Rejoice “Bump in the Night” fans, Mill Creek has re-released the entire series of your beloved stop motion animated series on DVD. Every single episode is included in the new release, including the once rare episodes like “Night of the Living Bread” and “Twas the Night Before Bumpy.” Every single frame is included from every episode, so you can breathe easily, and pop in your DVD’s to celebrate one of the many misunderstood animated gems of the nineties.
It’s pretty fun to see Scott Baio and Willie Aames team up in what would be one of their many endeavors in “Zapped!” Baio was fresh off of “Happy Days,” Aames was off of “Eight is Enough,” they were a few years away from the comedy gold of “Charles in Charges” and decades away from being the douche bags we know today. It was an interesting time where Baio and pal Aames delved in to the sex comedy. “Zapped!” attempts to be as outrageous as silly as possible, but only really ends as a somewhat mediocre comedic effort that doesn’t do much with the premise it hands us.
Impulse Pictures returns with their continued series of “Peepshow Collections” with volumes 11 and 12 on DVD. For folks that enjoy watching these ten to fifteen minute silent reels, these movies are a trip back to a time where porn was viewed in private booths and theaters and often involved a lot of discreet viewers sitting in a dark room to view what was in store for them. Some of the better adult shorts in volume 11 includes “Giant Tits Meets Marc Stevens” where the gorgeous Annie Sprinkles collides with Marc Stevens and indulges him with her large and incredibly impressive body and curves; as well as her bust.
You have to give it to Lucille Ball. While there are countless stories about her latter years in show business and how much of a tyrant she was, she seemed to show a lot of respect for Carol Burnett. Burnett was prompted by network executives to build a big time television special. Burnett recruited Ball, who was more than happy to co-star. Burnett, an old school queen of comedy, shared the stage with Ball, another titan of comedy.
Forget what Hollywood has tried to feed you, “Texas Chainsaw Massacre Part 2” is the actual sequel to Tobe Hooper’s masterpiece, and is widely embraced by horror fans as such. It’s the wacky and surreal embracing of the madness from the first film carried over from the nihilistic cynical seventies, in to the consumerist eighties, where the Sawyer family is now devoting their lives to mutilating yuppies, and going around the world selling their own brand of chili that’s made of people. Hooper’s sequel is a massive tonal departure from the more disturbing original, introducing actual nemeses for the Sawyers including Lefty, a vengeful cowboy hell bent on bringing down the Sawyers, and Stretch, a hapless DJ who becomes the unfortunate recipient of attacks by the Sawyer family when she hears them murdering two victims when one of them calls her randomly.
It’s a shame that John Carpenter’s remake of “Village of the Damned” isn’t more highly regarded. If it were his own adaptation of “The Midwich Cuckoos,” it would be placed alongside his other apocalypse or alien films like “They Live,” or “Prince of Darkness.” I don’t think Carpenter’s film is better than the original George Sander’s horror film, but I think it holds up very well and can stand alongside it like Carpenter’s version of “The Thing” with the Howard Hawks original.
JJ Abrams has a lot of work to accomplish with “The Force Awakens,” removing the stigma and stench the series has accumulated over the years with the release of the “Star Wars” film prequels, the constant re-editing and changes to the original films, and so much more. “The Force Awakens” actively works as a rebuttal to the aforementioned legacy set, unleashing a film that’s very down to Earth and celebratory of the original trilogy as a whole. It not only musters up a lot of the tropes from the original trilogy, but acts as a launch pad for a massive movie series that Lucasfilm and Disney are planning for a very long stretch. While some have criticized the film for recycling some elements from “A New Hope,” Abrams fully understands what he’s working with, and working on, and uses “The Force Awakens” as a massive doorway accessible to literally anyone.