Deathsport (1978)

Producer Roger Corman’s Deathsport has long been pegged as a semi-sequel to Death Race 2000, but don’t you believe it. Although it reunites Corman with star David Carradine; has “death” in its title; and involves one effed-up sport of the not-too-distant future, it has nothing to do with that 1975 film, which is a satirical riot.

Even with Claudia Jennings dancing naked in a room strewn with Christmas lights, this one is boring. At least for the first 30 minutes, in which peaceniks on horses are zapped into oblivion by the bad guys. And hey, check out the so-called “mutants,” with ping-pong-ball eyes. Carradine and Jennings both find themselves held captive by Richard Lynch, in a cell bathed in depressing red light.

But then the games begin, and Deathsport kicks into higher gear, as our two heroes are given swords and forced to participate in a gladiatorial-style showdown wherein they’re pursued by souped-up-with-welded-metal motorcycles that make the same cartoony sound each and every time they swoop by.

Then it’s a chase for the remaining running time of a short, sweet 82 minutes. Hope you like motorcycles, fighting with torches, and some dumb-ass with blond hair who struggles to remember his lines. Bonus: woozy cycle-cam during obstacle course finale! —Rod Lott

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Shock (1946)

In a hotel, a woman witnesses a matrimonial murder that sends her into a state of shock, so she’s sent to a sanitarium, where she’s treated by … the doctor who committed the crime she saw! Dun-dun-DUNNNNN!

That’s the setup of Shock, an acceptable, brief little noir thriller of psychosis, infidelity and insulin overdoses.

Before he hit it big at horror, Vincent Price acts impressively as the crooked doc, while his bedridden charge is played by Anabel Shaw. As long as he keeps her loony, she can’t finger him as the killer. Shock grows a little melodramatic as it reaches its end, but is worth seeing for an overlooked Price performance. —Rod Lott

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The Ghost in the Invisible Bikini (1966)

Disjointed but markedly entertaining (maybe it’s all the breasts) is The Ghost in the Invisible Bikini, the ninth entry in AIP’s highly successful Beach Party series. There’s nary a Frankie nor an Annette, but their absence matters not. Hell, in my book, nothing else matters when you have super-stacked Susan Hart (Dr. Goldfoot and the Bikini Machine) in your movie. It’s just too bad her damned bikini is invisible!

She fills the spiritual role of a recently departed, but still totally hot soul who hangs around the haunted mansion of newly dead Hiram Stokely (Boris Karloff), whom Hart tells can gain entrance into heaven and be young again if he can do a good deed within 24 hours. Four of his potential heirs — including a golly-gee Tommy Kirk and corrupt lawyer Basil Rathbone — show up at the house for the reading of his will and to find his hidden million-dollar fortune.

Coinciding is the arrival of a busload (literally, a busload!) of teenagers in their swimsuits, shaking their tailfeathers to the groovy tunes of the Bobby Fuller Four, who experience seizure-like jerks as they perform. A MILFy Nancy Sinatra is among the bunch, and she belts out a number of her own. There’s a plant among the teens in the form — and oh, what a form! — of Quinn O’Hara as Sinestra, a curvy, busty, nearsighted redhead who plots to kill one of the young men on the hunt for the treasure. What is it about attempted murder that makes for lighthearted comedy?

I don’t even have room to mention the gang of bikers led by Eric Von Zipper (Harvey Lembeck), a runaway gorilla, a requisite old lady, the most offensive portrayal of an American Indian in motion-picture history, the basement-housed chamber of horrors, a kajillion non-sequiturs, two kajillion slapstick bits, a knife-wielding mummy in a wig, and a bubble monster roaming the halls.

And of course, the occasional appearance of Hart’s blue-tinted apparition causing all sorts of comic chaos. I’m sure there’s more, but a brain can only hold so much. —Rod Lott

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Ninja III: The Domination (1984)

From even the most generous of viewpoints, Ninja III: The Domination is an objectively terrible film, filled as it is with poorly performed stunts, choppy editing, indifferent direction, cheap-ass special effects, bland cinematography, lazy scripting and a range of truly lamentable performances.

No rational critic on the planet would be bold enough to suggest that it is anything other than a blatantly transparent ’80s attempt to combine the popularity of The Exorcist, Enter the Ninja and Flashdance into a blandly inoffensive package that is just watered down enough to work for kids, while also satisfying moronic adults on the lookout for an impressive body count.

Thankfully, I am not a rational critic. Ninja III: The Domination happens to star Lucinda Dickey, the iconic star of Breakin’ and Breakin’ 2: Electric Boogaloo, which is more than enough to compel me to watch it every chance I get.

How could I not? It’s a blatantly transparent ’80s attempt to combine the popularity of The Exorcist, Enter the Ninja and Flashdance! It don’t get any better than that!

Dickey plays Christine, a California linewoman/aerobics instructor who becomes possessed by the vengeful spirit of a Japanese ninja assassin who was killed in a truly ridiculous hail of police gunfire. Under the spirit’s control, Christine begins to stalk and kill the cops involved in the shooting, until Sho Kosugi arrives to drive the spirit out of her and battle the resurrected ninja one on one, because, “Only ninja can kill ninja!”

Awesomeness. —Allan Mott

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Timecrimes (2007)

The less you know about Timecrimes, the better, because spoiling the film would … well, spoil it. I can tell you that it’s Spanish, but don’t let the fact you have to read subtitles keep you away. If you’re the type who digs mind-bending thrillers, prepare to have your medulla oblongata raped.

So this middle-aged guy named Hector (Karra Elejalde) sees something through his binoculars from his middle-of-nowhere home: a naked lady and a guy with a creepily bandaged face. Going to investigate, he finds the girl dead and chased by the guy. He runs to a nearby house for safety, is instructed to enter a silo and then …

I ain’t telling. But part of the title spills the beans. And writer/director Nacho Vigalondo does a masterful job in making the story click as it goes through its many precise machinations. Just thinking how he got the idea and actually made it work makes my head hurt, but in a good way.

Pop some Advil and pop this one in the player. Tick-tock, you don’t stop. —Rod Lott

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