Sheba Baby | Through the Shattered Lens

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The Blaxploitation Explosion was beginning to wind down by 1975, but genre superstar Pam Grier had a few more aces left up her silky sleeve. One was SHEBA, BABY, a film that doesn’t get much love, probably due to its lower-then-usual budget restrictions, but I found it a more than passable entry, mainly because of Pam’s charisma. She carries the movie on her sexy shoulders and makes it watchable, budget be damned!

In this outing, we have gangsters terrorizing local Louisville, KY businesses, including Andy Shayne. Enter daughter Sheba, a Chicago PI who comes home just in time to help. The cops refuse to get involved, so when Andy’s gunned down by hoods, Sheba’s on the case, and there’s no stopping her from getting revenge on those creepy criminals…

Pam is again one bad sista, decked out in stylish 70’s fashions as she pursues the villains with aplomb. In fact…

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I’m dedicating this latest edition of Lisa Marie’s Favorite Grindhouse and Exploitation Trailers to all of our readers and contributors on the East Coast. Stay safe and enjoy the trailers!

1) The Sweet House of Horrors (1991)

One of Lucio Fulci’s final films, this was made for Italian television. It’s actually better than you might think from the trailer. But, yes, it is a far cry from Zombi 2.

2) Hell of the Living Dead (1984)

This film, however, is just as bad as the trailer might lead you to suspect. Not surprisingly, it was directed by Bruno Mattei.

3) Asylum of Satan (1972)

Or as I like to call it, Satan Plays Bass.

4) Combat Cops (1974)

Judging from the trailers I’ve come across since I first started this feature, the 70s were a turbulent time. The revolution continued with Combat Cops.

5) Sheba, Baby (1975)

“Pam Grier is …. Sheba, Baby!” Sad to think that the last time we saw Pam Grier on-screen, she was reduced to playing Julia Roberts’ best friend in Larry Crowne.

6) Hungry Wives (1972)

George Romero’s follow-up to Night of the Living Dead is better known as Season of the Witch. Like most of Romero’s non-zombie films, it has some major issues with pacing but it remains of interesting artifact of its time. The film has a feminist subtext which works about as well as can be expected, considering that the movie was made by a man.