Interesting CONVENTION GIRLS post from Temple Of Schlock

If there's a better source of exploitation film ephemera than TEMPLE OF SCHLOCK, it must be on another planet somewhere.

Here's a transcribed article about Joseph Adler's CONVENTION GIRLS.

Enjoy. I'll be back next week.

What the shit?!

This is the actual Turkish poster for BRING ME THE HEAD OF ALFREDO GARCIA! Unbelievable!

November December WW Titles and Writeups

FIGHT FOR YOUR LIFE
NOV 4, MIDNIGHT, $1, DIR. ROBERT ENDELSON, 1977, 35MM, 82 MIN, R
Supposedly, audiences who watched Dali and Bunuel’s 1929 film UN CHIEN ANDALOU actually rioted in the aisles. If that’s true, I wonder what happened in theaters that played this incredibly inflammatory masterpiece of race revenge. The crowds, black and white, must have torn the screens out and flipped over the popcorn machines like Detroit police cars. Even now the film is infuriating - three escaped convicts - a Latin, an Asian and a white supremacist (played by William Sanderson with intense energy) invade the middle class home of a black doctor and his family. As the siege wears on, the audience is given no relief. Sanderson and his cohorts do bad (REALLY bad) things and the hateful language and attitudes cross all limits of acceptability. And then the tables turn. The third act of the film is one of the most satisfying and morally ambivalent displays of pure payback ever devised. It’s primal. You’ll find it impossible not to cheer as the head of the family gets revenge on the racist scumbag and his cohorts. As uncomfortable a viewing experience as the first hour of FIGHT FOR YOUR LIFE is - and oh boy, is it ever - the excitement and audience solidarity of the final half hour makes it all worthwhile. You may forget to breathe. A legendary film that cannot - must not - be missed. (Lars)

CONVENTION GIRLS
NOV 11, MIDNIGHT, $1, DIR. JOSEPH ADLER, 1978, 35MM, 80 MIN, R
On the surface this is one of those ‘70s ”group of girls” movies, inspired by the success of New World Pictures’ nursesploitation movies. There were tons of films that followed the day to day problems and concerns of a group of shapely nurses, cheerleaders, student teachers etc. Finally the interesting and talented Florida exploitation director Joseph Adler (SCREAM BABY SCREAM) got around to making one about the hookers who populate trade shows and industry functions. That’s the starting point, anyway. On a deeper level it’s about integrity and the pride of doing a good job. Rather than simply serving as a backdrop for sexploitative highjinks, the toy convention is at the core of the film. The hero of the piece is a dollmaker who refuses to sell out to a dark toy conglomerate, and it’s not hard to make the case that he’s like a film maker who does the best he can under every circumstance - like Adler himself. The story arcs that illustrate the central conflict of the film are tied together by the prostitutes who attend the convention and weave in and out of the various relationships. It’s a really good film, with more similarities to Altman than to the usual flesh pageants of the era. (Lars)

BRING ME THE HEAD OF ALFREDO GARCIA
NOV 18, MIDNIGHT, $1, DIR. SAM PECKINPAH, 1974, 35MM, 112 MIN, R
“You two guys are definitely on my shit list” - Warren Oates. Sometime around the time this film was made, director Sam Peckinpah went completely insane, making this one of the few examples of that fleeting and wonderful thing - a truly psychotic work of art. The great Warren Oates stars as an American pianist wasting away in a Mexican whorehouse bar. When two leisure-suited bounty killers approach him looking for a pimp named Alfredo Garcia who has impregnated the teenage daughter of a powerful man, Benny asks around, finds out that Garcia is already dead and concocts a plan to dig up the corpse, remove the head and collect the reward. Along with his prostitute girlfriend, he hits the road on his doom-laden journey. As you might guess, all hopes are shattered and Oates ends up alone, carrying the rotting head of Alfredo Garcia in a bag across the desert as the killers pursue him. But like Peckinpah, he delivers. The reaction of El Jefe to Oates’ delivery of the head is pretty much exactly what the reaction at studio headquarters must have been when Peckinpah delivered this film. ‘70s existential malaise at its best! (Lars)

DR. DEATH, SEEKER OF SOULS
NOV 25, MIDNIGHT, $1, DIR. EDDIE SAETA, 1973, 35MM, 87 MIN, R
This dark, sick black comedy is almost totally unknown but it’s a classic waiting to be discovered. A man whose wife has died in a car accident broods over her death without relief. Finally he approaches a shady charlatan who dresses flamboyantly, calls himself Doctor Death and claims he has the power to bring the dead back to life. The grieving widower makes a deal with the “doctor” that he soon comes to regret. Things go from bad to worse to hopeless to brutal and it gets more ridiculous as it gets more awful. The excellent actor John Considine plays the velour-clad “mortality pimp” Doctor Death with real conviction. It’s a broad performance, but not exactly tongue-in-cheek. His full-blooded approach to the character turns what could be a pretty silly melodrama into something better. Most of the other performers go about their work with the lassitude of soap opera actors, which only sets off Considine’s fine work to better advantage. If your heart is as black and shrunken as mine, you won’t want to miss this. (Lars)

THE MIGHTY PEKING MAN
DEC 2, MIDNIGHT, $1, DIR. MENG HUA HO, 1977, 35MM, 90 MIN, PG
Holy mackerel! This cheap Hong Kong rip-off of KING KONG is totally out of control. If an all-star team of the best comedy writers of all time got together and wrote a script about a prehistoric ape man and a beautiful blonde jungle woman, it would be just like this movie - only not as funny. It’s hard to describe exactly what makes this such a joy - I think it’s partially the cultural disconnect between the Chinese filmmakers’ worldview and the end product, which is clearly designed for export to western markets. The parts just don’t snap together correctly. Scenes that would be mild cliches in an American film become towering comic set-pieces here. Witness the scene in which Chinese tough guy Danny Lee and wild-girl Evelyn Kraft frolic together with her pet leopard. I think I see what they were going for, but the result is so, so much more. I’ve never been so close to throwing up from laughter as when I first saw this film. You should totally watch it! From the director of OILY MANIAC and THE RAPE AFTER. (Lars)

PART TIME WIFE
DEC 9, MIDNIGHT, $1, DIR. ARTHUR MARKS, 1975, 35MM, 90 MIN, R
Some of the best, most vigorous and intelligent films of the drive-in era came from writer/producer/director Arthur Marks. Unlike some of his contemporaries, Marks was careful not to insult his audience. He probably could have gotten away with much less and still scored at the box office. But he gilded his action thrillers, sexy melodramas and blaxploitation movies with little grace notes and winks at the discriminating film-goer. We’ll always be grateful to him for BONNIE’S KIDS, THE ROOMMATES, J.D.’s REVENGE, FRIDAY FOSTER and others. This rarity stars the great Keenan Wynn as a rich patriarch who returns from Las Vegas to his family home with a glamorous new wife in tow. Not surprisingly, she’s a ho - and Wynn’s two sons (Andrew Robinson and Peter Hooten) are soon involved in a pitched contest with each other and with their pop over the sexy trophy wife. Made during Marks’ busiest period, we’re eager to see how down and dirty it gets. (Lars)

THE SILENT PARTNER
DEC 16, MIDNIGHT, $1, DIR. DARYL DUKE, 1978, 35MM, 106 MIN, R
Movie production and distribution is a shady netherworld. The money for films has come from every quarter, from international prostitution and blackmail to Nazi gold. But the most frequently used extra-revenue stream was and is, government subsidies and tax shelters. In the ‘70s, Canada had a whopper of a shell game going. Producers were able to make films in Canada and, through a system of write-offs and reporting irregularities, they could turn a profit even on unsuccessful product. The resulting films, international coproductions mostly, are now known fondly as Canuxploitation movies. Not all Canuxploitation films were tax dodges, but many were. I’m not 100% sure about THE SILENT PARTNER, and I don’t much care, because whatever the circumstances of its creation, it is one of the best movies of the ‘70s. Elliott Gould stars as a bank teller who spies a way to steal a lot of money from his till and get away with it. The problem with his plan is that he antagonizes a real bank robber, who’s also a real mean dude (played brilliantly by Christopher Plummer). Plummer, who has cased and robbed the bank in the guise of a department store Santa, puts the pieces together fairly quickly and starts to make Gould’s life a living hell. But Gould, a chess enthusiast with a mind for strategy, counters every move. Soon the two man are involved in a real life game with their lives and freedom at stake. The tension ratchets up to an unbearable intensity before the sublime conclusion. Written by Curtis Hanson and directed by Daryl Duke (PAYDAY). With large Canadian funnyman John Candy in a small role. (Lars)

THE MAGIC CHRISTMAS TREE
DEC 23, MIDNIGHT, $1, DIR. RICHARD PARISH, 1964, 35MM, 60 MIN, G
Special seasonal reprise of the Christmas-killing hit! Here it is: the evil holiday movie we’ve all secretly been waiting for. It made its producers wealthy men and turned a generation of children into santaphobic sociopaths. We are still paying the cost. It’s a very strange film and we’re not sure why anyone would make it, but two words come to mind: Malicious Intent. Why else would the young hero be abducted by a witch and forced to uh, plant Satan’s magic seed in his backyard? The seed grows into a tree that gives him three wishes. Then the kid abducts Santa Claus, straps him to a chair and abuses him until he gets all the toys in the world. Plus there’s a long race between a lawnmower and a turtle and more tomfoolery presided over by the powers of Darkness, including the appearance of a giant who says inappropriate things. We cannot be held responsible for any lasting trauma. (Lars)

POLK COUNTY POT PLANE
DEC 30, MIDNIGHT, $1, DIR. JIM WEST, 1977, 35MM, 90 MIN, PG
Special “High For The Holidays” edition of Weird Wednesday. How hard could it be to make a movie? That’s what a bunch of state legislators from Polk County, Georgia thought. So they cracked open their piggy banks and made this mind-numbingly inept “action” movie based on a true occurrence in the legendary annals of Polk County history. Not only are the real dope traffickers, Oosh and Doosh (really!), making their screen debuts, unable to convincingly portray hardboiled drug smugglers (they seem like big kids with porn ‘staches), they seem genuinely unable to convincingly portray human beings at all. No matter. If this movie was one-tenth as much fun to make as it is to watch then they all had a blast. Featuring some truly harrowing stunts and the slowly encroaching charm of Oosh and Doosh, which becomes irresistible by film’s end. A legendary motion picture you’ll remember forever. (Lars)

Jess Franco at Fantastic Fest!

Fantastic Fest and Ain't It Cool News Present Jess Franco and Lina Romay Live In Person.

Join one of our favorite directors for a rare screening series and Lifetime Achievement Award presentation.

September 28-30, Alamo Drafthouse South Lamar Austin TX

For almost 50 years Spanish filmmaker Jess Franco has been making his own kind of cinematic poetry, steeped with themes of sex, violence, jazz, and subversive black humor. He has made around 200 feature films, though no one can say exactly how many. Once an obscure but busy man, he has become a well-known and respected figure over the past ten or so years as DVD audiences have joined earlier admirers like Fritz Lang and Orson Welles in acclaiming Franco's talent and vitality. Last year he was awarded Spain's highest film honor, the Goya Award and the Cinematheque Francaise devoted a season to his work.

Fantastic Fest is deeply honored to present its first Lifetime Achievement Award to Jess Franco. We will screen a selection of three of Franco's finest works. We will also be graced with the presence of his muse and inseparable collaborator Lina Romay. This will be Jess Franco's first ever North American film festival appearance.

This series is made possible by Ain't It Cool News.

Schedule of screenings



Monday, 9/28 7:15 pm VENUS IN FURS with Award Presentation

Dir. Jess Franco, 1969, 35MM, 86 min.

A young jazz musician finds the body of a beautiful woman he saw at a party the previous night washed up on the beach near Istanbul. He thinks back to the mysterious circumstances of the party and the strange people there. Later, in Rio he sees the woman again, and falls in love with her. A kaleidoscope of psychedelic and sexual imagery follows. Based on a plot idea by jazz great Chet Baker. Starring Maria Rohm, Klaus Kinski, James Darren, Barbara McNair, Dennis Price and Margaret Lee.

This screening is free for Fantastic Fest badgeholders. A limited number of tickets will be sold to the general public. Click here for tickets.


Tuesday, 9/29 7pm SUCCUBUS

Dir. Jess Franco, 1968, 35MM, 91 min.

SUCCUBUS is like the shiny side of the REPULSION coin, as we see into the half-dream/half-real life of a vivacious sexpot (Janine Reynaud) whose nightclub act depicts sexualized torture on stage. As we follow her through Lisbon and Berlin, through encounters with lesbians, sadists and little people, we begin to see signs that she is carrying her work home with her. Surreal, at times pretentious, but always compelling and new, even Fritz Lang liked this movie - he called it "a beautiful piece of cinema." We are indebted to another well-known admirer of this film for the loan of the print: Quentin Tarantino. Featuring Jack Taylor and Howard Vernon.

This screening is free for Fantastic Fest badgeholders. A limited number of tickets will be sold to the general public. Click here for tickets.


Wednesday, 9/30 6:45pm THE BARE BREASTED COUNTESS

Dir. Jess Franco, 1973, 35MM, 82 min.

Jess Franco directs his muse Lina Romay in this surreal story of a beautiful female vampire who consumes the sexual effluvia of her victims. This is one of the best Franco films of his most hyper-prolific period. Romay burns up the screen and Franco is at his most austere and poetic. Unforgettable music by frequent collaborator Daniel White helps to create a timeless atmosphere for the bloody, sexy pas de deux between Romay and her metaphysical paramour Jack Taylor. Also features Franco himself in a major role.

This screening is free for Fantastic Fest badgeholders. A limited number of tickets will be sold to the general public. Click here for tickets.

Additionally, there will be a special pre-festival screening of Franco's classic EUGENIE, THE STORY OF HER JOURNEY INTO PERVERSION on Wednesday September 23 at Midnight at the Ritz (320 E. 6th St.). This warm-up screening is part of the long-running Weird Wednesday series, Admission is free for Fantastic Fest badgeholders and $1 for the general public. Mr. Franco will not attend this screening. For full details about this screening click here.

All screenings except EUGENIE, which takes place at the Alamo Ritz, 320 E. 6th Street, will take place at the Alamo Drafthouse South Lamar, 1120 South Lamar Blvd. in Austin TX. Fantastic Fest badgeholders will receive first priority of admission. Any additional seats will be made available to the public.

Very special thanks to William Lustig and Greg Chick of Blue Underground; David Gregory of Severin DVD, Ant Timpson, Quentin Tarantino, Daniel Lesouer and the Cinematheque Francaise.

September October WW Titles and Writeups

Sponsored by the great I Luv Video!

TEEN LUST SEPT 2, MIDNIGHT, $1, DIR. JAMES HONG, 1979, 35MM, 89 MIN, R
Holy shit! This outrageous farce, directed (and possibly written) by longtime character actor James Hong, is like a wholly American distillation of late-period Luis Bunuel. Good taste is roughly elbowed aside and black-humored perversity reigns inside as we are introduced to lovely young Carol (Kristen Baker), a police academy cadet who has family problems. Her gross father is always on the make for her, her mother drinks like a sailor on a three day shore leave, and her model-airplane obsessed retarded brother wants to marry her. Fortunately she has her police work, which largely consists of dressing like a hooker and being groped by perps, that is when she’s not being groped by the other cops. Her problems aren’t confined to home and work though, even when she tries to spend a little quiet time with her hot-rodding boyfriend, she’s dragged from the car by a gang of amorous 8 year olds (while the theme from THE PEOPLE’S COURT blasts on the soundtrack). When she seeks religious counsel, the family priest tells her he’s gay, and that “all Hitler needed was a hug”, which only serves to confuse her. But the confusion is just beginning as things really get strange. (Lars)

HELLS BLOODY DEVILS SEPT 9, MIDNIGHT, $1, DIR. AL ADAMSON, 1970, 35MM, 92 MIN, PG
Al Adamson is at it again. The man who brought us CARNIVAL MAGIC, DRACULA VS. FRANKENSTEIN and THE DYNAMITE BROTHERS is back. This time it’s with a movie advertised as a biker movie. But, truth be told, the bikers are just tacked-on set dressing for an otherwise difficult-to-market movie about Nazi counterfeiters. If you can figure out what’s going on in this movie you should go to Washington and get shit straightened out because you’re a genius. Fortunately there are a lot of unintentional laughs and one absolute skull-mashing cameo appearance. As a couple of the characters enjoy a little Kentucky Fried Chicken, an uncomfortable looking Colonel Sanders shows up and makes small talk about chicken for a minute or so and then disappears! It’s that kind of a movie. The biker action was filmed at the Spahn Ranch, home of the Manson Family. With Broderick Crawford, John Carradine, Jack Starrett and Adamson favorite Vicki Volante. (Lars)

TEXAS LIGHTNING SEPT 16, MIDNIGHT, $1, DIR. GARY GRAVER, 1981, 35MM, 91 MIN, R
As the theme song says: “Rodeo and cattle herding, cheating on your wife - free-for-alls and barroom brawls, they’re all part of life... Time for you to grab a gun and put away your toys. The game that you’re about to play just ain’t for little boys.” The poster for TEXAS LIGHTNING promises a souped-up, fast paced action movie along the lines of SMOKEY AND THE BANDIT. That’s what the producers wanted, anyway. What they got from wild man director Gary Graver, was a story of generational discord along the lines of classical tragedy, with fine performances from Cameron Mitchell and Maureen “Marcia Brady” McCormick. So to appease the drive-in crowd they added some bad gags, a wet T-shirt contest and turned the film into one of the most mind-scrapingly inappropriate things imaginable. Somehow, it works. Graver, a talented cinematography who worked with everyone from Orson Welles to Al Adamson, was a party maniac. When McCormick was at the theater last year she recalled waking up naked in bed with Graver, actress Claudia Jennings and a massive pile of blow. That’s the life! (Lars)

EUGENIE, THE STORY OF HER JOURNEY INTO PERVERSION SEPT 23, MIDNIGHT, $1, DIR. JESS FRANCO, 1970, 35MM, 87 MIN, R
This year Fantastic Fest welcomes hugely prolific auteur Jess Franco, a man who has carved out a special place in film history with his wholly uniqueoeuvre of sex films.We will show a selection of Mr. Franco’s films during Fantastic Fest and present him with our first Lifetime Achievement Award. This special pre-Fantastic Fest presentation was made possible by the generous cooperation of Blue Underground. The works of the Marquis De Sade have provided the spark of inspiration for some of Jess Franco’s most memorable works. This film, made during his fruitful association with English producer Harry Alan Towers, is among Franco’s best, and one of his own favorites. It’s the story of a teenage girl, played by the lovely Marie Liljedahl, who enters the cruel and corrupting orbit of her father’s mistress and her slightly insane half-brother when she visits their secluded island retreat for a weekend. The adventurously shot film, full of lugubrious set pieces, is a joy to behold. The gorgeous psychedelic dream world Franco creates makes the viewer feel the blood-racing excitement of sexual abandon, an uncommon achievement in sex films, as anyone who has laughed and yawned through a number of them will assent. Featuring Franco regulars Maria Rohm, Paul Muller, Jack Taylor and Christopher Lee, who later claimed he didn’t know it was an adult film. (Lars)

S&M HUNTER SEPT 30, MIDNIGHT, $1, DIR. SHUJI KATAOKA, 1986, DV, 61 MIN, NR
An encore Fantastic Fest presentation. Since its inception, Fantastic Fest has provided a forum for screenings of the most outrageous Japanese “pink films.” In the world of the ”pinku eiga”, filmmakers are essentially turned loose with a small budget. As long as the resulting film contains the requisite amount of sex and nudity (i.e. a LOT), the creators can seemingly get away with just about anything. Last year, S&M HUNTER shocked and awed a Fantastic Fest audience of jaded international sophisticates, who thought they’d seen it all before. S&M HUNTER is an exercise in manga-style outrageousness guaranteed to offend everybody. The black-clad S&M Roper is a kind of bondage super hero who has a supernatural genius for tying women up in configurations that leave them helplessly aroused. When the all-girl gang The Bombers, kidnap a man for their personal sex toy, S&M Hunter accepts a mission to infiltrate The Bombers’ hideout and show them the ropes. It should be noted that S&M HUNTER is a hugely politically incorrect film, loaded with swastikas, delirious patriarchal anxiety, Catholica used for sexual purposes and worse, but few will be able to resist its spiraling craziness for long. The climax, in which the rope-mad antihero employs a 200 foot tall construction crane to execute his bondage masterpiece has to be seen to be believed. Not for the weak! (Lars)

UNHOLY ROLLERS OCT 7, MIDNIGHT, $1, DIR. VERNON ZIMMERMAN, 1972, 35MM, 88 MIN, R
Gorgeous Claudia Jennings lit up our screen a few months ago as the revenge-obsessed Cajun wildcat Desiree in GATOR BAIT. Her nearly wordless portrayal of a quasi-mythic swamp wraith is memorable, but audiences could be forgiven for thinking her a limited actress. However, in the rollerderby classic UNHOLY ROLLERS she turns in what a very impressed Roger Ebert called the “hardest, most vicious female performance in a long time.” She plays the kind of Barbara Stanwyck/Joan Blondell gum-chewing working class heroine that Hollywood excelled at depicting before the Production Code stepped in and made screen women all soft and wifey. Here Jennings rises from a dreary life working in a cat food factory to become a rollerderby queen who skates to win, no matter what the script says. She drinks cheap beer, curses like a sailor and generally doesn’t give a fuck. Sadly, Jennings, who died in a 1979 car crash, didn’t get any other parts this good. Written and directed by Vernon Zimmerman, who later made the excellent FADE TO BLACK and provided the screenplay for TEEN WITCH. Edited by Martin Scorsese. (Lars)

WILD PUSSYCAT OCT 14, MIDNIGHT, $1, DIR. DIMIS DADIRAS, 1968, 35MM, 88 MIN, R
From Greece comes this amazing, kinky, violent psychosexual soap opera. When good girl Nadia investigates her sister’s death she finds out that sadistic pimp Nick is behind it all so she straps on the leather and whips and beats him at his own game. Full of unspeakable perversions, dark secrets, two-way mirrors, orgies and 40-weight sleaze. There’s even an adorable pussycat, who purrs and licks her paws as the worst kinds of depravity unfold in front of her. Sounds great, huh? But for me the best part of this movie is the CONSTANT cigarette smoking. A rare treat that you won’t find anywhere else. Who else is bringing you Greek S&M revenge movies? It seems like a good opportunity to formally beat our chests and announce that when it comes to providing high quality sexploitation cinema we are the alpha gorillas. Other theaters around the country may chew the bamboo and act tough but they know that if they try to come near our females they will be beaten senseless with a thighbone. (Lars)

MASQUE OF THE RED DEATH OCT 21, MIDNIGHT, $1, DIR. ROGER CORMAN, 1964, 35MM, 89 MIN, NR
The best of Roger Corman’s seminal Edgar Allan Poe adaptations. This is the biggest, most lavish of all the American International Poe pictures, and all the pretty colors and extravagant sets certainly enhance the entertainment value, but it could have been filmed on black and white super 8 film and it would still be a joy to behold, thanks to the great Vincent Price. He is at his eye-rolling, emotive best here as a feudal count, who throws huge, depraved parties for the local debauched nobility. When the plague arrives, in the form of a Bergmanesque hooded figure dressed all in red, the count throws the biggest masquerade ball of all with the stipulation that no one wear red, and raises the drawbridge to keep the contagion at bay. Will a red-clad emissary of death find his way into the party? What do you think? Filmed in England as a tax dodge, with many fine English actors including Patrick Magee, Hazel Court and Jane Asher. The spectacular art direction is by longtime Corman cohort Daniel Haller and the excellent cinematography is by Nicolas Roeg. (Lars)

THE VELVET VAMPIRE OCT 28, MIDNIGHT, $1, DIR. STEPHANIE ROTHMAN, 1971, 35MM, 80 MIN, R
Stephanie Rothman has provided some of the most memorable Weird Wednesday movies: THE STUDENT NURSES and TERMINAL ISLAND, and this is possibly her weirdest - a one-of-a-kind aquarian sex-vampire epic. Though made in America, the film incorporates a lot of the techniques we associate with artsy European horror movies - an emphasis on storytelling through color, slow psychedelic dissolves, and that old standby: abundant nudity. There’s a school of thought that horror movies need a strong sexual component, whether explicit or sublimated, or they just don’t have the desired impact. Clearly Rothman has attended a few classes herself as this movie is all about vampirism as a sexual dynamic. And Celeste Yarnall as the bloodsucker of the title provides a clear sexual focus for this movie about a vapid bleached blonde California couple who find themselves ensnared in a vampire’s desert lair. Better than you’d expect and possibly the only vampire movie to successfully incorporate dune buggies. Featuring a completely unexpected cameo appearance by legendary Delta bluesman Johnny Shines, who performs “Evil Hearted Woman”. (Lars)

Coming soon to Weird Wednesday

Christina Lindberg - Holy Shit!

Last week's special screening of THE SWINGING COEDS was pretty special. The midnight, SCHOOL DAYS, less so though it did have its moments. It had been a while since I'd seen Christina Lindberg on the giant screen and it made me reflect: HOLY JESUS FUCKING CHRIST SHIT! For any of you out there who like looking at beautiful, delectable things, Miss Lindberg is composed of them. Don't miss SWEDISH WILDCATS on July 15!