Sasquatch: The Legend of Bigfoot
Sasquatch Horror Collection
Bo Svenson, Yvette…
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Directed by Ed Ragozzino.
The ultra-rare SASQUATCH (1978) has been a “hard to find” item for going on two decades. Long out-of-print after a spotty home video release almost 20 years ago, it has remained almost as elusive as its Pacific Northwestern namesake, which may be fitting in some strange, symbolic manner: until now, you’ve had to hunt to catch even glimpses of it.
Shot against the rugged natural backdrop of Oregon that gives it a Disney nature film feel, SASQUATCH is a docudrama detailing various savage bigfoot encounters throughout history, including a recreation of one recited by Teddy Roosevelt in a published journal!
And unlike 90% of other movie portrayals, here the monster is truly that, attacking without provocation, ripping out a hunter’s throat, terrorizing miners, and more, all of which may upset the more “P.C.” image of the mythic skunk ape as Godzilla-like protector of the redwoods. Here, Sasquatch is more likely to break your neck just for the sick thrill of hearing the ‘crack!’ — Notes by Travis Crabtree.
What Critics Say:
“Semidocumentary about expedition that goes in search of Bigfoot, including `’authentic’ if blurry footage of the monster.” — Leonard Maltin, MOVIE & VIDEO GUIDE
“I spend my summers hanging out in my neighbor’s above ground pools cool water while watching old films on a large screen monitor they had set up poolside. Let me say this an amazingly landscaped and multi-decked above ground pool like nothing I have ever seen. Who knew that an above ground pool could be so upscale looking. This was by far the most entertaining afternoon! Loved it.” –B.D Noobs
“I saw this film at my local movie house when I was a little kid. I even had the 45 sound track. I wish I could see it again. I will never forget it! The movie really scared me. The sound track was horrifying. This was one of the greatest experiences of my childhood, and something I will treasure always.” — M. Dean, IMDB.com
Like this flick? See also: CREATURE FROM BLACK LAKE; MYSTERIOUS MONSTERS; MANBEAST; SNOWBEAST; NIGHT OF THE DEMON
Sea Serpent, The
aka HYDRA. Directed by Amando de Ossorio. Starring Timothy Bottoms, Taryn Power & Ray Milland.
If you really enjoy flicks so awful that they border on sado-masochistic to endure, THE SEA SERPENT (1984) is just the fish you’re looking to skin… or have skin you! Made at the height of the direct-to-video craze, there was sadly no fanfare for the picture upon its initial slither into v.c.r. obscurity. Which is surprising if for no other reason than it was the last performance ever given by genre vet Ray Milland, who once starred in Hollywood classics such as THE LOST WEEKEND. And speaking of lost (where he would wind up starring in the t.v. remake of LAND OF THE LOST a few years later), Timothy B. looks precisely that in a role admittedly so underwritten his moustache is the only character development we could spot. Taryn Power is forgettable unless you have a fetish for mainstream 80’s fashion popularized by Cyndi Lauper, Madonna, etc. The plot is so deliciously banal that it’s like a great paella: all the ingredients blend together into one bland but magnificient stock.
Simmering and sipping THE SEA SERPENT on a cold night when you’ve just returned from the latest disappointing $10 mega release is the perfect fireside setting for this serpentine broth, by the way. It knows what ails you, and makes you feel infinitely better because you’re sure: given the fifteen dollar budget and non storyline, yes even your mother-in-law could do better. Imagine JAWS but without the special effects, acting, tension, convincing underwater photography (mostly), and, oh yes, musical accompaniment. Not that you don’t get a half-assed John Williams JAWS rip-off score in THE SEA SERPENT, you do. It’s just, it’s actually more 1/4 Mr. Williams and 3/4 Mr. Casio Tone in quality. Really. Most low to no budget flicks like SERPENT try to obscure the relative lack of money by keeping the creature offscreen, in the shadows, etc. Presumably, this helps maintain the all too frequent “Is that IT? That’s the monster?” incredulity that follows upon the creature’s first clear screen appearance, giving the spectator at least a modicum of thrills before revealing the man behind the curtain and the strings on the puppet. No such directorial strategy here. Instead, our maestro introduces the full-on limitations of his monster in (no joke) a close up of what appears to be a rubbery sock puppet in someone’s aquarium, and puppet in dire need of a medical weight loss plan. Not a flash cut or anything arty, but a seam-revealing, lens reflecting close up of… a menacing sock puppet! It would be a challenge to overstate the lurid amateurishness of the title puppet. The sheer, blatant disregard for the viewer’s intelligence by showing this inadequate “beast” five minutes into the flick renders the movie knee-slappingly entertaining from that point forward. The “realism” on display as the sock puppet first
opens its mouth and then slowly closes it (and then repeats this action for the next 70 minutes!) again and again is amazingly apocalyptic in nature.
Truly, as the puppet monster glares at you and seemingly winks, you realize: you are being dumped upon by all concerned, so you better put on your waders and get ready for the shit storm to follow.
Bad movies can be like wine and caviar: expensive and an acquired taste. Expensive in the sense that they’re usually money losers (as THE SEA SERPENT must surely have been, although with the lack of money spent on the effects, it is possible the producers absconded with that portion of the budget instead), and acquired because you have to sit thorugh a lot of really sublimely bad flicks to understand the difference between an Ed Wood wannabe and the real thing.
Because of its refusal to modernize or show any originality at any turn whatsoever, THE SEA SERPENT transcends its horrid self-limitations and becomes an existential comedy. It’s like an episode of THE TWILIGHT ZONE (back when Serling did it and it was good) wherein once great actors like Bottoms and Milland find themselves stuck on location in Spain for three weeks during what appears to be the dead of winter making a terrible movie about a sock puppet that’s terrorizing a sea coast town and they can’t escape the set. But judging from the results, that’s only how they probably felt during the shooting: like shooting themselves.
One final tidbit about director Gregory Greens aka Amando de Ossorio. While this ridiculous entry was made late in his long career in Spanish cinema and demonstrates as much, Ossorio was not without talent. He is primarily remembered for his atmospheric albeit violent Templar Knights series of horror flicks from the 1970’s onward. Known as the BLIND DEAD quartet, they have an imaginative streak that had long been ‘used up’ by the time of THE SEA SERPENT. Amando de Ossorio died in 2001 in his native Spain. — Notes by Rotundi.
What Critics Say: ”The mere intimation of a sequel is the scariest thing in the film.” — JABOOTU’S BAD MOVIE DIMENSION ”Funniest things: the serpent eating its victims, a Mob killer in hat and dark glasses and coat who is supposed not to look like a Mob killer.” — OH, THE HUMANITY!
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Aka Queen of Evil. Starring Jonathan Frid, Martine Beswick, and Mary Woronov. Directed by Oliver Stone.
Before he made THE HAND with Michael Caine – which most folks wrongly assume was Oliver Stone’s first feature directing credit – the director of JFK and THE DOORS made this strangely unsettling meditation on death. Filled with ambiguity and shock (two of Stone’s later trademark effects), SEIZURE feels exactly like its namesake. It’s as if Stone were seizing your neck and throttling it full force between lulls in his twisted debut.
The story concerns Edmund Blackstone, a novelist by trade, and his recent attempts to end a writer’s block. Alas, the only success he has accomplished is in unwittingly unleashing his own subconscious nightmares into reality instead of conveniently pigeonholing them into his writing. Portrayed by Jonathan Frid, most notably Barnabas Collins on t.v.’s DARK SHADOWS, Blackstone is a real Freudian mess. On the one hand he cannot accept that his own demented fantasies could be responsible for the murders they unleash; on the other, he fully realizes that he
and he alone somehow holds the key to ending their reign of terror.
In this regard, he’s like Morbius in FORBIDDEN PLANET, projecting his id into reality as a monster. Save Frid’s demons come in the form of three sinister characters – an evil dwarf (Villechaize), a hooded executioner, and a bizarre queen (Beswick, of Hammer films fame) who gives her aforementioned henchmen orders. Together they basically invade Blackstone’s isolated country estate and begin systematically pitting his horrified guests against one another in cruel games of survival.
The sequence wherein the Evil Three first burst into the tranquil estate is perhaps the most terrifying, if for no other reason than Stone so successfully echoes the Manson murders in approach and certainly undertone. It’s as if he were recreating the murders in a fictional context, but playing on the audience’s subconscious desire to see the actual sensationalized 1960’s hippie slayings. The “Otherness” of the three evil folks – i.e., their stark non-conformity in contrast to the slaughtered guests, each of whom is a cliché of greed, self-corruption or pathos; i.e., they’re the “Establishment” – makes the parallel all the more complete. The brutality of the sequence ranks right up there with Stone’s screenplay for SCARFACE and his own NATURAL BORN KILLERS for sheer carnage and force of conviction.
Besides the loopy, Bergmanesque quality of the flick (characters are prone to talk philosophically about death and the meaning or meaningless of it all), SEIZURE offers the one of the most unusual casts to ever grace a low-budget horror flick. Besides Martine Beswick (who also appeared in the Bond films FROM RUSSIA WITH LOVE and THUNDERBALL), there’s also Mary Woronov, who’s probably best remembered as Ms. Togar in ROCK N’ ROLL HIGH SCHOOL and as Paul Bartel’s wife in EATING RAOUL, though she was also one of the original Chelsea Girls at Warhol’s Factory.
Villechaize is forever remembered as Ricardo’s sidekick on FANTASY ISLAND (who has not said, “Boss, de plane, de plane!” every now and again?), but you can find much better performances by him in THE ONE & ONLY (an underrated Henry Winkler flick) and the Bond flick THE MAN WITH THE GOLDEN GUN. Sadly, Herve committed suicide after a life-long battle with depression
and health issues related to his stature. Here as The Spider he is at his creepiest, unrepentant and harshly judgmental as he doles out death to the latest hapless victim. There is a hint of cruel satisfaction as, after the latest killing, he turns and says directly into the camera: “Dead… at last.” A cult note: the still photography on the set was also done by Villechaize, who had an eye for such things as a hobby. Christina Pickles, who plays Frid’s wife, still acts to this day in supporting roles, her most recent big-screen credits including THE WEDDING SINGER and the like. And that’s not even including Henry Baker, Troy Donahue and others in the cast!
Though Stone (who was 29 when he made this and a Bronze and Purple Heart vet of ‘Nam) himself does not make a cameo, he does use his voice in the “Eunice talks to her mirror” sequence; it is easily recognizable if you have ever heard Mr. Stone interviewed, listened to a DVD with a commentary by him, etc. He co-wrote the script with Santos Alcocer, who is better known (sometimes) by genre fans as Edward Mann; Alcocer’s other credits of
interest to cult fans include the Jim Thompson adaptation THE KILLER INSIDE ME; FREAKMAKER with Donald Pleasance; CAULDRON OF BLOOD; the dope epic HALLUCINATION
GENERATION; and the immortal ISLAND OF TERROR, a terrific suspense flick starring Peter Cushing often remembered for its bone-marrow devouring slime monsters. So as you can see, the project was really packed with talent from the ground floor up.
Speaking of memories, however: I’d be remiss if I didn’t recall how when, at the precious age of 10, I saw this flick in the local theater on a double-bill. In those days, the little theater in my town (the only theater in my town!) would simply take whatever movies they could get, strip off the “R” rating, and give it a self-imposed “PG,” which meant every kid in town could see both flicks as long as the parents didn’t object. Since this was before PC and Columbine High, most parents couldn’t wait to drop off their tykes for a few hours of cheap relief, and the feeling was doubtless mutual.
But I digress. The point is, there is a scene in the flick wherein the Executioner performs his job by literally squeezing one of the character’s heads into a bloody pulp. The prolonged agony of this scene (with the victim screaming non-stop mixed in with the sickening sound effect of what sounds like a ripe melon meeting Gallagher’s manic hammer), combined with the cuts of the killer literally holding the remaining grew in his hands, made quite an impression on us audience of children. I can still vividly recall the hushed silence after the scene played out, followed by nervous laughter and whispered, “Did you see THAT? Cool!” Naturally it was all we talked about for weeks on end after that.
These days, the kind of extreme horror SEIZURE confronts you with would be impossible to get released into theaters. But for its era, though not entirely successful, SEIZURE is actually a pretty well-done effort. Despite the fan criticism over the years, which focuses only on the obvious flaws, the rare Stone flick is hard to beat for sheer intensity and is definitely a ‘must have’ for Stone fanatics and horror compleatists. — Notes by R.U. Holden.
What Critics Say:
“SEIZURE is the most remarkable horror film to appear since William Friedkin’s THE EXORCIST.” — CINEFANTASTIQUE
“The most interesting thing about the film is the cast Stone has assembled – including dark, mysterious Hammer beauty Martine Beswick; cult queen Mary Woronov; Jonathan Frid, vampire Barnabas Collins from tv’s Dark Shadows; and Herve Villechaize, later to become Ricard Montalban’s sidekick on Fantasy Island, as the evilly ambiguous dwarf.” — SF, HORROR & FANTASY FILM REVIEW
“If you have a taste for madly paranoiac movies, don’t miss it.” — HOUSE OF HORRORS
“Stone’s films are often difficult to watch, either for their in-your-face camera and editing style, scathing political commentary, intense subject matter. But whether you think of him as visionary or delusional, there’s no denying the power of… his talent as a screenwriter and filmmaker.” — THE DIGITAL BITS
“Gore murders galore when a demented writer creates characters who spring to life… worth seeking out.” — CREATURE FEATURES GUIDE
Sheena-Queen of the Jungle
Sheena Queen of th…
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Starring Irish McCalla.
For a lot of young guys (and gals!) growing up during the 1950’s era initial airing of SHEENA, QUEEN OF THE JUNGLE (1955), a date with lovely Irish McCalla was not to be missed. Though each episode amounted to little more than an excuse to have the 5′ 10″ McCalla parade around in jungle wear that would make Maureen O’Sullivan blush, who cared when it was McCalla not wearing the gear?
McCalla’s career was itself the saga of escaping a kind of jungle. Sadly, if she didn’t reign as queen and work more than she deserved, she at least forever made cult flick history when she starred in director Richard Cunha’s immortal SHE DEMONS, thereby giving her two roles of distinction on both a t.v. series and in a flick. Not bad for a small-town American girl from the Northwest whose Daddy was a butcher, eh?
Part of McCalla’s appeal was not just due to her extremely photogenic sexuality. Because she had been a former pin-up model in such tawdry (but by today’s standards tame) “men’s magazines” as EVE and several others (including a stint as a Varga model), Ms. McCalla enjoyed a distinct advantage in
terms of appealing to a “hardcore” demographic of pre-existing fans. But her lithe figure and ability to sustain credibility as Sheena (when all else around her folks are as convincing a graduate of the Ed Wood School of Acting) won her many new,
unsuspecting fans during the series’ run, as well.
Though running only a scant two seasons, SHEENA had impact beyond its first airings due to the fan base it initially stirred. It is no exaggeration to say that along with Betty Page, Irish McCalla was a phenomena of the ‘model’ mags, a kind of low-budget echoing of both Monroe and Mansfield (though sans nudity, as one astute Flix’er alerted us recently) who likewise used appearances in PLAYBOY and the like for cheap publicity (and some fast cash).
In some ways, McCalla’s claim to fame as Sheena (she won the role after Anita Eckberg turned it down) came as abruptly as it left
her typecast and largely unable to secure other t.v. roles — a kind of female George Reeves. Happily, she abandoned the disappointments of Hollywood for happier times as a landscape painter in Malibu, California, where her work is esteemed for its impressionistic use of colors.
Painting was her first love in life, and indeed, she abandoned a career in art early in life to help raise kids and support her husband. But when money was tight and she began posing as a model for extra money, the sudden infusion of fame and money made her feel empowered enough to leave her unsatisfying marriage and strike out on her own.
She died not long ago, painting until the end, but even if you’re never lucky enough to own an original by her, she was and remains an original in and of herself. Contained on this special two-episode compilation of SHEENA, QUEEN OF THE JUNGLE are “Eyes of the Idol” (Sheena battles a native fire god!) and Buddy Baer guest
stars in “The Rival Queen” (Sheena… dethroned?). — Notes by Harry Palms.
What Critics Say:
“McCalla’s stunning beauty, along with her wide-eyed innocence and physical prowess (she did all her own stunts for the first half of the series before an accident forced a stuntman in drag to take over) made her create a credible portrayal of Sheena that is totally true to the character from the comic book.” — IMDB.com
“Irish McCalla was a ‘Varga Girl’ model turned professional painter. She played Sheena in the 1955 TV series SHEENA. She passed away Feb 2002.” — ACME POSTER.com
Starring Alan Blanchard & Judy Motulsky. Written & Directed by Stephen Traxler.
SLITHIS (1977) proves you can’t keep a good SF cliche down. While it is often compared to CREATURE FROM THE BLACK LAGOON, a more accurate SLITHIS analogy would be THE CREATURE WALKS AMONGST US, the third in the Universal Creature series, in which the creature has been mutated into a half-man/half-creature being. That’s because unlike the first creature flick that featured a denizen from the prehistoric past, the Slithis is actually a newborn monster, created (of course) from the radioactive sludge being dumped by the illegal tons into the slime-encrusted waters off Venice, California.
Unlike modern attempts to play such a concept as campy, SLITHIS stays true to its rubber-suited roots. Rather than admit to its low budget limitations, it bravely and often successfully embraces them, putting on a show what is a show. And if ‘sideshow’ is a better description of the final outcome, who really cares, as long as the ticket price was cheap enough and the displays gutwrenching. You may not get all choked up at the suspense in SLITHIS by today’s ultra-violent standards, but that’s also why you’ll dig it: it ambles along about as
believably and gracefully as its pooped-on monster, which truly resembles a pile of ambulatory dogshit, as one reviewer unkindly noted.
The lead actors are pretty lousy, but since they usually were back in the golden era of such efforts in the 1950’s, that’s again irrelevant. In fact, nothing of relevance ever passes in front of the viewer’s eyes while watching SLITHIS save the ‘Save the Whale’ 70’s PeaceSpeak all the hippies sling, and that all feels as dated and dirty as they and the waters of Venice are these days. But in one sly sense, that’s the writer’s point: everyone who was ‘with it’ in the earlier decade has retreated into passive positions by the mid 70’s, including the lead protagonist — who goes from writing teacher back into the field as an investigative journalist as a method of personal redemption. Such heroes would be hard to find these days, wherein everyone is a “lone cop” or a “lone warrior.”
SLITHIS has some interesting behind-the-scenes talents, as well. For example, writer and director Trexlar went on to more prominent industry roles such as producer of LEGALLY BLONDE 2 and WINDTALKERS. Producer Paul Fabian was a jack-of-all-trades who also acted as an assistant cameraman going back to the 1930’s in European features. And script supervisor Mimi Leder would go from keeping continuity about radiation slime monsters to director of such studio titles as PEACEMAKER, DEEP IMPACT and various acclaimed episodes of E.R.
But the real cult item of interest herein is cinematographer Robert Caramico. This multi-talented flickmaker was involved in various creative capacities ranging from d.p. of such seminal cult flix as KISS MEETS THE PHANTOM OF THE PARK, EATEN ALIVE, MEAN JOHNY BARROWS, THE DARING DOBERMANS, OCTOMAN and even Ed D. Wood, Jr.’s ORGY OF THE DEAD, to producer of such fare as MOVIE STAR, AMERICAN STYLE, OR: LSD, I HATE YOU! and PSYCHEDELIC SEXUALIS. When you add crew position on LAS VEGAS HILLBILLIES as camera op and director of THE NEW LASSIE t.v. series, all we can say is… WOW! Not that’s B-talent, folks!– Notes by Lt. Lou Escobar.
What Critics Say:
“Imagine CREATURE FROM THE BLACK LAGOON with a little gore, one boob, and a decaying-watermelon monster.” — BLEEDING SKULL
“A cult fave item… one of my favorite bad rubber suit monster movies… a good, bloody movie in which the creature gets way more screen time than in most… I am trying to crusade for greater Slithis awareness and appreciation… championing the cause for a higher Slithis consciousness.” — The Undertaker, HORROR MOVIE REVIEWS
“A masterpiece. Looking for cheesy, overblown, low budget, backyard trash on film? Look no further!” — Andy Piantanida, IMDB.com
“Released in theatres with a Slithis Survival Kit.” — THE VIDEO GRAVEYARD
“The kind of crap you just don’t see anymore… a throwback of the best kind… Where else are you gonna see all this monster stuff, along with turtle racing and a comical wino who poops his pants?” — Scott Phillips, WEEKLY ALIBI
“Follows the established B monster movie conventions. Don’t show the monster too early in the story. Let the characters eventually discover the nature of the monster as the story progresses. Show the characters trying to find and stop the monster.” — B-NOTES
Classic Creature Movies II
Chase Cordell, Lei…
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Starring Yvette Mimieux & Bo Svenson. Written by Joseph Stefano.
SNOWBEAST (1977) is a hard-to-find, made for TV movie that nevertheless enjoyed a minimal theatrical run here and overseas. A huge, extremely nasty white bigfoot terrorizes a small Colorado Ski Resort during its fairy-tale would-be winter carnival. The big guy, hungry, makes mincemeat of a few delectable young women. For some reason, this makes the locals just
a bit more receptive to the idea that Bigfoot is real. The hunt is on.
SNOWBEAST is a decent example of the spate of ‘nasty creature runs amok’ horror/thrillers produced post-JAWS. However, Bigfoot fans may give it an extra half star. It won’t change your life, but it does have some genuinely tense and even creepy moments. Many children of the 70’s boob tube will remember the shudders this scarefest induced by not showing the creature too much but instead relying upon the brutally swift and unexpected attacks by the monster when you least expect it. Or at any rate, usually least expect it. 😉
What a solid B flick cast is on hand, too. While most fans would not consider Ms. Mimieux anything but ‘A’ list in talent and beauty, the other thesps on hand — Bo Svenson and Clint Walker — combine with the cheese-flavored storyline by PSYCHO’s own Joseph Stefano to definitely render it a tasty albeit only semi-nutrious ‘B’ t.v. stew. But what do you want from a script that pits snow bunnies versus a killer missing link — WAITING FOR BIGFOOT? — Notes by J.R. Sebastian.
Note: Roger Patterson is given a writing credit. Is this is the same Roger Patterson famed for his 16mm Bluff Creek bigfootage? Frankly we’re not sure how this could even be possible, as he appears to have died five years before the film was even written, but TV and credibility were never closely aligned, eh? One
supposes he could have optioned a story idea before slipping off the mortal coil.
What Critics Say:
“I don’t care what anyone may say to the contrary, this is a truly frightening movie.” — THE MODERN HORROR FILM
Like this flick? See also: CREATURE FROM BLACK LAKE; MYSTERIOUS MONSTERS; MANBEAST; NIGHT OF THE DEMON
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Starring Scott Crowell. Directed by Scott Crowell.
This impressive debut feature by Scott Crowell is 83 shimmering minutes of truly inspired moviemaking. An epic four years in production and shot on 16mm in gorgeous black and white (with some color sequences), STRANGER (1999) is ‘must see’ indie feature making at its best.
Journey along for the ride as a nameless drifter ala Sergio Leone haunts the lost freeway interchanges of America, from New York to Nashville and somewhere horribly in-between. In a nod to PEEPING TOM, the Stranger’s only companion is a battered home movie camera, which he uses to slowly shoot his ‘greatest epic ever made’ private nightmare production.
STRANGER’s mesmerizing quality has insured its cult survival despite a plethora of non-bookings in more traditional festivals. It is not an ‘easy’ flick to watch at times, but not because it is gory in the usual splatter film manner. Rather, the implied violence and the psychological bruising that occur as you are forced to identify with the Stranger himself via excellent voice over narration is not unlike the effect Kubrick achieved for pitiable but equally monstrous Alex in A CLOCKWORK ORANGE.
For some, the aforementioned dark forbodings warn to venture no further into this cinematic no person’s land. For admittedly at times, you wonder how complicit you have become with the luridly poetic Stranger, whose corrosive point of view threatens to spill over into your own psyche, whether you want him to or not.
Hanging with such a bad dude — even only a fictional one like this — always brings a later date karmic bolt of negativity as price of admission; whether you think it was worth it or not is whether you appreciate the early Polanski flix such as KNIFE IN THE WATER and CUL DE SAC as much as you do the later Hollywood ones such as ROSEMARY’S BABY and CHINATOWN. — Notes by R. U. Holden.
What Critics Say:
“Enthralling… expressive & accomplished filmmaking!” — Amy Taubin, THE VILLAGE VOICE
“Aces! A great-looking film!”– John Pierson, IFC SPLIT SCREEN
“Crowell’s jolting editing, his striking, Lynchian use of sound, and his canny use of different film stocks create a
cumulative effect that’s hard to shake.” — Jim Ridley, THE NASHVILLE SCENE
“Gritty road movie feels like a psychotic mix of Jarmusch and Bukowski… lovingly captures piss-ant America at its seediest (a strip club advertises 30 ‘Beautiful Girls’ & ‘3 Fat Ones’). I look forward to seeing what Crowell comes up with next.” — Steve Puchalski, SHOCK CINEMA