The Garbage Pail Kids Movie (1987)

In the 1980s, we as a nation did some crazy things. We grooved to Toto. We bought “Baby on Board” signs. And we allowed the phrase “a Topps Chewing Gum Production” to appear on theater screens. I blame all the cocaine.

Until Tim Burton unleashed Mars Attacks!, The Garbage Pail Kids Movie was the only film in cinema history based on trading cards. Rather than use a slew of the Cabbage Patch Kids parodic and puerile characters, this PG-rated adaptation hand-picked seven: Valerie Vomit, Windy Winston, Foul Phil, Nat Nerd, Messy Tessy, Ali Gator and Greaser Greg — respectively known for barfing, farting, pants-pooping, pants-peeing, snotting, eating toes and possessing a switchblade. They’re all played by little-people actors in bizarre costumes with minimal facial movement, rendering them more nightmarish than intended.

The Garbage Pail Kids live in a trash can carelessly contained within the detritus of Manzini’s Antiques, owned by the flamboyant, suspiciously single Cap’n Manzini (Anthony Newley, Doctor Dolittle). His lone employee is the 14-year-old apparently homeless orphan named Dodger (Mackenzie Astin, TV’s The Facts of Life), whose in-store scuffle with bullies accidentally lets the brats out of the can. Although Windy Winston greets Dodger by farting in his face, the boy becomes fast friends with the lot, yet pines for a frizzy-haired skank named Tangerine (telenovela actress Katie Barberi).

While helping Dodger nail Tangerine’s attention and affection through the power of trashy fashion, the Garbage Pail Kids are more interested in making mayhem. To wit, they steal a soda truck (“We’re the Pepsi generation!” exclaims Valerie), sneak into a movie theater to see Stoogemania (shown in clips to pad the running time and grant comparative sophistication), crash The Toughest Bar in the World (where Winston lets loose a toot so noxious, it removes the mustache from the bartender’s face), and watch Dodger bathe (but let’s not get into that).

Director/co-writer Rod Amateau (you can’t spell “amateur” without him!) made a legendarily bad film here, but it’s watchable in group jaw-dropping sections of mockery. For a movie made for children, it possesses several scenes of questionable taste, like having the Garbage Pail Kids rip off models’ dresses at Tangerine’s climactic fashion show. What’s worse: That the movie has its titular things sing an original song about teamwork or that Astin spends the third act in a little Chippendale’s bow tie? —Rod Lott

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10 to Midnight (1983)

Dressing down a pesky journalist in the first scene of 10 to Midnight, Charles Bronson’s Lt. Leo Kessler proclaims, “I’m a mean, selfish son of a bitch. And I know you want a story, but I want a killer, and what I want comes first!” I felt like cheering right then and there, and the title hadn’t yet appeared onscreen. The serial-killer police thriller comes from Bronson’s underrated ’80s run with Cannon Films and his fourth of nine collaborations with Conquest of the Planet of the Apes director J. Lee Thompson.

In this film’s case, the murderer is Warren (Gene Davis, The Hitcher), a young, creepy guy in a Members Only jacket who fixes typewriters for the office secretarial pool. He fancies himself quite the martial artist and ladies’ man. He’s definitely not the latter, because he gets rejected all the time, but gets his revenge by stabbing his busty jilters to death.

Examining the corpse of Warren’s latest victim, Kessler theorizes, “Well, if anybody does something like this, his knife has gotta be his penis.” Indeed, Warren’s M.O. is stripping nude before each and every kill, holding a sharp blade at genital height, all rapey-like. As Kessler inches closer to nabbing the scumball, said scumball targets the copper’s daughter (Lisa Eilbacher, Beverly Hills Cop), a student nurse — convenient for a cinematic massacre’s sake.

What makes 10 to Midnight great is not just Bronson being Bronson, but that his Kessler is deeply flawed. He’s not a supercop, but an imperfect man more interested in doing what’s right vs. what’s legal, which irks his idealistic, by-the-book partner Andrew Stevens (The Seduction). It’s also as if a slasher movie focused not on the Final Girl, but the investigating police detective, and Davis is absolutely hateful in his robotic-perv role.

Look for short bits by Kelly Preston in her movie debut and an artificial vagina. —Rod Lott

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YellowBrickRoad (2010)

In 1940, the entire population of Friar, N.H., scaled a mountain trail. Only one person survived, and he went crazy; the others 571 were found frozen, slaughtered or not found at all. Nearly 70 years later, a small group of obsessives follows the same path to unravel the mystery. Interesting premise you have there, YellowBrickRoad, and one you botched completely. Its crime is not being purposefully vague, but utterly boring.

Led by Teddy Barnes (Michael Laurino) and his wife, Melissa (Anessa Ramsey, The Signal), who plan on co-authoring a book on their subject, the group of eight take a hike — literally! — and unfortunately, it feels like one shot in real-time. After a long stretch, weird things start to happen to them — the kind a $500,000 budget can afford: Teddy having nightmares, a compass going willy-nilly, and all hearing music of the old-timey, juke-joint variety that used to score Betty Boop cartoon shorts.

One by one, step by step, the campers sloooooowly go bonkers, and periodic video interviews captured by a psych professor (Alex Draper, Mimic 2) demonstrate their increasing loss of memory and deteriorating spatial orientation. But that doesn’t count as anything “happening.” Little does until the final hour, when — spoiler alert — the mapmaker (Clark Freeman) rips off the leg of his sister (Cassidy Freeman, TV’s Smallville) after she runs off with a stinky hat he found along the trail while urinating. Swiper, no swiping!

Written and directed by feature first-timers Jesse Holland and Andy Mitton, YellowBrickRoad is like having a piping-hot slice of pizza placed in front of you, but being told not to eat it for a while: It looks good and smells good, yet when you finally take a bite, its lukewarm blandness has even your taste buds questioning whether it was worth the effort. The difference is that the movie is interminable, right up to the pointless, pretentious end. At least it’s not a found-footage film, but you’ll still want to click your heels.

Lordy, it’s the worst. As one of its taglines reads right on the DVD cover, “DO NOT FOLLOW.” You’ve been warned. —Rod Lott

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Savage Sisters (1974)

One of many jungle bungles shot in the Philippines, Savage Sisters is a women-in-prison picture with a difference. And that difference is a pinch of Ginger: the star of the sleazy Ginger saga, Cheri Caffaro.

Sorry to disappoint potential viewers, but the Savage Sisters? Not real sisters. (Insert snare drum riff here.) They are subversive liberator and Navy daughter Jo Turner (Caffaro), political fanatic and commando Mei Ling (Filipino starlet Rosanna Ortiz), and their initial enemy, testicle-torture expert Col. Lynn Jackson (Gloria Hendry, Live and Let Die).

Believe it or not, but the story is too political for an AIP exploitation film. It has something to do with a hustler trying to smuggle a million bucks out of a banana republic — the country, not the clothing store — and naturally, everyone wants their hands on it. Everyone also wants their hands on these lithesome ladies, but that’s beside the point.

Jackson is assigned to find the two “hardcore insurrectionists” — revolutionaries Turner and Ling — and find out who they’re working for, or something like that; it doesn’t really matter. Ultimately, the scattered story is all about good vs. evil, with the latter being Capt. Juan Morales (Eddie Garcia). You know he’s bad, because who else wears those orange-tinted sunglasses?

Hidden in a poncho, WIP vet Sid Haig (The Big Bird Cage) is in this confused mess, and he plays his part as if he we were in a screwball comedy. He may be on to something. That would explain Caffaro’s ‘tude with the lines she so unconvincingly growls at her he-man opponents, from “No comment, pork chop,” to “You’re pissin’ in the wind, little man.”

And so does director Eddie Romero (the Blood Island trilogy), who helmed this disappointing flick. He not only forgot to deliver a coherent plot, but also — and most importantly — the nudity. —Rod Lott

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