the best friend of Norman Bates during all their institutionalized years. Upon death, Norman has left the Bates Motel to Alex, who plans not to level it, but reopen it. Upon his release, he has to contend with all sorts of crazy things that confuse and puzzle him so, like fast food drive-in speakers and Lori Petty in a chicken suit.
Adding a café and fountain, Alex reopens the place to quite an eager crowd. First, suicidal writer/aerobics instructor Kerrie Keane (The Incubus) shows up with plans to off herself in the tub. Then Khrystyne Haje (that tall redhead from TV’s Head of the Class) intervenes and drags her to an impromptu sock hop with all her friends, where she’s hit on by a career-nadir Jason Bateman. This all prompts Keane to reconsider the value of life, although she’s been hit on by Jason Bateman and has come into contact with Lori Petty, chicken suit or not.
Bates Motel offers one ray of hope when it appears that Mother Bates — in a Scream-like outfit — has come back to kill off the guests, but that quickly becomes a double Scooby-Doo ending. Absolutely, profoundly pathetic. —Rod Lott
Hot Rods to Hell (1967)
If you’ve ever wondered what Cape Fear and/or Duel might have been like by way of Leave It to Beaver, by all means check out Hot Rods to Hell, a hilariously outdated, candy-colored creed against juvenile delinquents and their red jalopies.
Dana Andrews (Airport 1975) and Jeanne Crain (Skyjacked) portray the Phillips family heads who decide to buy a motel after Mr. Phillips injures his spine in an auto accident. En route to their new home, they’re menaced by three clean-cut youngsters in a red hot rod who don’t like the idea of such squares taking over the motel at which they hang. (Hanging out at a motel? Who’s the square?)
First, they bean the little boy with a thrown beer can, prompting him to scream, “All girls are nuts!” Then, they try running the Phillips clan off the road several times, as well as engage in games of chicken. The crotchety highway patrolman gets in a speech: “These kids got nowhere to go, but they want to get there going 150 miles per hour.”
Andrews is certainly no hero; every time he springs into action, he has a back spasm. Plus, everything he says sounds drunk. Crain overemotes at every opportunity, but she’s hot in that middle-aged, snotty, redhead-housewife way, so I’m cutting her slack. —Rod Lott
DarkWolf (2003)
If I were in charge, I’d give DarkWolf the more appropriate title of An American Werewolf in Do-Rag, as Kane Hodder (Jason Voorhees in several of the Friday the 13th sequels) plays his role as the horny-werewolf-disguised-as-human with a blue handkerchief tied around his thick noggin for the whole movie.
Hodder is the “DarkWolf” — a hybrid werewolf, explains an all-too-knowing policeman — who must mate with a chosen female in order to ensure the survival of its species. (Its acquisition of a capital W goes unexplained.) The chosen female is a blonde waitress (Samaire Armstrong, TV’s The O.C.) who has no idea of her fate, but soon learns when her “protector” — The Birds‘ Tippi Hedren as cinema’s most well-dressed homeless woman — is slain by the creature, as is the cop’s partner, airheaded Playboy Playmate Jaime Bergman.
Everyone in this straight-to-DVD pile of wolf poo is so unlikable, you wish the DarkWolf would kill them all, and then do himself in. But yet, DarkWolf feels the need to plod along on its grubby paws for an hour and a half, occasionally throwing in just enough gratuitous nudity to keep you from hitting “stop.”
The acting is atrocious, even for a straight-to-video movie of this kind, and the werewolf transformation scenes are downright embarrassing. Whenever it’s time for one of those, the movie turns into a poorly computer-animated cartoon! —Rod Lott