Tag Archives: Comedy

You Have to See This! Sorority Babes in the Slimeball Bowl-O-Rama (1988)

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This is one of the many horror films from the eighties that features the trio of Scream Queen goddesses. Yes, Linnea Quigley, Brinke Stevens, and Michelle Bauer all star in one of the funniest and best horror comedies of the late eighties. Directed on a very low budget and on very limited scenery, “Sorority Babes” works as a low budget trash fest, and a goofy little time waster you can chuckle to. Tri Delta is looking to initiate their two newest recruits! After catching three nerds from the local fraternity watching the initiation, the trio, along with a few sorority sisters are forced to break in to the local Bowl-O-Rama at night and steal a prized trophy as a prank.

Accidentally unleashing a magical imp within the sacred trophy after knocking it over, they unleash Ol’ Uncle Impy, a magical imp who offers to grant their wildest dreams. After they all take advantage and are granted their own wishes, they find that often times, if something seems too good to be true, it probably is. Also known as “The Imp,” seasoned director David DeCouteau directs this goofy horror comedy that I was first introduced to back in the nineties. I fondly remember watching the edited version for “Sorority Babes” on USA’s Up All Night on cable television and always wanted to re-watch it.

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Years later, I bought the DVD and had a blast. Along with “The Gonk,” and “It’s Party Time” Bob Parr’s “Here In The Darkness,” the theme song to “Sorority Babes” has permanently burned itself in to my brain, and it’s fun to see such an eerie theme song for such a goofy horror comedy. Brinke Stevens and Michelle Bauer are on the receiving of a lot of gratuitous nudity as they’re spanked in the opening shots of the film for a sorority initiation for Tri Delta. While there, three geeks are caught and are forced in to the final act of being admitted in to Tri Delta. Ol’ Uncle Impy is one of the most unusual horror villains ever created. A combination of low budget puppetry and tricky lighting, he’s a trophy imp that grants wishes, and surely enough he can’t be trusted.

Linnea Quigley co-stars in one of the rare roles where she keeps all of her clothes on as juvenile delinquent Spider. She’s caught breaking in to arcades for petty change, and ends up having to fight for her life and live through the night. Impy can be tricked, but how? Most of the movie spends its time on the wishes granted and the painful fall out that comes from the wishes that begin to turn sour in a matter of hours. One sorority girl wishes to be a queen with her clothes rotting, one character wishes to be rich only for the treasure to be meaningless, and another character wishes for a girlfriend only for this girl to be incredibly aroused and aggressive when it comes to getting laid.

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Meanwhile, the janitor of the Bowl-O-Rama is unfortunately stuck in his bathroom and oblivious to the horror happening all around him. Quigley decided she wanted a role as a punk this time around, and dons the punk attire as heroine Spider, who fends off the monsters machinations through this bowl o rama. Keeping money tight, the movie is set in the bowl o rama over night where no one is around, giving DeCouteau a real advantage in giving the setting mood and atmosphere without trying too hard to light the sets. Of course, all of the horror and turmoil dies out before opening time at the bowl o rama. This allows the characters to roam around chasing each other, and learning about the convoluted origin of Ol’ Uncle Impy and how he can turn a good wish in to a bad situation.

I, for one, love Uncle Impy. He’s a bargain basement villain who could have worked in a sequel if they ever had the budget for one. I could see the allure of asking for a wish from the Djinn in “Wishmaster,” but from a little demon in a bowling trophy? Come on, kids. Just say no. “Sorority Babes” is one of the last gasps of eighties horror, and it’s a delightfully goofy delicacy you can kick back to. If only to see Quigley reprise her punk attire yet again. Whether you know it as “The Imp,” or “Sorority Babes in the Slimeball Bowl-O-Rama,” this is a heck of a good horror comedy with the trifecta of scream queens doing battle with a horrific imp. They just don’t make movies like this anymore.

The Theme Song to “Sorority Babes”:

Astron-6 (DVD)

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So Astron-6 is the indie film group who directed one of the worst movies I saw in 2012, “Father’s Day.” My feelings for that film in particular have been made, so in the interest of being more constructive than mean spirited, I’ll simply judge “Astron-6” on their own merits. Drawing interest from Lloyd Kaufman and Troma Entertainment, Astron-6 were able to release a compilation of their short films on DVD in obvious celebration of their highly touted limited theatrical film “Father’s Day.” As a compilation it’s a mixed bag, and one from an obvious group of guys that want to entertain. They love the eighties so much that every single short in the film is either a grindhouse throwback or an eighties throwback. There’s not a lot of variety to their short comedy films, except for their willingness to show themselves bare chested most of the time, and their inability to deliver simple one liners most times.

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This Is Spinal Tap (1984)

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this-is-spinal-tap-1984-01-There’s a real under current of sadness and tragedy behind Rob Reiner’s “This is Spinal Tap.” As character Marty DiBergi, a commercial director looking to break in to film, Reiner stands back and films Spinal Tap, a group that is literally running against the clock to make some impact on music. Granted, the threesome of inept rock stars love music to death, but the sad fact is in all the years they’ve made music, they haven’t influenced anyone, nor have they managed to become legends like the Beatles or Led Zeppelin. Since music is an ever evolving and fickle medium, Spinal Tap has spent many decades trying to roll with the changing demand for different music and have literally lost all sense of their own identity. They produce massive presentations during concerts about druids and gothic cocoons, neither of which they have any interest in, and during desperate attempts to seem chic, they fail spectacularly.

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Vamp U (2013)

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vamp-uOddly enough “Vamp U” (formerly titled “Dr. Limptooth”) works much better as a horror movie than it does a comedy. Deep down it possesses the tone of one of those raucous horror comedies from the eighties that should rightfully star someone like Eddie Deezen or Linnea Quigley, and as a horror movie it’s a very effective tongue in cheek vampire film. As a comedy it’s a pretty decent riot, and one that may not inspire laughter, but will garner various giggles and chortles. When “Vamp U” decides it wants to be a straight up vampire movie, it’s a pretty wicked little throwback to the eighties, especially with Julie Gonzalo having a blast as the alpha vampire queen Chris, who begins sleeping with her vampire professor and turns in to a vampire mid-way.

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Frankenweenie (2012)

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image00As far as animated efforts from Tim Burton goes, “Frankenweenie” isn’t such a bad bit of fan service. Director Tim Burton has always expressed interest in remaking his short film “Frankenweenie,” and it’s a shame since the original short isn’t a bad movie. All things considered, it’s short, sweet, and to the point. Not to mention it’s cute, sad, and has that Burton American Gothic whimsy we’d later see in “Edward Scissorhands.” With 2012’s remake of “Frankenweenie,” director Tim Burton is able to do pretty much whatever he wants, while expanding on an already interesting twist on Mary Shelly’s story.

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Gahan Wilson’s The Kid (2001)

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I’m not particularly familiar with Gahan Wilson or his art, but having read up on his work, I know he does strive for bold and daring story work. “Gahan Wilson’s The Kid” is your run of the mill coming of age chronicle about a ten year old known as The Kid, who goes through three trials of growing up throughout the course of the film. The movie approaches mortality, sexuality, and good old fashioned mythology, and does so with an adult disposition. The film is courageous enough to depict little girls nude at one instance, after all. “The Kid” premiered on television in Halloween eve of 2001 mainly because the final segment revolves around Halloween.

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Django Unchained (2012)

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In the tradition of “The Legend of Nigger Charley,” and “Boss Nigger,” director Quentin Tarantino tips his hat to the exploitation cinema of the seventies with his own epic tale of slavery, freedom, and avenging those that have been unjustly murdered. Quite possibly Tarantino’s boldest and most courageous cinematic undergoing, “Django Unchained” is yet again another wonderful love letter to classic exploitation cinema, and one that Tarantino revels in soaking with adoration, providing viewers with one of the few African American western heroes with a back story that taps in to the tropes of the hero’s journey. While many did decry “Django Unchained” as exploitative and hyper violent, Tarantino definitely has his finger on the pulse and knows full well what immortalized the classic blaxploitation westerns. They thrived on hyper violence and slavery revenge fantasies and Tarantino holds nothing back with a relentlessly violent and entertaining love letter to his favorite sub-genre.

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