Friday Night At The Home Drive-In: Trick Baby (1972)

I did not see Trick Baby (1972) back in the 1970s or even the 1980s. It was not the first so called Blaxploitation film – or even the second or the third – that I ever saw. I had never even heard of it until I stumbled upon a VHS copy back in the early 2000s. Of course I immediately bought it, as I’d long before discovered that I had an appreciation for these somewhat forgotten pieces of 1970s cinema. And I was not disappointed with this particular example of the genre.

If you are unfamiliar with the term Blaxploitation, you can read detailed explanations on Wikipedia or Encyclopaedia Britannica. 

It is generally accepted that the two movies that started the genre proper were Shaft (1971) and Sweet Sweetback’s Baadasssss Song (1971), so Trick Baby (1972) was a relatively early entry in what quickly became an overcrowded competition for box office dollars. According to Wikipedia, the film cost about $600,000 to make and it grossed $11,000,000 – a considerable profit. So how is it that I’d never heard of it before?

I suppose one reason might be that it didn’t lead to sequels, like Shaft did. Nor did it spark a bunch of similar films starring the same actor(s), a la Pam Grier with Coffy (1973). But I suppose none of this really matters. The fact is that Trick Baby is an excellent crime film. It’s clever, suspenseful, and features a few twists and turns that keep you interested in finding out what’s going to happen. Most importantly, you care about the characters. 

When we first meet ‘Folks and Blue (played by Kiel Martin and Mel Stewart), they are in the midst or ripping someone off. But we are instantly sympathetic to them, because the person they are ripping off is a bad guy (racist, selfish – and in fact he believes that he is ripping off Blue). So, in a sense, the ‘victim’ of the con is getting exactly what he deserves. Not to mention that we can admire the skill, intelligence, and charisma that ‘Folks and Blue possess. They may technically be criminals, but they are kind of like Robin Hood (stealing from rich racists and giving to the poor – namely themselves).

I can think of a few modern films that feature main characters who are killing people (!), who don’t deserve to die, for incredibly selfish reasons – and the filmmakers seem to be asking us to sympathize with the killers! Or to at least to find them interesting for 90 minutes. I find many of those films hard to get through – and I certainly don’t care what happens to the main characters. In fact, I find myself rooting for their victims (and getting no satisfaction, unfortunately). John Waters knew how to make it work in Serial Mom (1994), and Larry Yust, and presumably Iceberg Slim (who wrote the novel), knew how to make it work in Trick Baby. ‘Folks and Blue aren’t even killing people, but they could have been unsympathetic in the hands of less competent writers and directors. The makers of certain modern films should have watched Trick Baby before they put pen to paper, or hit the record button on their cameras. 

I’m purposely not naming any of the offending films or filmmakers because I’m not here to trash other people’s work. And I’m sure that some people LIKE those recent films that I believe are failures. To each their own, as the saying goes. But I would watch Trick Baby a thousand times before I would re-watch any of them. 

Trick Baby (1972) is a #NotQuiteClassicCinema favourite. It has a sense of humour, but it also manages to generate suspense from its earliest moments and then slowly increase the tension over the course of the entire film. A rare feat, in my opinion. You know it’s going to be a memorable #FridayNightAtTheHomeDriveIn when Trick Baby is on the marquee.

Friday Night At The Home Drive-In: The Living Dead Girl aka La Morte Vivante (1982)

I first read about the films of Jean Rollin in books about unusual horror films from around the world. I don’t think I had ever seen a review of any of his films in a regular review book. And I certainly had never seen copies of his movies on VHS or Beta at my local Video Zone back in the 1980s. My impression from these books was that Jean Rollin made artistic, perhaps erotic, movies about vampires. He also made hard core adult films, presumably to pay the bills. On occasion he made other types of films, but vampires seemed to be his main obsession.

While at university, I became a regular customer of Movie Village, a video store with an amazing selection of unusual films for rent (and purchase). This is where I first put my hands on a movie directed by Jean Rollin. Oddly enough, it was not a vampire film. And according to at least one book I had read, this particular movie was one of his lesser ones. It was called Night Of The Hunted (1980), and its description was something like this:

“Stylish, futuristically surreal and a departure from director Jean Rollin’s familiar vampire territory, The Night of the Hunted features a mass of people suffering with insanity and collective amnesia. Bizarre, even by Rollin’s standards, it still displays fairy tale qualities mixed with extremes of sadism, sex and violence.”

I was a bit disappointed that it wasn’t one of his vampire films, but I wanted to see a Jean Rollin film, and my annual holiday movie marathon was in a few days, so I rented it.

The annual holiday movie marathon is a tradition that I established with my friend Brian many years ago. His job requires him to get up ridiculously early in the morning, so by 8:00 PM he’s having trouble staying awake. But every year he takes a couple of weeks off in December and that’s when we make a point of getting together to watch movies. And we are always on the lookout for unusual and interesting horror films.

I brought Night Of The Hunted to his place, along with about a dozen other movies, and explained to Brian that it was probably not going to be Jean Rollin’s best work, but it was all I could put my hands on, so we should give it a try. He agreed.

Well. We both really liked the movie. A lot. “I would buy a copy of that,” Brian said as the credits were rolling, which is amazing because I was thinking the exact same thing. “This is one his lesser films?”

Since that time, I have picked up Jean Rollin’s movies on DVD or Blu-ray whenever I could put my hands on them (for a reasonable price). I’ve only seen a couple of the vampire films, but the strange thing is that (so far) my favourites have been non-vampire films: Night Of The Hunted (of course), The Grapes Of Death (1978), and now, perhaps, The Living Dead Girl (1982).

The Living Dead Girl is almost like a vampire movie in some ways. It’s about an undead woman who seems to need to drink blood. Before I watched it, I was expecting more of a zombie story of sorts. I suppose she is a zombie, technically. But she has a lot more in common with vampires than the average reanimated rotting corpse. For one thing, she looks good. For another, she is an intelligent, thinking being who eventually talks and expresses regret over the things she has done. I’m not really comfortable calling her a zombie or a vampire. I think she is her own, unique creation of Jean Rollin.

The most basic description of the plot of The Living Dead Girl goes something like this:

Two bumbling fools dump toxic waste in a crypt and accidentally revive a beautiful, dead heiress who kills them and goes on a rampage. 

This sounds like the plot of a Troma Team camp-fest (and more than a little like a play I once wrote called The Inner CIty Dead – minus the dead heiress), but it’s a much more serious affair than that. The heart of the film is the relationship between Catherine Valmont, the heiress, and her childhood friend Hélène. We see flashbacks of them as children, pledging eternal friendship. When Hélène discovers that Catherine is somehow still alive, she comes to the château to be with her. Hélène tries to keep Catherine alive, no matter what the cost. But Catherine begins to see herself as evil, and wants Hélène to help her die.

The surprising thing about The Living Dead Girl is how truly moving it is. You might come for the gore and the nudity, but you’ll stay for the emotional punch in the solar-plexus. And that’s a rare thing in exploitation filmmaking. I’m starting to suspect that’s it’s not such a rare thing for Jean Rollin, who seems to imbue his monsters with a sense of tragedy, and sadness. His movies aren’t for everyone, as they can be slow paced and challenging in many ways. But for those who are attuned to his particular style of storytelling, they can be very rewarding and cathartic experiences.

The Living Dead Girl (1982) makes for a more thoughtful, melancholy #FridayNightAtTheHomeDriveIn than Angels’ Brigade or American Ninja 2, but that’s the nature of the beast. There are many different kinds of #NotQuiteClassicCinema, and I like to experience them all. I’m looking forward to my next Friday night with Jean Rolllin, but it won’t be right away. I need time to let The Living Dead Girl properly sink in. And at this moment, it’s hard to imagine how he will ever top it. 

Friday Night At The Home Drive-In: Angels’ Brigade aka Angels’ Revenge (1979)

I once almost wrote a musical like Angels’ Brigade (1979).

I was in the midst of my most successful fringe tour in the summer of 1997, with a show called Sorority Girls Slumber Party Massacre: The Musical. Everywhere we went we were doing boffo box office and I was starting to ask myself “How am I going to follow this?” I had a cast of regulars, mostly female, with whom I was hoping to work again. And I had a certain style, or “brand” as some people might say. I needed an idea that would not only appeal to me, but to the fans of my current and previous shows. After a couple of all night drives down the Trans Canada Highway, I started to think about movies like Angels’ Brigade and how they might just be the perfect fodder for my next musical atrocity. But perhaps I need to back up a little…

When I was at university, I majored in FIlm Studies. There was one class in filmmaking, and another in screenwriting, but most of our time was spent studying films, the way English majors study literature. This was not entirely satisfying to an aspiring writer and filmmaker like me. Fortunately, I also did a minor in Theatre, where most of our time was spent acting, directing, stage managing, building sets, etc. I also had the opportunity to write plays.

The Black Hole Theatre Company, my alma mater’s student run theatre company, accepted submissions of new plays by student writers for possible production. I was excited by the possibility of having a play produced, but I learned very quickly that if I wanted my play to be chosen it had to have a lot of good roles for women.

It didn’t take a genius to notice that there were twice as many women enrolled in theatre as men. And most classic plays, from Shakespeare to Arthur Miller, had way more parts for men than women. The Black Hole Theatre Company, my professor told me, made a point of trying to select plays that had good roles for women. I took this news to heart and wrote a play for three women and two men. It was produced as part of the The Black Hole Theatre Company’s Lunch B.H.A.G.G. series (free plays produced at lunch time).

When I started producing my own plays, at the Winnipeg Fringe Festival, there were no requirements to cast women. But I felt that it was stupid to write a lot of parts for men, when there were clearly more women interested in being in plays. And from a practical point of view, I knew that I had access to lot of good female actors (friends and acquaintances from university). There were already enough plays filled with parts for men, and not enough good men to fill them. So, I wrote plays with more parts for women.

This culminated with my first musical, Bad Girls Jailhouse in 1994. My previous plays had all included one man – and I toyed with the idea of having a male guard, or warden – but in the end I wrote a play for seven women. Yes, seven women. Smarter people than me were producing one person shows, in which they stood on a bare stage and talked for an hour (like a stand up comedian). I was producing a musical with props and costumes. And seven actresses. Apparently I wasn’t concerned about making a profit.

Two years later, I took Bad Girls Jailhouse on the road. It was my first fringe tour, and it was a success. But nothing could have prepared me for the success of Sorority Girls Slumber Party Massacre: The Musical in 1997, and then later in 2001. It sold out performances and broke box office records. It was a play that featured four women and one man.

Both Bad Girls Jailhouse and Sorority Girls Slumber Party Massacre: The Musical. were satires of film genres. I had always imagined that I would be writing and directing films. But in the pre digital video, pre internet days of my early career, making films was expensive! Even if I had made a short three minute movie, it would have cost me hundreds of dollars and I would have never made that money back. For the same amount of money (or less), I could write a one hour (or ninety minute) play and produce it at the fringe festival. And wonder of wonders, the plays could actually make a profit!

But being a film fan, and a filmmaker at heart, I chose to write plays that were kind of like movies. My specialty became musical spoofs of film genres. Mel Brooks was one of my heroes. He taught me, among other things, that the best satire is a labor of love. He often included musical numbers in his films, which were always a highlight. I saw myself doing things that Mel might have, but with more unusual, or perhaps less respected film genres. So, after the success of Sorority Girls Slumber Party Massacre: The Musical, I was looking for another offbeat film genre I could lovingly satirize. One that involved a large proportion of female characters…

And that’s what made me think of films like Angels’ Brigade and The Doll Squad (1973). I don’t know if there’s an official name for that subgenre of cinema, but someone I know once referred to them as “female commando movies.” Interestingly, some say that The Doll Squad was the inspiration for Charlie’s Angels (1976-81). Angels’ Brigade was clearly named to cash in on the success of that show, which was at the height of it’s popularity. I wouldn’t call Charlie’s Angels “female commandos”, so that may be a misnomer. I’ll have to come up with a better term for them…

In any case, I thought that a musical about a team of female agents/detectives/vigilantes sounded like a really fine idea back in 1997. Unfortunately, that never happened. But it did give me an excuse to revisit movies like this one…

Angels’ Brigade aka Angels’ Revenge aka Seven from Heaven (1979) is undoubtedly a bad movie. It scores a 2.0 on the IMDb, which is lower than a lot of movies that aren’t worth anyone’s time. But Angels’ Brigade is the kind of “bad” that can be a whole lot of fun to watch (if you have a taste for it). The assembling of the team, and the explanation of each member’s purpose, is almost as hilarious as the brilliant SCTV sketch Maudlin’s Eleven (1982). For example, they need someone to distract the guards at the front gate of an isolated drug processing compound, so they bring in a beautiful model played by Noela Velasco, whose only other credit is an episode of Chico and the Man (1974–1978).

But they are ALL beautiful women, including Susan Kiger, a former Playboy playmate. I don’t think they needed to go outside the group of six to find a woman who could distract a couple of guards. But much like Maudlin needed his team to add up to eleven (and so brought in The Harmonica Gang to wait by a pay phone), Angel – wait, there is no Angel – April, a schoolteacher played by Jacqulin Cole, needs her team to add up to seven – as in “seven from heaven”, so she’s got to have a professional beautiful woman to walk up to those guards and bat her eyelashes. Makes sense to me.

Schoolteacher April (Jacqulin Cole, real life wife of director Greydon Clark)  and Las Vegas entertainer Michelle (real life Playboy playmate Susan Kiger) recruiting stuntwoman Terry (Sylvia Anderson).

Oh, and in case you haven’t figured it out, this is #NotQuiteClassicCinema gold. It’s the kind of movie magic that makes sifting through bargain bins of unwanted VHS tapes worth it. Or in my case, watching random movies on TV late at night.

The man responsible for Angels’ Brigade is Greydon Clark, the auteur of such #NotQuiteClassicCinema greats as Black Shampoo (1976), Satan’s Cheerleaders (1977), Without Warning (1980), and Joysticks (1983) – all of which are in my personal library. Apparently he first conceived of Angels’ Brigade as a blaxploitation picture (not unlike Black Shampoo), but in the end he went with a multicultural team of women that included Sylvia Anderson, as the 6’1″ tall stuntwoman, and Lieu Chinh as the shorter martial arts expert. Here they are sandwiched in between the schoolteacher and the beautiful model:

The seven from heaven are rounded out by real life sisters Robin and Liza Greer. They are two of the women who tell their stories in the book You’ll Never Make Love in This Town Again (1995), which appears to be an expose of prostitution and sex with celebrities in Hollywood.

Real life sisters Robin and Liza Greer in Angels’ Brigade.

One of the most remarkable things about Angels’ Brigade is its star-studded supporting cast. When I first stumbled upon this movie on late TV, one of the reasons that I couldn’t stop watching it was that every few minutes another recognizable TV actor would make an appearance. The movie seemed to be, to my relatively untrained eyes, extraordinarily bad – but all of these famous actors were in it! How could that be?

Top of the list for me was Jack Palance, who I used to see on Ripley’s Believe It or Not! (1982-86) and in movies. Perhaps even more shocking to me was the presence of Jim Backus and Alan Hale Jr. – both from Gilligan’s Island (1964-67) which I had watched religiously in reruns. Other recognizable faces included: Peter Lawford, Neville Brand,, Pat Buttram, and Arthur Godfrey. I didn’t recognize Darby Hinton at the time, but I would get to know him later thanks to the mighty Malibu Express (1985). 

As a kid, I knew nothing about the common exploitation filmmaking technique of hiring recognizable “names”, or actors with name recognition, paying them for one day of work and then putting their names and/or faces on your poster, in your trailer, etc. Often they would be actors who used to be successful, but had fallen on hard times. I’m not saying that this was the case for any of the people in Angels’ Brigade, but according to the cinematographer, Peter Lawford would show up drunk with a woman on each arm, and perform his scenes sitting in a chair because he had trouble standing.

I could go on about Angels’ Brigade all day, but I’ve probably already written more words than could be reasonable justified. Don’t get me wrong, I love it. Nostalgia is undoubtedly a factor, but it also a camp classic – a minor masterpiece of #NotQuiteClassicCinema – and I could happily watch it on any given #FridayNightAtTheHomeDriveIn.

Friday Night At The Home Drive-In: Burn, Witch, Burn AKA Night of the Eagle (1962)

My back has been acting up lately. I don’t know why. I recently lost 15-20 pounds so, if anything, my back should feel better not carrying that extra weight around. But then again, I’m no stranger to chronic aches and pains. My neck, my jaw, and my upper back are often stiff and sore at the end of the day.  I’ve even been known to experience inexplicable pain in my left arm (which one can’t help but recognize as a possible symptom of a heart attack). The first time I experienced the arm pain, I went to see a doctor at a walk in clinic.

“Hold your arm like this,” he said to me, placing it in an upright, fist waving sort of pose. He then took hold of it and pulled it toward him. I offered no resistance, so my arm immediately folded over into a straight line.

“No, no, no,” he said. “Don’t let me pull it.”

Oh. Okay. I curled my arm upward until my fist pointed at the ceiling and tightened the muscles as if I was holding onto someone who was dangling off the edge of a cliff. The doctor grabbed my arm with both hands and tried to pull it toward him. He threw all of his body weight into it, and suddenly he was Lou Costello and I was Buddy Baer, or Frankenstein’s monster, or some other immovable person, and Abbott was shouting from offstage “Are you gonna let him get away with that?!”

I should perhaps mention that my Dad introduced me to weightlifting when I was young, and twenty some years later I was still using his old dumbbells to do two or three exercises a day. Hardly a serious training program, but it was a way of adding a little bit of activity to my long hours spent sitting still at a desk.

My arm didn’t budge, and the doctor let go, out of breath. “Well, there’s nothing wrong with that arm,” he laughed. Then he got a little more serious. “The only other thing it could be, is your heart,” he told me. “You seem a little too young for that, but we might as well do a test.”

So, the doctor hooked me up to an E.K.G. and tested my heart. When it was over, he approached with a handful of paper. “To me, ” he said “this looks perfectly normal. But I’ll send it to a cardiologist just to be sure. If there’s a problem, we’ll give you a call.”

They didn’t call. But did that really mean I was okay? Or were they just taking their time get ting back to me?

When my arm flared up again a year later, I went back and saw a second doctor. He was able to confirm that there was nothing wrong with my heart. HIs theory was that a tight neck muscle was pinching a nerve which was referring pain to my arm. “It’s probably caused by something simple, like that way you sit at your desk,” he suggested.

This was years ago, and since then I’ve seen a couple of physiotherapists who have given me exercises to deal with various chronic injuries. I’ve also tried to sit in a better way, in a better chair, etc. and I’ve even made myself a standing desk so I can work while standing up. Unfortunately, standing all the time causes other problems, with my feel, knees, etc. So, I try to mix things up on most days.

A couple of years ago, I was given an opportunity to write scripts for a half hour true crime television series. The only catch was I had to write one script on spec, as a kind of audition. If they liked it, they’d pay me for it, use it, and then hire me to write a whole bunch more. I only had a few days to write this demo script, and because it was my “audition”, I wanted to make it as good as I could. So I sat in my desk a lot, writing. I think I sat there for about 18 hours on the last day, not moving until the script was done.

The good news is that the producers loved it. While I waited for them to send me a contract and a bunch of other paperwork, I started my daily routine of stretching and exercising. I had been doing it for over two months, and I was feeling much better.  I had lost close to 20 pounds, and I had not been in pain for weeks.

And then, as I was in the midst of one of the most basic stretches, my back suddenly screamed at me. I could barely get up off of the floor. Once I was standing up straight I felt okay, but trying to get and in and out of a chair was murder. And I had several pieces of paper to print out, sign, scan and send back to the TV producers. I wound up awkwardly signing them against a wall.

To make this ridiculously long story a tiny bit shorter, the back pain stuck around for a few days and then disappeared.

Now, three years later, it’s mysteriously returned . And just like last time, I’ve been exercising and stretching more –  and I’ve recently lost weight!  So, apparently those things are bad for you…

It’s true that, like last time, I’ve also been spending more time sitting at my desk. Perhaps this could be at the root of my problems. But on the other hand, it could be something more sinister…

In Burn, Witch, Burn AKA Night of the Eagle (1962), a college professor, who seems to have all the luck, discovers that his wife is a witch, and that she has been protecting him from the evil forces that could destroy his life and/or career. He is, of course, a non- believer, and forces his wife to stop with all her silly, superstitious mumbo jumbo. Unfortunately for him, this is when everything in his life starts to go wrong. Is witchcraft real? The professor, and the viewer, will have to decide before the end of the movie.

I had never seen Burn, Witch, Burn before last friday. It’s a British horror film, not dissimilar to something Hammer might have done. Perhaps a closer comparison could be made to Curse of the Demon (1957), or Horror Hotel AKA The City of the Dead (1960), or even Rosemary’s Baby (1968), in which a husband’s career may be affected by supernatural forces. 

So, perhaps if my inamorata had placed the right charms around our home, my back pain would have never returned, and my last play would have been a smash success…

Who am I kidding? That kind of thing only happened in the 1960s.

In any case, I liked Burn, Witch, Burn very much. I knew right away that I was in horror heaven, when a voice boomed out at me with this warning/disclaimer: “Ladies and gentlemen, the motion picture you are about to see contains an evil spell, as used by practitioners of witchcraft for centuries… ” I believe that this was actually added by the American distributor, American International Pictures, but it loved it.

Burn, Witch, Burn AKA Night of the Eagle (1962) made for a perfect #FridayNightAtTheHomeDriveIn. Fans of atmospheric, intelligent, black and white, British supernatural horror films (or any portion thereof), should definitely seek this one out. I know I am delighted to have it in my #NotQuiteClassicCinema library, and I will be enjoying it again sometime in the not too distant future.

Olaf’s Bag of Horror

Sounds kind of ominous, doesn’t it? Let me explain…

Olaf is a good friend of mine. He’s a composer and music producer. We’ve collaborated on a couple of musicals over the years. Olaf composed the music for a Hollywood horror film that was being shot in Manitoba a while back. The director of the film wanted to hang around after his job was done and kind of oversee the post production phase. More importantly, he wanted a place where he could be alone for a while to write the screenplay for his next feature length horror film. The local producers were trying to figure out where they could they send the director when Olaf overheard and said “He can stay at my cabin.”

The producers looked at Olaf and said “How much would that cost?”

“Nothing,” Olaf said. “No one is using it right now. He can stay there as long as he wants – for free.”

The producers loved this idea, as they didn’t have money in the budget to rent a place. So, the director set himself up at Olaf’s cabin. He bought a bunch of horror DVDs from the bargain bin of Movie Village (the best video store in town, now defunct) and took them with him to provide inspiration. Presumably he watched them when he took breaks from writing. And then, when his screenplay was done, the director caught a plane back to L.A. and told Olaf that he could keep the DVDs.

Olaf knows that I am a big horror fan, so he sent me an e-mail which read:

“Hey Angus,… I have a bag full of miscellaneous horror DVDs to give away. Some really fringy stuff in it… Do you want them? If so they are yours.”

A big bag of horror DVDs? Hell, yes!

I met Olaf at his favourite Indian buffet and he told me the whole story. The DVDs were in a large reusable shopping bag, close to forty movies total. Some I’d seen before, but many were new to me. There were a small handful which were not actually horror movies, but I guess you have to expect a certain amount of chaff with the wheat. I thanked Olaf and assured him that I would get many hours of entertainment out of this bag.

My first instinct was to take the movies out of the bag and sort them into piles: movies I’ve seen before, movies I want to see, movies I know nothing about, etc. I could even get really specific and, say for example there was a werewolf movie in there, put it in a pile to watch on #WerewolfWednesday.

But then I stopped myself. I already had an interesting, if somewhat random, collection of movies in this bag. Why mess with it? I used to have a big box of old DVDs and VHS tapes that I had never watched. I decided to make a point of finally going through it, one movie at a time. Every saturday night I would reach into the box, pull out a random movie and watch it. I started tweeting about it:  “Random Saturday late night movie pulled from storage box” was what I called it. I eventually shortened it to “Random Saturday late movie” and then #RandomSaturdayLateMovie.

I no longer have the box. Well, actually I do but there’s not much left in it. I’ve taken to streaming a random movie off of Shudder or YouTube – and yes, it’s random. At least as much as a box full of movies is random. The choices are limited to what’s inside the box, or in this case, the 20 or 30 movies I have on my Watch Later playlist. I use a random number generator to make the selection. No time wasted agonizing over what I might be in the mood to watch.  And even if the movie looks terrible and I can’t remember why I placed it on the list, I watch it. Sometimes I discover a lost gem. Other times, well…

This brings me back to Olaf’s bag of movies, or rather, Olaf’s Bag of Horror. Seems to me that it’s another perfect opportunity to watch a random movie and experience whatever unexpected delights, or horrors, it may bring me.

Rest assured that I will reaching my hand into that bag very soon – perhaps once a week, if I can settle on a perfect day for it. I intend to keep my #RandomSaturdayLateMovie for the time being. It’s a good way to keep up with the more current releases. #OlafsBagOfHorror will likely be somewhat more behind the times. Who knows what’s in it?

I’ll soon be finding out. And, if anyone besides me ever reads this blog, so will you…