Thirteen Erotic Ghosts (2002)

... aka: 13 Erotic Ghosts
... aka: 13 Erotic Ghosts in 3D
... aka: Thirteen Erotic Ghosts in 3D

Directed by:
Fred Olen Ray

Ahhhh, the "erotic horror spoof." First turning up at the turn of the new millennium on both VHS and DVD (when those formats still really mattered) and adequately filling 3 a.m. time slots on Cinemax ever since, the "erotic horror spoof," or "EHS" as they will be referred to from here on out, have become a minor blip on pop culture radar over the past decade and a half. Most people have seen at least one of these things, right? The EHS formula is simple: gratuitous female nudity, simulated sex, goofy comedy and a title that recalls a well-known, big budget hit. Though there were certainly horror spoofs and even EHS's prior to 2000, this subgenre really took off after the release of The Blair Witch Project in 1999. The ears of B movie filmmakers worldwide suddenly perked up as they collectively sighed, "Hey, they filmed that with a camcorder for no money and made a ton... I can do that, too!" Production immediately was underway on a host of similar B movie offerings promising dumb jokes and naked chicks. Since The Erotic Witch Project, The Bare Wench Project, The Blonde Wench Project and numerous other films emerged at around the same time, it's difficult to even say who did it first. The two big names you need to know in this field, however, are Seduction Cinema and Jim Wynorski.

Seduction Cinema employed a host of different directors to churn out titles like Mummy Raider (2002), Play-Mate of the Apes (2002) and Kinky Kong (2006), which had rock bottom budgets and focused mostly on all-girl action. Having been in the business since the early 80s, Corman U graduate Wynorski, SC's primary competitor at the time, had been making and successfully marketing comedic T&A exploitation films for decades prior so he had the upper hand at both coming up with amusing titles and getting his films distributed. Though Jim threw his hat in the ring during the early stages of the EHS (making three Bare Wench films, a greatest hits compilation and a "making of" documentary... because we really need to know how these things were made, right?), he wouldn't hit his stride until 2005's The Witches of Breastwick became a cable hit. Afterward, we were treated to the likes of House on Hooter Hill, The Breastford Wives (both 2007), Cleavagefield, The Devil Wears Nada (both 2009), The Hills Have Thighs (2010) and numerous others.

Competing with SC and Wynorski for cable airtime and DVD sales throughout the 2000's, was Fred Olen Ray. I always love pointing out that Fred is originally from Wellston; a tiny town in Southeast Ohio, because it's about a fifteen minute drive from my own tiny (though slightly larger) hometown of Gallipolis, Ohio. At some point, Fred moved to Florida, made a few ultra low-budget films there and then migrated to Hollywood, where he capitalized on the huge video boom of the 80s / early 90s and became one of the most prolific directors around. Into the 2000s, Fred had his own own shtick in the soft-core market and that was the ever-trusty "bikini" movie. He'd go on to make around twenty (!) soft-core films with "bikini" in the title and even had his own special bikini movie alias: Nicholas Medina. Ray was also smart enough to adapt to the changing times. With the video market starting to dry up in the late 90s, he began exploiting TV more and more; getting his films and TV projects on regular rotation on such networks as Starz, Lifetime, Here! and the SyFy Channel. He was also savvy enough to form his own production company (American Independent Productions) in the early days so he could control the destiny of most of his own films and eventually formed his own distribution company (Retromedia), which currently has a catalogue of hundreds of titles (not just his own).

Starring, the ample talents of...

Julie "I don't need no introduction" Strain

Once upon a time Cinemax Queen Mia Zottoli

Former biochemistry major turned web babe and all-girl X star Aria Giovanni

So what does this all have to do with Thirteen Erotic Ghosts? Well, for starters it's one of the earlier examples of the modern EHS, but mostly I figured I'd have to whip out my verbosity card in order to give you something to read. Hey, one can't expect too much plot discussion when covering a soft-core flick, can they? Thirteen - which was obviously made to capitalize on Dark Castle Entertainment's "remake" Thir13en Ghosts (2001) - opens at the Waffle House School for Wayward Girls; a castle that doubles as "a very private school for very naughty girls." The first scene, set in a steamy hot tub where Julie Strain gets down with a pair of identical twin blondes (Zen and Zero "the Porcelain TwinZ," who, away from movies are self-proclaimed "pioneers of fetish-burlesque"), proves just how naughty these girls are. Very. This scene also really pushes the boundaries of soft-core by throwing in some simulated dildo play. After Julie's character - Baroness Lucrezia - gives the two naughty girls a little spanking, she raises her metal sex toy into the air triumphantly and it's struck by lightning. The girls are fried in the hot tub and the house goes down in flames; killing everyone inside.

"Many years later," a small (three-person) TV crew shows up there in hopes of proving its haunted reputation. There's host Ted Nightingale (Jay Richardson on hammy overdrive), who's hoping to revive his career after a failed show ("Who Wants to Be a Crack Whore?") and a "cultural exchange" tabloid scandal with a 14-year-old male Puerto Rican exchange student, cameraman Mikey (Richard Gabai) and uptight, bossy producer Gina DiCaprio (Mia Zottoli). The guys are handed a pair of green "ghost goggles" and then we cut to Professor Ted Isor (the director) explaining how the glasses work. Yes, this video was shot in a similar fashion to Castle's original 13 Ghosts (1960) with special glasses that enable you to see - or not see - certain ghost images. Since I didn't have the glasses I guess I missed out on some of the ghosts, but I did see a few other things that managed to keep my attention.

The TV crew meet the home's current owner Hugo ("Gordon Baer" aka "Orville Ketchum" aka Peter Spellos), venture inside and then encounter various female ghosts, whose restless spirits are trapped there until someone can prove they exist. And what do the ghosts do to pass all this time? I'm sure you can guess. There are seven simulated lesbian scenes in this one, from the standard girl-girl, to the girl-girl-girl all the way up to the girl-girl-girl-girl. Zottoli is in a few of these scenes (including one in front of a fireplace) and the ones with Strain and the twins have a mild S&M tinge to them, with some whipping and Julie doing her usual dominatrix bitch routine. There's a lot of what I like to call "beyond R but not quite X nudity" and some pretty graphic scenes; a few of which feature hardcore performers like Felony and the very attractive Aria Giovanni (who was married to Marilyn Manson guitarist John 5 for a number of years). The Porcelain Twinz, who don't seem to mind doing things like kissing or licking and fondling each other's breasts (which will either be hot or kind of uncomfortable to watch depending on one's tastes), also appeared alongside Julie in three other movies: Purgatory Blues (2001), Barberellas (2003) and Blood Gnome (2004). Later, in 2009, they also made headlines as part of a rather peculiar sexual harassment lawsuit...

In 2009, Zen and Zero (real names Amber and Heather Langley), sued Simon Hammerstein, owner of Manhattan's 'The Box' club, for an undisclosed amount. According to the suit, the girls claimed they were coerced into spicing up their stage act with "glass dildos" and were instructed to "perform cunnilingus on each other as well as vaginal penetration with simulated phalluses." Fearing unemployment and being kicked out of their apartment (which the Defendant apparently helped set them up in), the two then felt "compelled" to "accede to Hammerstein's directive" of joining him in bed for a sex romp which included more "Twincest." No word on how that all turned out.

When this isn't focusing on the girls, there's a lot of terrible acting and mugging (aside from Spellos, who's quite amusing in his small part), goofy dialogue and throwaway on-camera confessionals, plus a few instances of (mostly awful) CGI. Gary Graver shot it on digital video and it looks OK for what it is and Fred's wife, Kimberly A. Ray aka Miss Kim, was the producer. I guess this is what it is, but it's not one of the director's better films nor is it an outstanding piece of erotica.

★1/2

Newlydeads, The (1987)

Directed by:
Joseph Merhi

A mysterious, tall, husky-voiced, hardbodied blonde named Jackie shows up at a lakeside hotel late one evening looking for a room. The owner, Lloyd Stone (Jim Williams), likes what he sees, and vice versa. Right as the two begin kissing, Lloyd goes to run his fingers through the sultry blonde's hair and ends up pulling the wig off a lusty transvestite instead. Lloyd snaps, tries to throw Jackie (Scott Kaske) out and, after being punched in the face and kicked in the groin during a scuffle, grabs an ice pick off of the counter and sinks into the side of his / her head. He throws the body in the lake and goes about his business. Fifteen years later, Lloyd's successful little hotel empire has expanded and he's set to marry the sultry Lynda (Roxanna Michaels), who looks about twenty years his junior. Right in the middle of his wedding ceremony, the undead-looking ghost of Jackie pops in long enough to inform him that "I'm not going to let you have anyone but me!" Why Jackie's ghost is obsessed about a not-very-good-looking middle-aged man he/she was around for about five minutes is anyone's guess. Lloyd doesn't heed the warning, goes through with his wedding and other guests start filing into the hotel soon after.

Most important amongst the guests is Kris (Jean Levine). Chris is a psychic and her husband Ron (Jay Richardson) would prefer her to use her powers in a more useful way: namely helping him make money. Kris is also one of strangest choices for a heroine in slasher flick history. She's middle-aged, loud, abrasive, bitchy, has a grating voice and is just extremely unlikable. After seeing Jackie's ghost outside the lodge, Kris demands they spend the night there. Amongst the other duos to show up to there are rednecks Blanche (Rebecca Barrington) and Bull (Michael Springer), who can't even wait to get to the hotel to start "balling" and just pull their car over to the side of the road, elderly couple Marilyn (Jean Lowry), who's hard of hearing and needs everything screamed at her, and Mathew (Dick Crawford) want to celebrate their second honeymoon, blonde hottie Brenda (Renee Way) and the geeky, scrawny Tim (Doug Jones) are celebrating their honeymoon and pot-smoking, rainbow-haired Aussie punk rocker Roger (Ron Preston) wants to propose to his girlfriend Sabina (Michelle Smith).

Their first night there, Kris informs her husband that "Someone is going to be murdered tonight!" and then hysterically (and hilariously!) starts shrieking and hyperventilating about someone breaking into their home. She tries to warn Lloyd, but he ignores her and returns to his room where his new brides awaits. Unfortunately, the honeymoon bliss is ruined when Lloyd tries to strangle Lynda after having visions of her turning into Jackie and biting out his tongue. Lynda promptly packs her bags and refuses to come back until Lloyd sells the place. Chris' premonition ends up coming true when Tim and Brenda are discovered dead the following day. For some reason that defies adequate explanation, Kris talks Lloyd into not contacting the police! Instead, he hides the corpses under the cover on a boat down at the docks. On her way out, Lynda is carjacked (!) by the ghost and has to return to the lodge. Jackie does the same routine she did before and tricks Lloyd into stabbing her to death in the shower. Kris pops in long enough to recommend they hide her body, too. When Ron goes into town to get help, he's stabbed through the throat in a public place which finally brings a pair of detectives to the lodge.

The last fifteen minutes or so consist of about ten people running around in the woods getting picked off by the laughing ghost. A maid runs into a saw and decapitates herself, a guy is accidentally blasted with a shotgun and there are a couple of impalements (on tree branches, with a cross, etc.)... and then it just sort of ends. After setting up what could be an adequate body count, only about half of the characters actually die, making us realize that most of these idiots serve no purpose whatsoever aside from eating up time. In fact, judging by what a huge, rushed mess the ending is I might venture to say that this wasn't even completed. During breaks in the horror, there are some lame attempts at comedy, such as a foul-mouthed, drunken, singing minister (Captain Mike) wandering around and the old couple playing Trivial Pursuit and her mistaking "fox" for "fuck."

I know this sounds pretty fun. A killer transvestite ghost is a cool idea and all but these folks pretty much just turned it into a tedious, inept bore. It's also a really ugly, cheap-looking film, with murky and often blurry photography. It appears to have been shot on video, but I'm not 100 percent sure about that. The funny song that open the film, a decent amount of female nudity and OK make-ups from Judy Yonemoto are all it has going for it. Still, this was the little acorn that helped grow Merhi and Richard Pepin's City Lights Distribution company, which specialized mostly in direct-to-video action flicks. The company was also responsible for EPITAPH (1987), FRESH KILL (1987), DEATH BY DIALOGUE (1988), HOLLOW GATE (1988) and some other genre films.

Troma handles the distribution these days and released it on a 3 DVD set along with Dead Dudes in the House (a re-title of THE HOUSE ON TOMBSTONE HILL) and SPACE ZOMBIE BINGO!! (1993).

★1/2

Tomb of the Werewolf (2003)

... aka: Unliving, The

Directed by:
Fred Olen Ray

Elizabeth Bathory (Michelle Bauer) sells her soul to Satan for eternal youth and (as most of us know) must bathe in the blood of young women (not just virgins, as you will later see!) to retain her youth. She is also responsible for periodically sending her dark lord Lucifer some damned souls by making human sacrifices. Somewhere along the years she crosses paths with Waldemar Daninsky (Paul Naschy), a nobleman in love with Lady Eleanor Daninsky (Stephanie Bentley). When the black plague ravages Eleanor, Elizabeth strikes a deal with Waldemar to return her to life. She does, but then Waldemar is transformed into a werewolf, kills the newly-revived Eleanor and is captured by townspeople who drive a silver cross through his chest. He's then laid to rest in a hidden crypt in the Daninsky family castle and forgotten. (By the way, the time and place of these events are never given.)

Flashing ahead to today, descendant Richard Daninsky (Jay Richardson) learns he has just inherited a huge castle reputed to have a treasure hidden somewhere inside. He travels to Europe with the crew from the television series "Current Mysteries" in tow. Amongst the group are arrogant TV reporter Melanie Charles (Kennedy Johnston), her producer boyfriend Tony (Leland Jay), script supervisor Leslie (Beverly Lynne), beefcake cameraman Steve (Frankie C. Cullen) and make-up artist Christie (Jacy Andrews). The group also hire psychic Amanda Collins (Stephanie Bentley again), who is a dead-ringer for the long- dead Eleanor because she is actually a ghost. And wouldn't you know it, there in the castle alive and well-preserved is Elizabeth, who is posing as the caretaker and housekeeper, but is naturally up to other devious things.

Elizabeth leads Richard down into the dungeon / crypt and tricks him into removing the cross from the corpse of Waldemar. Waldemar returns to life, kills Richard, gets outside and starts biting chunks out of villagers. Meanwhile, the TV crew goof off and get off in assorted combinations. The sex scenes for the video release (including the expected girl-girl encounter) cut to black before they get too racy, suggesting there may be an unrated version out there somewhere. If one does indeed exist, it will probably end up on Cinemax at 3 a.m.; this film is perfect for late-night trash-film fanatics. Director Fred Olen Ray does an OK good job with the return of Naschy's famous Spanish horror character. He's added a little fog, a little ambiance, a little blood and some romanticism to this tale in intentional reverence to the El Hombre Lobo movies of the 1970s. He also stuck pretty closely with the original werewolf design and special effects. The only major difference is that the cheesy time-lapse werewolf transformations of yesteryear have been replaced by the cheesy computer morphing werewolf transformations of today. The film is nowhere near as atmospheric as the original Spanish productions, but there's plenty of nudity / sex and even a decent amount of blood to keep B movie fans mildly entertained.

The period details (aside from the castle and some costumes) are not convincing in the least and neither are the performances from most of the younger cast (Beverly Lynne and Jacy Andrews excluded), but having three veterans in the pivotal roles makes a big difference here. Jay Richardson dies pretty early on, but he's an-always reliable character actor and does just fine here. It's great to see Paul Naschy in an American movie and playing Waldemar again. He has a few English-language lines with his thick Spanish accent, but spends most of the film in make-up or standing off in the background watching the action from afar. But the real star of this one is Michelle Bauer, who is menacing, sexy, sardonic, wickedly funny and delivers her dialog with great camp relish. Pay careful attention to her facial expressions. She never just stands around waiting to say her line; she's always active in what's going on while others around here often seem to be drifting off. It is one of her best performances and largest roles... and none too soon! The 44-year-old (who seems to be growing old gracefully with no signs of reconstruction or Botox face-freeze) is surrounded here by girls who are young, attractive and refreshingly devoid of silicone. Never mind that, Michelle steals the spotlight away from all of them.

★★

Haunting Desires (2003)

Directed by:
"Nicholas Medina" (Fred Olen Ray)

Many blame Jim Wynorski, David DeCoteau and this film's director, Fred Olen Ray (using the alias "Nicholas Medina" here), for turning the low-budget horror industry into one big, dull, plot less soft-core sex romp. All three have some enjoyable flicks under their belt, but this one's unfortunately a prime example of their detractors' gripe; a vampire movie with awful acting, lame writing and a tired, boring plot about bloodsuckers working out of a strip club.

Beverly Lynne, a short-haired blonde who used to be a pro football cheerleader and frequently acts in these things, is Jill, a struggling reporter for "Crime Beat" magazine. She goes undercover in the club to investigate a murder. Jay Richardson virtually replays his HOLLYWOOD CHAINSAW HOOKERS part as an aged detective who calls everyone around him "kid." The owner of the exclusive "Underground" strip club is played by long-haired Fabio-esque porno actor Evan Stone, who proves he's an old-fashioned kind of vampire by keeping his pants on during his sex scenes. He talks softly, wears a frilly shirt, mascara and black fingernail polish, is seen for about two seconds as a winged monster, claims to be two-thousand years old and presides over a live sex show where everyone wears masks. One evening, he shows up at Jill's place and tells her to "give into the darkness," which results in an aerobic sex romp that seems more like a professional wrestling bout than a piece of erotica. Jill is bit (on her breast), but never becomes a vampire.

There are at least half a dozen time-devouring topless strip sequences and just as many sex scenes. We also get some S&M, a threesome, two token lesbian scenes, some awful computer effects (the slow-motion bullet is hilarious), typical Ray movie in-jokes and a supporting cast (Jenna West, Maya Divine, Eric Masterson) drafted in from the hardcore industry. The ending is as mundane as they get. I've also seen enough of these things by now to recognize that the music itself was even reused scores from HAUNTING FEAR (1989) and SORCERESS (1994). The composer of those scores is a guy be the name of Chuck Cirino, who has been contributing great, catchy theme music to B films for twenty years and deserves some recognition for it. He's given a "special thanks" in the end credits, along with B-film regulars Gail Harris (the great star of Wynorski's 'Hard to Die' and 'Sorority House Massacre II') Richard Gabai and George Stover.

★

Witch Academy (1990)

...aka: Little Devils

Directed by:
Fred Olen Ray

What we have here is an S&M-themed horror farce filmed exclusively in one house and littered with familiar faces, hit-or-miss slapstick gags, rubbery monsters and a generous helping of female flesh. At a sorority house, cruel queen bee Wanda (Suzanne Ager) and her underlings, bitchy Tara (Michelle Bauer) and bimbo Darla (Ruth Collins), are at a loss when plans to attend a party fall through. Bored, they decide to invite ultra-geeky would-be pledge Leslie Perkins (Veronica Carothers) over and plan to completely humiliate her. They mock Leslie's clothes as soon as she arrives and chain her up in the basement. There, she's visited by none other than The Devil himself (Robert Vaughn), who transforms Leslie into a sexy vixen who pretends to be Leslie's sister "Becky" and plots to get her own revenge on the sadistic sorority girls who mistreated her. She also occasionally turns into a large lizard monster who sucks out blood with a long tube-like tongue. Priscilla Barnes shows up as the sorority's sexy house mother, as does Jay Richardson as a sleazeball professor, just in time to fall victim to the creature.

The film's raison d'être is clearly to showcase the charms of the actresses on hand, and the film is reasonably successful on that front. Four of the five actresses have their own nude scenes and spend the bulk of their screen time running around dressed in bras, panties, mini-skirts and see-through lingerie. Not only that, the five are also given a platform to engage in farcical comedy and do their very best with the material handed to them. Unfortunately, the material handed to them just isn't all that good. I could never figure out where the "witch" in the title really stems from. Aside from making a telephone blow up (off-screen) several times, the sorority girls are never seen using any kind of special powers at any point in the film, though they'd obviously come in handy after a certain point. There are also some issues with tone. At times it seems like your standard cheapie horror-comedy spoof of deliberately cheesy gags (including a scene directly referencing the blood test in Carpenter's THE THING) and at others it seems like it's trying to find light humor in sadomasochistic behavior, kidnapping and cruelty.

The copyright in the credits says 1990, but it wouldn't be released until years later. In 1993, a heavily-edited version (minus all of the nudity) made its way onto the USA Network's Up All Night program. I found a listing for a German VHS release (under the original title LITTLE DEVILS) on Amazon from the mid 90s but the first home video release I'm aware of in the U.S. is the 2002 DVD through Ray's own company Retromedia. It's worth a look for fans of the actors, but I wouldn't really recommend it to anyone else.

★1/2

Hollywood Chainsaw Hookers (1987)

...aka: Hollywood Hookers

Directed by:

Fred Olen Ray

Cheerfully cheap, infamously-titled B horror/comedy (filmed in just five and a half days) hits most of the right notes if you like this kind of stuff. Sleazy, wisecracking private eye Jack Chandler (Jay Richardson, who also narrates) is hired to locate runaway Samantha (Linnea Quigley) by her mother. While hanging out with some cops investigating a rash of mysterious dismemberment murders, Jack swipes a matchbook with the name of a hooker, Mercedes, written on it, as well as her phone number. He calls, arranges to meet her (Michelle "McLellan"/ Bauer) at a local bar, shows up and is immediately drugged. When he comes to, he finds himself knee deep in a cult of chainsaw-worshipping prostitutes who seduce and then chainsaw hapless saps to pieces to please the ancient Egyptian God Anubis. The cult is presided over by "The Master" (TEXAS CHAINSAW MASSACRE's "Leatherface" himself, Gunnar Hansen) and Jack learns that Sam has infilatrated the group to get revenge on the death of her friend.

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HCH is every bit as silly and aggressively campy as one might expect from the title and delivers precisely what is expected of it. It's loaded with nudity and there are plenty of amusing scenes featuring cartoonish amounts of blood and rubber body parts flying all over the place when the hookers cut their clientel down to size. Aside from the horror content, the film also effectively takes aim at noir and TV detective shows with Richardson's dry, almost nonstop and often very funny narration track (conceived with a playear for wordplay and puns by the director and T.L. Lankford).

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No one's expecting top flight acting from one of these things, they're expecting good-natured, enthusiastic camping, and that's precisely what most of the cast deliver. Richardson does a fine job in the lead role (one of his firt), though the character he's playing is so unlikable and sleazy it's tough to really take to him. Quigley - introduced at a later junction in the film - and Bauer both look like they're having a blast playing their respective parts. Better yet, both ladies get their very own memorable dance sequence. Quigley's - "Virgin Dance of the Double Chainsaws" - has her emerging from a sarcophagus clad only in a thong and some body paint with two mini- chainsaws in hand. Bauer's - the best scene in the entire film - has her stripping, dancing to some imitation Elvis and prepping her room (covering her painting of The King in plastic and putting on a shower cap!) before making a mess of her trick (Jimmy Williams). Dawn Wildsmith (as a chainsaw hooker in custody during the opening scene) and "Jerry Fox" / Fox Harris (as a customer who wants to make a topless little league calendar) have memorably amusing smaller roles. The only real disappointment is with Hansen, who seems like he's not even trying. Also with "Dukey Flyswatter"/ Michael D. Sonye as a bartender, Dennis Mooney as a cop and Gary J. Levinson.

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It was selected as the #4 coolest B-movie by Maxim Magazine not long ago and is one of the director's best films. Ray's company Retromedia released a 20th Anniversary Edition in 2008 which includes a commentary track from Ray and Lankford and a "making of" featurette with Ray, Quigley and Bauer.

★★★

Death Row Diner (1988)

Directed by:

B. Dennis Wood

1940s movie mogul Otis Wilcox (John Content) is fried in the electric chair for a crime he didn't commit... and worse yet, on an empty stomach! Many years later, a group of people show up in the same exact prison to shoot a horror movie and are plagued by the inconvenient disappearances of both cast and crew. Yup, Otis has returned from the grave as a cannibal zombie and seeks revenge against the filmmakers for turning his once prosperous movie studio into a B-grade sleaze factory. If you think this sounds sort of like Destroyer (1987) or a dozen or so other electric chair/prison horror flicks, you're exactly right. Only this one is shot-on-video, has no nudity, mediocre-at-best acting, phony gore effects (like a guy whose eyeballs pop out after a thud to the back of the head with a ping pong paddle), an annoying Elvis-impersonating caterer and plugs for Hollywood Chainsaw Hookers and Fangoria magazine. Whatever fun there is to be had is limited to watching B grade stalwarts Jay Richardson and Michelle Bauer (playing a slimy movie director and his actress wife, who happen to hate each other's guts) gamely ad-libbing their way through the proceedings.

Scraped from the bottom of the Camp Motion Pictures barrel (then again, about 80 percent of their releases were awful), but it gives hope to all amateur filmmakers out there. If this thing can get a video release then anything can! The cast includes Tom Shell (Surf Nazis Must Die) as an actor and no less than four actors who'd just appeared in ZOMBIE DEATH HOUSE (1987) - Salvatore Richichi (who co-wrote, executive produced and was the stunt coordinator), Frank Sarcinello, Jr., Dana Lis Mason and Dennis T. Mooney - another horror with a prison setting.

★