Sometimes, I do miss Miami.
Co-written and directed by James Aviles Martin, this 1988 horror comedy follows the survival efforts of a group of people after the spread of a mutant venereal disease turns the entire township’s mothers into zombie-like cannbials. Terror + hilarity ensues.
What say you, Amazon?
It’s just another day in your typical Middle America town. The children diligently head off to school, fathers leave for the office and mothers spend their day working hard to make certain the family returns to a clean house and a warm dinner on the table. Today may begin like every other day in this town of good, solid values, but children become suspicious when their mothers begin developing some very peculiar appetites. “Flesh Eating Mothers” is a non-stop cult action/comedy that tells the story of a kid’s worst nightmare: becoming dinner! One by one, mothers are infected with an unusual virus that makes them develop bottomless appetites. When they run out of food they simply walk next door, not to borrow a cup of sugar, but to make a new recipe with the neighbors as the main ingredient. The children begin to realize that their mothers are preparing some of the strangest meals for dinner and react with mixed emotions. Should they run away or even worse, kill their own mothers to end the mayhem? Add a pinch of police corruption and a dash of a cover up in the coroner’s office and you have prepared a film deliciously destined to be a cult classic romp.
Ah, The Fugees. Back when they were the Tranzlator Crew. Back when people called them a Digable Planets knock-off simply because it was a crew comprised of two guys and a gal.
We can be honest: Blunted on Reality wasn’t the joint. Heh. But there were some cool cuts on the album, including the sublime “Vocab” and the Salaam Remi-produced track posted above, which was what really got people to pay attention. That tranzlated (heh) into a fair bit of anticipation for their sophomore disc The Score, and, well, the rest is … you know.
Body Double is writer/director Brian DePalma‘s homage to classic thrillers by the master, Alfred Hitchcock. The tributes to films like Vertigo, Rear Window, and Dial M for Murder are so prominent, some have suggested that Body Double itself is a quasi-remake of sorts.
Whether it is or isn’t doesn’t matter—Body Double is, ultimately, a great film, a violent, lurid piece of cinema that still holds up to this day. The trailer posted above is a classic, having won a Clio in 1984. It doesn’t show anything that actually happens in the movie, so here’s a plot summary for you, courtesy of The Database:
After unemployed actor Jake Scully finds his girlfriend in bed with another man he moves out and accepts an offer from fellow struggling actor Jake Bouchard to house-sit for a few weeks. Apart from getting to live in a swank and ultra-modern house he also get to watch a sexy neighbor, Gloria Revelle, who does a sexy dance in front of her window every night at exactly the same time. He becomes interested in the girl, infatuated even, following her around and eventually meeting her. She also has another admirer however and while watching her one night through his telescope, Jake sees her murdered by this other man. The police are skeptical about what he claims to have seen, but the case takes an even stranger twist when, while watching adult TV, he sees a porn star do the exact same dance he’d watched for all those nights. He soon realizes he’s been an unwitting accomplice in a complex plot.
Spring Break was a 1983 film from Sean S. Cunningham, the director of the original Friday the 13th. It was not, however, a horror film … well, maybe if you were a parent at the time you thought it was a horror film. But Spring Break was just another in a long line of teenage sex comedies about beer, bikinis, boobs, and buffoonery. As Wiki stateth:
Two nerds, Nelson and Adam book a room at an inexpensive hotel in Ft. Lauderdale for a great time on Spring break, where they meet Stu and O.T. from Brooklyn, New York, also there to have fun. The hotel has overbooked the room so Nelson, Adam, Stu and O.T. agree to share the room due to the shortage of hotel rooms. The Wet T-shirt contests, beer drinking and other illicit activities associated with Spring Break are all on display here. Nelson’s step-dad shows up and causes trouble for the group; he is paired with a building inspector who threatens to shut down the hotel (and the fun).
Jay-Z and Blackstreet worked together quite a bit in 1997. Teddy Riley’s R&B supergroup provided guest vocals on Jigga’s “The City is Mine” from his sophomore album In My Lifetime, Vol. 1, and Jay returned the favor with this guest verse on the remix to Blackstreet’s “Call Me.”
In the mid-90s, romantic Black films experienced a resurgence, and one of my favorites from that period was Chris Cherot’s low budget charmer Hav Plenty. Not only did I feel the song mirror my life to a fuckin’ t, it also had a bangin’ soundtrack thanks to film producer Tracey Edmonds and her then-husband Kenneth. You may know Kenneth by his stage name, Babyface.
Like with Waiting to Exhale the year before, Babyface executive produced the film’s soundtrack, and this track was one of the highlights. Featuring my generation’s favorite white boy crooner, SWV’s lead vocalist, and (of course) Jay-Z, “Keep It Real” was a jaunty, midtempo tune that often stayed on repeat in my stereo’s CD player.
Remember those? Ha!