Tag Archives: Satanism

Back from the Dead (1957) – Friday Night At The Home Drive-In

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POster for Back from the Dead (1957)Back from the Dead (1957)
AKA Bury Me Dead (1957) by #CharlesMarquisWarren
written by #CatherineTurney
w/#PeggieCastle #ArthurFranz #MarshaHunt

A woman is possessed by the evil spirt of her husband’s deceased first wife.

“Did she come back to LOVE or KILL?”

#Horror #Satanism
#NotQuiteClassicCinema
#FridayNightAtTheHomeDriveIn

Every now and then I am surprised to find myself watching a movie made in the 1950s – or early 1960s – that features satanism or satanic rituals. It’s a subject that seems more at home in the horror films of the 1970s. And yet there it is in The Devil’s Hand (1961) and The Devil’s Partner (1960), both of which I’ve talked about in this blog. Much to my surprise, it’s also an important part of Back from the Dead (1957).  Continue reading →

Friday Night At The Home Drive-In: The Devil’s Hand (1961)

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Poster for The Devil's Hand (1961)The Devil’s Hand (1961) by #WilliamJHoleJr
w/#LindaChristian #RobertAlda

Haunted by visions of a beautiful woman, a man is drawn into a Satanic cult.

“The men she loved lived to love no others!”

“Still alive…the ancient cult of voodoo as it is practised today!”

#Horror #Voodoo #DevilWorship
#NotQuiteClassicCinema
#FridayNightAtTheHomeDriveIn

A few weeks ago I wrote about a movie called The Hand (1960). A week before that my topic was Devil’s Partner (1960). If you put those two movies together, you’d come up with The Devil’s Hand (1961). Well, probably not, really, but it’s an intriguing thought. And The Devil’s Hand (1961) did come out one year after the other two… Continue reading →

Friday Night At The Home Drive-In: Devil’s Partner (1960)

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Poster for Devil's Partner (1960)Devil’s Partner (1960) by #CharlesRRondeau
w/#EdgarBuchanan #JeanAllison #RichardCrane

A vengeful old hermit sells his soul to the devil & turns into a young man.

“Half man, half beast–he sold his soul for passion!”

“Doesn’t make sense, a hunk of beef killing a man like Doctor Marx.”

#Horror
#NotQuiteClassicCinema
#FridayNightAtTheHomeDriveIn

I don’t recall seeing a lot of movies about Satanism, or making deals with the devil, when I was a young lad. So, I’m pretty sure I never saw Devil’s Partner (1960) on Not Quite Classic Theatre. The back of the DVD describes the plot like this: “”An old hermit makes a pact with the Devil and, in exchange for his obedience, is given restored youth and vitality. He returns to his hometown, after assuming the identity of his own nephew, and takes up residence in his former home.”

Well, if I hadn’t read that ahead of time, I would have had a lot more trouble understanding this movie. We see an old man die at the beginning. And then we see a young man, his nephew, appear in town looking for him. It takes the movie quite a while to reveal to us that they are in fact the same person. That’s okay. In fact, it might have been better not to blow that twist ahead of time (thanks DVD box). But there are a few other details that only make sense once you realize what’s really going on. Continue reading →

Trash Or Terror Tuesday: FleshEater (1988)

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It’s time for #TrashOrTerrorTuesday

…when I examine a film that’s been languishing in my personal library to determine if it is #Trash or #Terror

– or more importantly, if it deserves to stay in my collection.

And so, out from the dusty shelves of #VHS tapes & DVDs comes…

DVD cover for FleshEater (1988)FleshEater (1988) by #SWilliamHinzman AKA #BillHinzman

College students on an overnight hayride (is that a thing?) come across a group of man-eating zombies and must fight for their lives while trying to escape.

“He lived, he died, he’s back, and he’s hungry!”

#Horror #Zombie
#NightOfTheLivingDead offshoot (or should I say ripoff?)
#TrashOrTerrorTuesday

For those who don’t know, Bill Hinzman was the first zombie seen in the very first modern zombie movie  – George A. Romero’s Night of the Living Dead (1968). He’s the one who attacks Barbara and Johnny in the graveyard at the very beginning of the film. Hinzman worked with Romero on many of his earliest films, including industrial films and the recently rediscovered The Amusement Park (1975). Hinzman usually worked as a cinematographer, photographer, grip, and other behind the scenes jobs. But he also acted in a number of different films, usually in tiny roles such as “Drunk Guy in Bar” or “Mustachioed Archer in Tree”.

Apparently, Hintzman went to a science fiction convention sometime in the 1980s to visit a couple of friends who were appearing there. As he walked through the crowded room he discovered that people were recognizing him from his famous Night of the Living Dead appearance. They were excited to meet him, and perhaps even wanted his autograph. This made Hinzman think “Hmmm, maybe I should do something about this…”

So, Hinzman decided to more or less reprise his role as a zombie in a new movie called FleshEater (1988). He looks pretty much the same as he did in Night of the Living Dead, but a bit older. Oddly enough, he always seemed older than he really must have been in Night of the Living Dead  – perhaps in an attempt to be a more credible dead guy. In FleshEater he is finally the right age for the part.

FleshEater (1988) is clearly an offshoot (or should I say ripoff) of Night of the Living Dead. There are scenes and moments that are virtually remakes of the original film. Normally this would be a major turnoff, but because it’s Bill Hinzman doing it, he kind of gets a pass.

The acting is pretty amateurish in FleshEater, and most of the performers never did anything before or since. Vincent D. Survinski seems to reprise his role as Vince, a Posse Gunman from the original Night of the Living Dead. A few others had appeared in previous Romero, Hinzman, or John A. Russo films.

The script is pretty bad, and lacks a clear story or any kind of character development. In fact, there aren’t really any main characters, as the films drifts from one unlikely scenario to the next. A couple of the characters recur throughout the film, but we don’t really focus on them.

What FleshEater does have going for it is some pretty fun and imaginative low budget gore effects – and some surprisingly over-the-top sleaze, including a full frontal shower scene that leads to a fully naked zombie. This could be a throwback to the naked zombie in Night of the Living Dead, although that was more tasteful and implied. One can’t help but wonder if it was an attempt to recreate the magic of Linnea Quigley’s turn as Trash in The Return of the Living Dead (1985), which had made a major splash just a couple of years before Hinzman started making FleshEater. 

So what’s the verdict?

FleshEater (1988) is Trash – but it’s the fun kind of Trash. It’s no The Return of the Living Dead, which is a masterpiece of campy comedy and a clever satire of zombie movies. Hinzman’s style seems a tad closer to Al Adamson than George Romero or Dan O’Bannon – but those who know me, know that I love Al Adamson. 

Put another way. I can’t call FleshEater Terror, because I can’t imagine anyone ever being the least bit scared by it. It generates more laughter than suspense – and probably only for those with a taste for the trashier side of cinema. Viewers looking for a serious descendent of Night of the Living Dead will undoubtedly be disappointed. Those looking a slick and hilarious good time like The Return of the Living Dead will probably also be disappointed. Those, however, who can appreciate flawed oddities like Al Adamson’s The Fiend with the Electronic Brain (1967) or Ted V. Mikels’ The Astro-Zombies (1968), might find some undiscovered treasure in Bill Hinzman’s film. I, for one, was completely won over by the end (the first 20 minutes were a bit touch and go, however).

Incidentally, the Shriek Show DVD that I have includes some nice extras, which somehow seems to elevate to entire experience. Needless to say, I will be keeping FleshEater (1988) in my permanent collection.

Friday Night At The Home Drive-In: The Initiation of Sarah (1978)

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There are a lot of movies called The blank of blank (insert action in first blank and name of person in second blank). The Seduction of Joe Tynan (1979), The Violation of Sarah McDavid (1981), The Seeding of Sarah Burns (1979) and the less formal The Seduction of Gina (1984), The Awakening of Candra (1983), The Initiation of Sarah (1978), The Violation of Claudia (1977), The Taming of Rebecca (1982), The Taking of Christina (1976) – the list goes on and on. It seems as if the second blank – the name – most often represents a woman, while the movies themselves most often fall into one of two categories: Made For TV Movies of the Week or Golden Age Adult Cinema. Can you tell by the titles which ones are which? Probably not. But both categories are fertile ground for Not Quite Classic Cinema.

The Initiation of Sarah (1978) falls into the first category and was in fact an ABC Monday Night Movie. I didn’t see it back then, in sprite of the fact that I was always on the lookout for scary movies on TV. I remember watching other made for TV horror films that year, like Summer of Fear (1978) – which I believe was called Stranger In Our House at the time – but The Initiation of Sarah somehow came and went without me even noticing it. 

I sometimes talk about the fact that home video, or VCRs, really took the place of going to the drive-in for people of my generation. We were too young to drive cars or get into R-rated movies, but we were somehow allowed to rent those same weird and forbidden movies on VHS and Beta. Our VCRs became the home drive-ins of our youth, and we took full advantage.

Prior to those glorious days, made for TV horror films – and other edgy genres that were somehow adapted for TV – were all that we underage trash junkies could access. Anyone remember made for TV women in prison films like Born Innocent (1974) with Linda Blair and Cage Without a Key (1975) with Susan Dey? If VCRs were the home drive-in of my youth, then made for TV movies were the home drive-in of my childhood. 

Ad for Born Innocent (1974)

Ad for Cage Without a Key (1975)I suppose it’s no surprise that once we were able to rent R-rated theatrical movies, we lost interest in the made for TV stuff. Some of those old TV movies were released on VHS and Beta. It wasn’t always easy to tell if a movie had been made for TV, but we would look for words like “teleplay” in the credits. Whenever we found one on the shelf, we would laugh and scoff at the idea of renting it. Our attitude seemed to be “This movie won’t be any good… it won’t be scary… it won’t have any gore or nudity in it… it’s made for TV so it will be suitable for children – yuck!” So if I came across a copy of The Initiation of Sarah in those days, I would have avoided it like the plague.

Fast forward a bunch of years, and I started to realize that a lot of those old TV movies were actually good. As I’ve talked about in previous posts, my friend Brian and I have actually taken to seeking out old TV horror films and watching them during our annual all day movie marathon. And I think I speak for both of us when I say that a lot of the R-rated movies we watch can’t hold a candle to classic made for TV movies like The Night Stalker (1972) and Don’t Be Afraid of the Dark (1973). A few years ago I purchased a Shout Factory TV Terrors DVD that included The Initiation of Sarah. I brought it with me to our annual movie event a few years in a row, but for some reason we kept passing it over in favour of other films. Last year, thanks to the current pandemic, we were unable to hold our event – and it seems doubtful that we will be able to reschedule it any time soon. So, last week I decided that perhaps it was time for me to investigate this particular TV terror on my own (sorry, Brian)…

The Initiation of Sarah is not quite in the same class as made for TV masterpieces like The Night Stalker, but it’s a pretty darn entertaining film. I think it’s fair to say that it’s one of many post Carrie (1976) films that were majorly influenced by it. The term rip off, or knock off, might be used to describe it (and not entirely unfairly). It does manage to distinguish itself with some other, non Carrie-like elements. For one thing, Shelley Winters guest stars as Mrs. Erica Hunter – not Sarah’s overbearing, insanely religious mother, which would have been too on the nose in terms of recreating Piper Laurie’s role in Carrie (but I somehow found myself making that connection anyway) – no, Shelley Winters plays the quirky den mother to the uncool sorority that Sarah manages to join (the only one that will have her). If the movie had stopped there, things would have been okay, if a little ordinary. But it turns out that Mrs. Erica Hunter is some sort of expert on witchcraft and the supernatural – and she recognizes that Sarah has some extraordinary powers. At the risk of including a mild SPOILER, by the final reel of the film, Shelley’s performance takes a sharp turn from quirky, interfering den mother to full on Satanic Priestess, and – as anyone who knows Shelley Winters can likely imagine – she does it very well.

Shelley Winters guest stars as Mrs. Erica Hunter in The Initiation of Sarah (1978)The rest of the cast is pretty stellar as well. Kay Lenz stars as Sarah Goodwin (doesn’t that name somehow ooze witchcraft? Maybe it’s just me). You might recognize her from movies like House (1985), Stripped to Kill (1987) and the early Clint Eastwood directorial effort Breezy (1973). I first got to know her in one of my all time favourites, Death Wish 4: The Crackdown (1987). She also stars in one of the other TV movies I mentioned earlier, The Seeding of Sarah Burns (1979). 

There is also a very bad blonde sorority girl who tries to make Sarah’s life hell (somewhat reminiscent of Nancy Allen in Carrie) played by Morgan Fairchild. I recall seeing her play a string of “bad blondes” back in the 1980s. The Initiation of Sarah was a relatively early effort from her, but she already had the woman-you-love-to-hate thing down. It’s no surprise she went on to star in some prime time soaps, like Flamingo Road (1980-82).

The movie was directed by Robert Day, who has almost 100 credits as a director, mostly in television. He did make a few theatrical feature films early on, including The Haunted Strangler (1958) with Boris Karloff and Corridors of Blood (1958) with Boris Karloff and Christopher Lee. 

The Initiation of Sarah (1978) is a perfect example of #NotQuiteClassicCinema made for TV in the 1970s. Even though I had never seen it before, it gave me powerful feelings of nostalgia. The actors, the music, the atmosphere, the suspiciously familiar story – it all adds up to cinematic Déjà Vu of the very best kind. If you didn’t grow up watching these kinds of movies at your home drive-in, you might not appreciate it quite as much as I do, but it should still provide enough entertainment value to justify 96 minutes of your time. It will certainly always be a welcome sight for me on a #FridayNightAtTheHomeDriveIn.

Friday Night At The Home Drive-In: Satan’s Cheerleaders (1977)

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Greydon Clark is a name that I used to see on the backs of movie boxes in the 1980s, and in the credits of movies on late night TV. Unlike other names I recognized, like David Cronenberg or George A. Romero, I didn’t know anything about Greydon Clark – and watching a movie like Angels’ Brigade (1979) on TV certainly didn’t convince me that Clark was a great filmmaker. But somehow, over time, his name became a kind of second-string stamp of approval. It convinced me, on many occasions, that the odd looking film in my hand was worth renting – or buying. 

Greydon Clark made about 20 movies between 1971 and 1998 – and I have several in my collection: Black Shampoo (1976), Hi-Riders (1978), Angels’ Brigade, Without Warning (1980), Joysticks (1983) and now Satan’s Cheerleaders (1977).

I wasn’t too sure if I had seen Satan’s Cheerleaders before, and watching it last week I’m still not 100% sure. I recognized the opening sequence (perhaps the first ten minutes or so), but the rest of the movie seemed completely new to me. I suspect that I started watching it on TV at some point and, for whatever strange reason, I stopped. I can’t imagine that I would have given up because I didn’t like it. For starters, it’s fairly bad right off the bat – but I mean “bad” in the kind of way that my friends I would seek out; a campy comedy about cheerleaders having fun at the beach – what could be better than that?

Secondly, I’ve always been a stickler for finishing movies. I had a theatre professor at university who advised us that we should never walk out of a play because “you can always learn something from it.” His advice made sense to me, and I realized that I had already been practicing what he was preaching in the way that I watched films. I wouldn’t have articulated it in the same way, but I don’t think I ever stopped watching a movie on purpose. If you had asked me why, I probably would have said “because you never know if it might get better.”

If I had to guess, I would say that I probably saw the beginning of Satan’s Cheerleaders really late at night and I just couldn’t stay up to finish it. Maybe I had a class first thing in the morning. Maybe I didn’t think I could fully appreciate it when I was already dead tired. Maybe I figured I would track it down and watch it properly at some point in the future. Whatever the case, I stopped watching the film and never got back to it.

Satan’s Cheerleaders has one of those titles that you never forget – and it’s certainly been on my must watch list for a long, long time. I think that the main reason I didn’t get to it before now is that I somehow convinced myself that I had already seen it. I may have been mixing it up with memories of Satan’s School for Girls (1973), a pretty entertaining made for TV movie with two of my favourite Charlie’s Angels (Kate Jackson and Cheryl Ladd) – but that’s another story.

Satan’s Cheerleaders is a weird cross between a cheerleader movie (a kind of sexploitation comedy, I suppose) and a Satanic horror film. It’s a fairly gentle, and almost tasteful (if you can use a word like tasteful to describe a movie about cheerleaders and Satan), example of those genres. It’s sexy in a silly way, and does have a few brief glimpses of nudity, but for the most part it’s about cheerleaders (and their teacher) in bathing suits, underwear, and skimpy outfits. As far as the Satanic “horror” goes, it’s pretty campy and low key. As I said to someone on Twitter: there may have been better cheerleader movies, there may have been better Satanic horror films – but there has rarely been a film that combined BOTH of those things.

Honestly, I can’t think of a single other cheerleader exploitation comedy/Satanic horror film. I may be forgetting something, but I’m going to suggest that Satan’s Cheerleaders is a fairly one of a kind film. This doesn’t exactly make it a cinematic triumph, but it certainly makes it interesting.

When I wrote about Greydon Clark’s Angels’ Brigade I noted the fact that he’d assembled a really amazing cast of old TV/film stars. He did the same thing for Satan’s Cheerleaders. John Ireland (Red River (1948), Gunfight at the O.K. Corral (1957)) plays a small town Sheriff who may be more sympathetic to Satan than cheerleaders in distress. His wife is played by Canadian actress Yvonne De Carlo, who is perhaps best remembered for playing Lily Munster on The Munsters (1964-66). Genre royalty John Carradine plays a bum who tries to warn the cheerleaders. Sydney Chaplin (Charlie’s son) plays a monk (of Satan). And Jack Kruschen, a character actor who I’m sure we’ve all seen appearing on numerous TV shows (some of my favourites include Barney Miller (1973-82), WKRP in Cincinnati (1978-82), The A-Team (1983-87), Remington Steele (1982-87) – the list goes on and on). He was also in movies like The Apartment (1960) and The War of the Worlds (1953). He has a face that is instantly recognizable to anyone who watched TV in the 1960s, ’70s and ’80s. I could not have told you his name, but I knew him as soon as he appeared onscreen in Satan’s Cheerleaders. – as Billy the school Janitor, who procures victims for the local Satanic cult to sacrifice. My mind was completely blown, however, when I looked him up on the IMDb and discovered that Jack Kruschen was born in Winnipeg, my home town.

Jack Kruschen and his family apparently moved to New York when he was still a young child, and then to Los Angeles where he was discovered performing in an operetta at Hollywood High School.

Canadians are bad at celebrating our own success stories, and Winnipeggers can be even worse. Sure we hear about Monty Hall, Deanna Durbin, and David Steinberg. But over the years, I have learned about many born in Winnipeg people who went on to great success in Hollywood and elsewhere – who never get mentioned as former Winnipeggers. Gisele MacKenzie, Marjorie White, Ted Rusoff, Joanna Gleason… Jack Kruschen is just the latest (and possibly greatest) example, and knowing who he is will forever change the way I react when I watch one of the over 220 TV shows and movies in which he appeared. 

Satan’s Cheerleaders (1977) is classic Greydon Clark – which means it’s 100% Certified #NotQuiteClassicCinema. People with low or no tolerance for “bad” movies will probably want to give it a wide berth. People who are looking for seriously scary Satanic horror will not find what they are looking for here. But those who appreciate the finer things in life, like Ed Wood, Al Adamson, and that low rent sex comedy you saw back in junior high school but can’t remember the name of, will find Satan’s Cheerleaders to be a welcome ray of sunshine on a rainy #FridayNightAtTheHomeDriveIn.  

Friday Night At The Home Drive-In: Legacy of Satan (1974)

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In the world of adult cinema, Gerard Damiano is a legend. Or at least he should be, if for no other reason than he directed the notorious Deep Throat (1972). Sadly, one of the points that the documentary Inside Deep Throat (2005) touches on is that the kids today don’t really know who Damiano is – or at least they’ve never seen Deep Throat. And I’m talking about the kids who work in the adult film industry. This would be akin to the biggest Hollywood stars of today never having seen Citizen Kane (1941), or maybe Casablanca (1942) – which may, sadly, also be true.

I recommend watching Inside Deep Throat to get a sense of what an unbelievable phenomenon Deep Throat really was – and to learn about an important piece of pop culture history. Aside from that, it’a a darn entertaining documentary, and a story that will likely surprise you more than once.

I’m going to go out on a limb here and say that Gerard Damiano was a good filmmaker. Some may have a hard time believing that of a man who mainly worked in hard core adult cinema, but at that time making X-rated films was not that different from making any kind of genre films. They were shot on film, had real stories, and were ultimately shown in real movie theatres. And plenty of mainstream filmmakers got their start making adult movies. Abel Ferrara, Wes Craven, Lloyd Kaufman and William Lustig all made at least one X-rated movie. Other serious-minded filmmakers found success is the adult film industry and remained there (or got stuck there, in some cases). Damiano, I suspect, is one of them.

Aside from Deep Throat, which was a massive success but not his best work, Damiano made acclaimed X-rated films such as The Devil in Miss Jones (1973), Memories Within Miss Aggie (1974), The Story of Joanna (1975), Odyssey: The Ultimate Trip (1977) and The Satisfiers of Alpha Blue (1981). Each of these films was well made, and seemed to be fueled by more creative ambition than the average adult movie. It’s not clear to me whether Damiano would have liked to cross over into making mainstream movies, or if he simply believed that that hardcore erotic cinema would (and should) one day merge with the mainstream and become the new mainstream. He can be seen lamenting the demise of serious adult cinema in Inside Deep Throat, and it’s hard not to agree with him.

Legacy of Satan (1974) is unique in Damiano’s filmography, as it is not an x-rated movie. I’ve heard differing theories about this. Some people feel that Damiano filmed an x-rated version, which was then edited by the distributor to create an R-rated horror film that could be sent out with Andy Milligan’s Blood (1973). This is a provocative theory, and there certainly have been X-rated films which were distributed in both “hard” and “soft” cuts. But I don’t think that it could be true in this case. First of all, there are no x-rated performers in Legacy of Satan. Damiano had already made Deep Throat, and other films like The Magical Ring (1971), so he certainly knew actors who were experienced in hard core sex films. If he had intended Legacy of Satan to be hard core, surely he would have cast some actors who had experience with that.

The main character of Maya is played by Lisa Christian, and this is her only credit on the IMDb. In fact, many of the actors in this movie have no other credits (or very close to it). John Francis, who plays Dr. Muldavo, has a respectable list of mainstream credits, including TV shows like Get Smart (1966-1969) and The Mary Tyler Moore Show (1970-1977). It seems unlikely that he would have suddenly decided to appear in an x-rated movie.

Christa Helm, who played “The Blond Blood-farm” in Legacy of Satan, was an aspiring young actress, who appeared on Starsky and Hutch (1975–1979) and Wonder Woman 1975–1979). She was murdered in 1977, at age 27, and that crime has never been solved.

Sandra Peabody is most famous for starring in Wes Craven’s The Last House on the Left (1972). She also appeared in some soft core films like Voices of Desire (1972) and The Filthiest Show in Town (1973). Perhaps that makes her the most likely candidate to star in a hard core film, but it appears as if she never did. And she only makes a brief cameo in Legacy of Satan as one of the cult members. 

The other theory about Legacy of Satan is that Damiano had intended to make an x-rated film, but then changed his mind and rewrote the script as a pure horror film. This seems, to me, more likely than the other theory, but I do wonder why people think that Damiano couldn’t have just decided to make a horror film in the first place?

Ultimately, none of this matters. Damiano has left us with a straight up horror film about a satanic cult. It only runs 68 minutes, which might be why some people think there is some missing hard core footage out there somewhere. I must admit that there were a couple of moments where the film seemed to have been edited (or censored), but I can’t find a longer cut of the film anywhere. My guess is they made a few trims back in the day, and the uncut version never got released. I suspect that all we are missing is a few seconds of nudity that made someone nervous, or some censor scissor-happy. But I guess we’ll never know.

Legacy of Satan is not a great film. It’s reputation is that it is terrible. The soundtrack music in particular seems to inspire a lot of negative comments. My experience was somewhat more positive than the average, it seems. I kind of liked the strange, dissonant, primitive synth score. People say it’s irritating, or an assault on the ears, but maybe that was the point, to make us uncomfortable and unnerve us. Whatever the case, I found it charming. 

The visuals and atmosphere are pretty good. There are a few moments of artistic beauty. The problem is that you have to have a lot of patience for a story that doesn’t move along very quickly. And, ultimately, it does feel a bit like something is missing. Perhaps the rumoured (but likely non-existent) hard core (or at least more graphic soft core) sex scenes would have done the trick to keep people more engaged. As it is, Legacy of Satan seems to lack some of the creative spark that makes Damiano’s adult movies some of the most admired of the golden age. 

Still, Legacy of Satan is a must see for fans of Damiano who are curious about what he might have been like as a non-adult filmmaker. It is also a must see for fans of extremely low budget, early ’70s Satanic horror films. It is unlikely to be the best example that you have ever encountered, but it should provide enough diversion for 68 minutes of your time. It is the kind of #NotQuiteClassicCinema that would work well as the third or fourth feature of an all night movie marathon on a #FridayNightAtTheHomeDriveIn. I’m not sure if it will get many repeat screenings at my home drive-in, but I’m glad that I got a chance to see it, at least once.