Flamin’ Hot (2023)

WTFIn most biopics, the truth is often tangled, even fabricated. While I know many people already look at them as reality stretched to a breaking point, I tend to give the benefit of the massive doubt with cultural biopics I’m more entertained by.

And, like the snack food they epitomize, Flamin’ Hot is a real maltodextrin of a film, with the classic Cheetos taste reimagined for a new hungry audience. In other words: Latinos like movies based on our own snacks. (Hey, Bimbo: Your screenplay about the raisin pound cake is in turnaround!)

Born and brought up in a Southern California labor camp, Richard Montañez was a small-time businessman as a kid, charging students a quarter for a bean burrito. Of course, once he had the money to pay for candy bars, a cop said he was a thief, charging him with robbery. Fuckin’ cops, man!

As times change, Richard (now played by Jesse Garcia) and his girlfriend are petty criminals in the barrio. But with a kid on the way, they put that stuff behind them and look for work while white people call them “wetback” multiple times. Richard finds a job at Frito-Lay. With his only qualifications being a Ph.D. — “poor, hungry and determined” — he starts at the bottom: janitor.

While still pushing a broom (despite a stalling economy, thanks to Reagan) he learns all about the chip factory from “engineer maintenance leader” Clarence C. Baker (Dennis Haysbert), which leads him to develop Flamin’ Hot Cheetos and the whole Flamin’ line of products.

With actress Eve Longoria’s capable direction, Garcia is very affable as Montañez, playing a respectable former cholo who makes it to the top. I was also taken back by Annie Gonzalez as Richard’s supportive wife and, unsurprisingly, Emilio Rivera as his stern dad. I hope I never get on this cabron’s bad side!

Snack foods are forever dominant with Latin flavors. Even better, there really is a great story here, even though opinions differ regarding the truth of Montañez’s story; to be fair, I enjoyed the cinematic story anyway. Besides, for every businessman getting a biographical film — from Steve Jobs to Ray Kroc — what’s wrong with a movie based on the snack-work of Montañez? Growing up, not everyone could have a computer, but they always had a big bag of them in their Cheeto-dusted hands!

On it surface, much like the food it fully endorses, Flamin’ Hot looks like a good movie to snack on. But when you get to the meat disodium inosinate/disodium guanylate of the matter, it’s a five-star multicourse meal for many viewers, served Flamin’. —Louis Fowler

Get it at Amazon.

Night Tide (1961)

After playing second fiddle to doomed mentor James Dean in Rebel Without a Cause and Giant, a baby-faced Dennis Hopper landed his first leading role in Curtis Harrington’s independent Night Tide. As Johnny, Hopper’s a naive Navy serviceman spending his shore leave on the Santa Monica Pier. Inside a jazz club, he meets the mysterious Mora. How mysterious? The woman lives above a merry-go-round, calls eating at 11 a.m. “breakfast” and works at the boardwalk’s carnival as a “lovely siren of the sea.” That’s a euphemism for “mermaid.”

The longer the sailor courts Mora (Linda Lawson of William Castle’s Let’s Kill Uncle), the more Johnny suspects she may be an actual mermaid. After all, she’s skittish and vague about her background, and followed around by a witch (Marjorie Cameron, subject of Harrington’s The Wormwood Star). Then there’s the matter of Mora’s boss (Sherlock Holmes film series veteran Gavin Muir, in his final big-screen appearance) warning Johnny that dating her is literally dangerous, what with the dead boyfriends in her wake.

The first full-length movie from iconoclast writer/director Harrington (Queen of Blood), this is your basic story of boy meets girl, girl might have a smelly fish tail. Causing barely a ripple upon release, the black-and-white SoCal Gothic is revered today as a masterpiece of mood — recognition no doubt accumulated from its longstanding residence in the public domain.

So dreamy is Harrington’s visual spell, any shortcomings — like the phony arms of the octopus Johnny wrestles — tend to fall from a critical eye’s line of sight. Numerous examples of true art can be found among this rinky-dink production’s frames. Although Night Tide is streamable in color, don’t; seriously, it kills a considerably intoxicating vibe. —Rod Lott

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Only the Good Parts: Volume 2 (2022)

WTFFor any psychotronic trailer compilation worth its salt, like Only the Good Parts: Volume 2, the intermission is the mission. Film Trauma‘s follow-up to first portion packs nearly 40 uncut previews into 70 fun-filled minutes, nary a one wasted and many featuring narration by guys who pronounced “horror” as “har-uh.”

With grindhouse icons like Al Adamson, AIP, Hammer and Paul Naschy represented, the program covers exploitation, sexploitation, Mexploitation — even Orson Wellesploitation, if that’s a thing. This second batch comes stool-loosely organized into themes of vampires, mad scientists and their experiments, high school hellions, hairy beasts and haunted houses. Heck, you’ll even find a run of half-dozen trailers for Don’t movies, warning against everything from answering the phone and going inside to looking now.

Speaking of not looking, the trailer for René Cardona Sr.’s Night of the Bloody Apes notably features an eyeball squeeze that today looks like YouTube’s ever-popular pimple-popping videos.

While that Mexican monster classic may be a common offering among trailer tapes, the same can’t be said for Japan’s disturbofest Bijo No Harawata (aka Entrails of a Beautiful Woman), Claudio Fragasso’s goopy After Death (aka Zombie 4) or especially the nude and hirsute sideshow attraction The Gorilla Woman (aka Dwain Esper’s Forbidden Adventure, I assume, represented by footage assuredly not in the 1935 picture).

Further proof the collection doesn’t skim off the top are The Loreley’s Grasp, The Unseen and House of Missing Girls. We can’t leave without mentioning The Raw Ones, whose narrator (“They throw their cares and their clothes to the wind!”) has the audacity to claim the 1965 documentary is “wholesome,” just as a totally nude woman jumps rope and a totally nude man trampolines. (Dramamine sold separately.)

The DVD of Only the Good Parts: Volume 2 features a bonus program, VHS Madness, merely an extra 10 minutes of spots. You’ll see Bloodeaters, Blood Farmers, Bobbie Bresee boobie and a kick-ass ad for Orange Shasta. —Rod Lott

Get it at Film Trauma.

Flesh Feast (1970)

Poor Veronica Lake. The Hollywood icon starred in Preston Sturges’ classic Sullivan’s Travels, burned brightly opposite Alan Ladd in several films noir and earned screen-siren status thanks to That Hair. Yet her career ended as no one anticipated: looking 20 years older than she was, applying maggots to the screaming face of Adolf Hitler.

I speak of the ignoble Flesh Feast. Despite the title, it’s not the doing of H.G. Lewis; if it were, it wouldn’t be so forgotten. Flesh Feast is, however, the first film for writer/director Brad Grinter, who soon enough served up an even bigger turkey — in more ways than one — with Blood Freak.

Lake’s Dr. Frederick uses the aforementioned maggots as the Botox of the day. By manipulating the color spectrum or some bullshit like that, she’s able to make the larvae munch on that savory human skin, effectively de-aging her patients.

While most of the movie takes place in a house — Dr. F does her magic in the basement, as her lady clients bunk upstairs — but begins at an airport where some poor schmo in a phone booth is fatally stabbed by the end of a passing janitor’s mop.

Confused? You should be. It all ties to Dr. Frederick’s arms-dealing boyfriend, which is how the flaccid Führer eventually gets involved. Cadavers are stolen. Limbs get sawed. Corn liquor is suspected. Don’t try to wrap your head around it, because I don’t believe Grinter bothered to. This thing is as scrambled as eggs in a Category 5 hurricane. Let’s put it this way: It sure could use a turkey man-monster.

At one point, the good doctor is asked what a noise was, which she explains away with, “Oh, just alley cats and trash cans.” The same applies to Flesh Feast: That racket? Why, p’shaw, it’s nothing. Pay it no mind. —Rod Lott

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Her Odd Tastes (1969)

Heard the buzz? It’s just Marsha Jordan’s vibrator. At the movie’s start, she rubs the battery-burnin’ device all over her face and head, which is not how it’s supposed to work. Not for nothing is this titled Her Odd Tastes!

Credited (and misspelled?) as “Marsh Jordon,” Ms. Jordan positively #girlbosses her way through as dildo saleswoman Christine. After she and her sister (Capri, College Girls Confidential) examine one another for precancerous lumps, Christine is nearly raped by a knife-wielding medical researcher studying pleasure. She’s saved by a book publisher who proposes she continue testing her attacker’s theory by retracing his thrusts steps collecting, um, data worldwide.

Christine does, starting in Hong Kong, where a prostitute injects her with opium. In South Africa, she attends a party where everyone wears masks, à la Eyes Wide Shut, not realizing the shindig is actually a satanic orgy — replete with a mascot goat’s head!

Dazed, Christine stumbles around (stock footage of) safari animals before she’s found by a game hunter and his wispy-mustached son, Mark. Because Mark’s girlfriend turned out to be a boyfriend, the anguished young man nurses a broken heart, until Christine lets him nurse her sizable bosom, among other activities. When the father tries to muscle in for sloppy seconds, Mark shoots so Dad can’t score.

Finally, in Nairobi, she oils up with a greasy sheik and his belly dancer for a threesome. Admits Christine, “My life is just one sexual merry-go-round.”

And how. Like the wrestling sequences in Santo movies, the sex scenes go on far too long. That said, Jordan is nearly as screen-scorching here as in The Divorcee and Marsha the Erotic Housewife, the latter of which shares writer/director Don Davis with this globetrotting romp-de-bomp. Therefore, I will be visiting the set for impromptu auditions once I finish building my time machine.

And speaking of bizarro contraptions, the film ends with the publisher mounting Christine atop a horizontal-enough La-Z-Boy recliner. Lightning strikes; the chair explodes; they die; the end! As these things go, Her Odd Tastes is a scream. But shhhhh, lest you wish to wake the wife and kids. —Rod Lott

Get it at Amazon.

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