4 Shots From 4 Ruggero Deodato Films: The House on the Edge of the Park, Raiders of Atlantis, Body Count, The Washing Machine

4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

This October, we’ve been using 4 Shots From 4 Films to pay tribute to some of our favorite horror directors!  Today, we recognize one of the most controversial directors of all time, the master of Italian horror, Ruggero Deodato!

4 Shots From 4 Films

The House on the Edge of the Park (1980, dir by Ruggero Deodato)

The Raiders of Atlantis (1983, dir by Ruggero Deodato)

Body Count (1986, dir by Ruggero Deodato)

The Washing Machine (1993, dir by Ruggero Deodato)


4 Shots From 4 Films: Special Ruggero Deodato Edition

4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

Today is the 81st birthday of the great Italian director, Ruggero Deodato!  And that, of course, means that it’s time for….

4 Shots From 4 Films

Live Like A Cop, Die Like A Man (1976, dir by Ruggero Deodato)

The House on The Edge of The Park (1980, dir by Ruggero Deodato)

Raiders of Atlantis (1983, dir by Ruggero Deodato)

Phantom of Death (1988, dir by Ruggero Deodato)

Scenes I Love: The House On The Edge of the Park (dir. by Ruggero Deodato)

Don’t ask me why I love this scene from the 1980 grindhouse classic House on the Edge of the Park because I’ll go on and on.  I could say that I love dancing in general.  I could talk about how I own a red dress just like the one that Lorraine De Selle wears in this scene.  I could rave about how pretty Annie Bell and Christian Borromeo were when they made this movie or the time capsule appeal of David Hess’s canary yellow suit. 

But, in the end, I love this scene for two reasons:

1) The song playing in the background, composed by Riz Ortolani, is so bad yet so addictive and,

2) Giovanni Lombardo Radice is just so adorable doing his little dance.

6 Trailers That Will Save The World

Welcome to another edition of Lisa Marie’s Favorite Grindhouse and Exploitation trailers.

1) Psychomania (1971)

Also known as the Death Wheelers.  This is one of those trailer that can pretty much speak for itself.  (Though I will point out that co-star George Sanders committed suicide shortly after filming completed.)

2) 10 Violent Women (1982)

Not surprisingly, this movie was directed by Ted V. Mikels.  What makes this trailer memorable (for me) is the blandly cheerful narration.  I don’t know who that is providing the narration but you hear his voice a lot as you explore the world of grindhouse trailers.

3) The Twilight People (1973)

Made in the Philippines (as were many exploitation films in the 60s and 70s — I always expect to hear someone say, “Made in the Philippines — where life is cheap!” whenever I watch one of these trailers), The Twilight People is best remembered for featuring Pam Grier as the Panther Woman.  I love how the trailers for Filipino exploitation films always seem to promise us that we’re in for “blood…blood…and more blood!” like some nightmarish 1950s feminine hygiene film.

4) Cop Killers (1973)

Do you think we killed niiiiiiine people for nuthin, maaaaan?”  This trailer plays like one of the many “fake” grindhouse trailers that every toadsucker on Youtube is making nowadays.  (And, by the way, that trend is getting increasingly obnoxious as it’s obvious that a lot of these trailers are being made by jerks who have never even seen a genuine grindhouse film.)  However, Cop Killers is a real film and this is a real trailer.  Every time I go down to Half-Price books, I come across the DVD for this movie.  They want $9.00 for it.  And every time, I end up grabbing this DVD, planning on buying it, just to then come across a movie or book that I want more.  So, I haven’t seen Cop Killers yet but I’m sure that eventually, I’ll break down and get it.

5) Convoy Busters (1978)

Feel bad for all those cops getting killed Cop Killers?  Don’t worry, the fraternity of blue meanies got their revenge in plenty of other films, including this 1978 Italian film.  Convoy Busters was directed by Ruggero Deodat0 (of Cannibal Holocaust and House On The Edge of the Park fame) and is also known as Cop on Fire.  (Apparently, it was retitled to take advantage of the international success of Sam Peckinpah’s Convoy.)

6) The Psychic (1977)

This is the (very) American trailer for Lucio Fulci’s Murder To The Tune of Seven Black Notes.  This film is actually one of Fulci’s more subtle and interesting films and, considering that it’s a Fulci film without zombies or a huge amount of gore —  it has a surprisingly large number of fans (including Quentin Tarantino).  At the time of its release, however, it failed at the box office and so hurt Fulci’s reputation that the producers of Zombi 2 were able to hire him cheap whereas previously, they wouldn’t have been able to afford him.  Hence, it can be argued that the success of Zombi 2 was directly the result of the failure of The Psychic.  (That’s what we call the circle of life.)

10 Unacknowledged Christmas Classics

It’s December and that means that it’s the Christmas season and that can only mean an abundance of Christmas movies both at movie theaters and on television.  This Christmas movie has even become a genre in a way that the Thanksgiving movie or the Bank Holiday movie never has.

I love the Christmas season because 1) it’s one of the few times that there’s half a chance of seeing snow in Texas, 2) it gives me an excuse to bond with family, and 3) I get lots of presents.  And I enjoy Christmas movies so much that I can pretty much quote every line from It’s A Wonderful Life from memory.  I’ve even been known to enjoy the holiday movie marathons that pop up on the Lifetime Movie Network (especially if they feature Jeff Fahey and his bluer than blue eyes).  However, my favorite Christmas movie remains the original Miracle on 34th Street because Natalie Wood was one of my mom’s favorite actresses and Miracle was one of her favorite films.

However, in this post, I want to highlight 10 movies that have either been overlooked in the past or else films that, while properly acknowledged as classics, are rarely mentioned as being Christmas films.

1) In Bruges (2008)  — Two Irish hitman (Colin Farrell and Brendan Gleeson, both wonderful) hide out in Belgium during the Christmas holiday.  I love this film for so many reason but I have to specifically mention the performance of Ralph Fiennes, who plays an English crime boss with a foul mouth, a murderous personality, and a firmly held set of ethics.

2) Brazil (1985) — One reason why I love Terry Gilliam’s dark satire is because I actually have quite a bit in common with it.  We’re both often misunderstood, we’re both pretty to look at, and we were both released in 1985.  While Brazil is now often acknowledged as one of the best and most imaginative films of the last century, it’s often forgotten that all of this film’s action takes place over the Christmas season.  If you’ve never seen Brazil, see it now.  But be aware that you’ll never look at Michael Palin quite the same way again.

3) Three Days of The Condor (1975) — This espionage thriller (which stars a young, pre-Leatherface Robert Redford) skillfully contrasts cold-blooded violence with the bright outer happiness of the Christmas season.

4) Eyes Wide Shut (2000) — Stanley Kubrick’s final film is a tribute to MK-Ultra conspiracy theories and features rich people trying to be kinky during the Christmas season.  Nicole Kidman does redheads proud with her performance here and we get to see Tom Cruise smoke pot.

5) P2 (2007) — Rachel Nichols is trapped in a parking garage on Christmas Eve by a very scary Wes Bentley.  I have to admit that I’ve always had a morbid fear of either dying, getting seriously injured, or disappearing on Christmas Eve and therefore ruining the holiday for my family.  I guess that’s why P2 resonated with me.

6) Silent Night, Bloody Night (1974) — No, this is not a killer Santa film.  This is the film where a bunch of former Warhol superstars (Ondine and Candy Darling being the most prominent) play a bunch of mental patients who massacre their doctors in a disturbing, sepia-toned sequence.  Years later, on Christmas, another former Warhol superstar — the wonderful Mary Woronov — comes to investigate.  This is actually a fairly good film from director Theodore Gershuny.

7) Christmas Evil (1980) — Now this is a killer Santa film.  Harry is a loser who works in a toy factory but he’s obsessed with Christmas because, when he was a child, he saw mommy humping Santa Claus.  (Isn’t that a song?)  So, one Christmas, Harry dresses up like Santa and goes around killing neglectful parents and others who don’t have the Christmas spirit.  This is an oddly sweet film with an ending that brought very sincere tears to my eyes.

8 ) To All A Good Night (1980) — Okay, this is another killer Santa film and it’s one of those early ’80s slashers where everyone dies because they’re total and complete idiots but two things distinguish this film from other Killer Santa slasher films: 1) it features not one but two psycho Santas and the movie was directed by David Hess, star of Last House On The Left and The House On The Edge of the Park.

9) The Silent Partner (1978) —  However, the greatest of all killer Santas is to be found in this Canadian crime thriller.  Christopher Plummer plays a psycho bank robber who — disguised as Santa — robs a bank.  Elliot Gould plays a lonely bank clerk who uses the robbery as an excuse to steal some cash for himself which leads to Plummer eventually coming after him.  Plummer makes the scariest Saint Nick ever!

10) Kiss Kiss Bang Bang (2005) — This is pure grindhouse brilliance, a dark comedy and a metafictional satire disguised an action movie.  Robert Downey, Jr. is a small-time criminal who accidentally becomes a film star and ends up investigating a murder with a hard-boiled PI (a surprisingly self-aware performance from Val Kilmer).  And it all takes place during the holidays.

6 of Lisa Marie’s Favorite Cinematic Dances

As I’m sure I’ve mentioned before, I’ve always loved to dance.  Before I embraced the movies, my life was about dancing.  I was going to be Prima Ballerina and my mom paid for several years of ballet class to help me reach that goal.  I obsessed on it the way that I obsess, today, on Lucio Fulci and Jean Rollin.  However, my brilliant career was cut short by two things — 1) I’m about as graceful as a Clydesdale and 2) I ended up tumbling down a flight of stairs when I was 17 and essentially shattering my ankle.  Actually, I guess those two things might be connected.  Anyway, I can’t complain because giving up my affected love of ballet allowed me to discover my very true love of film.  I was never really a great dancer (though I was, and am, very enthusiastic) but I’m very good at watching movies.

However, I still love to dance and I still love movies — even mainstream movies — that feature dancing.  That’s why I’m so looking forward to seeing Black Swan next month.  Until then, here’s 6 of my favorite dance scenes from the movies.

1) Giovanni Lombardo Radice and Lorraine De Selle in The House On The Edge of the Park

Let’s start off with one of my favorite “dance” scenes of all time, my man Giovanni Lombardo Radice and Lorraine De Selle breaking it down in Ruggero Deodato’s The House On The Edge of the Park.  The man in yellow is David Hess.

2) Joseph Gordon-Levitt in (500) Days of Summer

If anyone’s ever wondered why I was crushing on Joseph Gordon-Levitt in Inception (as opposed to Tom Hardy, Cillian Murphy, or Leonardo DiCaprio), it was largely because of this scene from (500) Days Of Summer.

3) The Cast of Murder Rock

Murder Rock is kinda sorta like my own personal Holy Grail — it’s a grindhouse dance movie directed by Lucio Fulci!  Plus, it costars Christian Borremeo, who co-starred in The House on the Edge Of The Park and Dario Argento’s Tenebrae.

4) The Metropolis Dance Sequence

From Fritz Lang’s silent, expressionistic classic, here’s the infamous dance.

5) Kate Hudson in Nine

Okay, so I think Nine was definitely the worst the movie of 2009.  Yes, even worse than Avatar.  However, I love this scene and I love the song featured in it, Cinema Italiano.  Yes, technically, it’s a really terrible song that displays an astounding ignorance of Italian cinema.  If anything, the lyrics appear to be describing the French New Wave.  True, the song do make reference to “neo-realism” but you get the feeling no one involved with Nine ever saw Open City or The Bicycle Thief.  But the thing is do damn catchy that I still find myself singing it in the shower.  Like me, Kate Hudson is obviously not much of a singer or a dancer but she’s very enthusiastic.

6) Jill Clayburgh in An Unmarried Woman

An Unmarried Woman was apparently very groundbreaking in 1978.  Seen now, it seems like a better title for it would be An Unmarried Woman Who Can Still Afford A Penthouse Apartment In New York City.  Still, the late, great Jill Clayburgh’s performance holds up well and I like the film if just because it’s still one of the few movies out there that’s willing to acknowledge that an unmarried woman can still be a sensual, happy woman.  The scene below captures perfectly the exhilarating joy of just surrendering to the music and dancing.  Plus, for me, this is one of those “Hey, I do that too!” scenes.  In fact, my ankle is still hurting as a result of rewatching this film last Friday.


Too Sordid To Ever Be Corrupted

“How could you have possibly enjoyed that movie?”

I hate that question.  I hate the self-righteous tone of it.  I hate the demand that I justify anything that I choose to do with my life.  I hate the implication of the question, the suggestion that somehow there is some sort of moral force at the center of the universe that determines whether or not a movie can be enjoyed.

Unfortunately, no matter how obviously justified I am in loathing that question, it’s still one that I am frequently asked.  How can I not only enjoy watching old school exploitation and grindhouse films (the majority of which were made before I was even born) but also devote a good deal of my time to not only watching these movies but tracking them down and then telling the rest of the world how much I love them?

(Of course, what they’re really asking is what are you doing watching exploitive trash like House On The Edge of the Park or Fight For Your Life when you should be out finding a husband, driving an SUV, and living a life of quiet desperation?)

First off, I should confess.  I have commitment issues, I know it.  I realize that, as a result of some personal experiences in the past, that I tend to beg for affection and attention even while I’m putting up my own invisible wall to keep anyone from getting too close.  It’s not easy for me to trust but, after writing for this site since May, I feel like maybe it’s time to share a little bit more about me.  Hi.  My name is Lisa Marie.  I’m 24.  I have three older sisters that I love.  I’m a proud to be an Irish-German-Spanish-Italian-American.  I lived in five different states before I was 13 and I’m rarely amused when people point out the country twang in my voice.  Up until I was 17, ballet was my life but then I fell down a flight of stairs, broke my ankle in two places, and that was the end of that.  I worked very hard to earn a degree in Art History.  Not surprisingly, my current job has nothing to do with art or history.  I have asthma and heterochromia (my right eye is a darker shade of green than the left).  I’m blind without my contacts.  I like cats, driving fast, and being single.  I dislike dogs, needy men, and those tiny little smart cars.  The only thing that can equal my love for the Grindhouse is my hatred for the Mainstream.

Here’s a few reasons why.

1) Before Independent Film, there was the Grindhouse.

Today, if a young director wants to show what he’s capable of doing, he makes his own little film and enters it into various film festivals and, if he’s made something interesting, he might sign a distribution deal and his film might pop up down here in Dallas at the Angelika theater.  In the 70s, that young director would make an exploitation film, hope that it had enough sleaze appeal to make back its budget by playing in a New York Grindhouse (or a Southern drive-in) and, if he had made something interesting, his cheap, exploitation film might eventually end up being released on DVD by Anchor Bay or Blue Underground.  The best Grindhouse films were made by director who were eager to show what they were capable of doing.  These movies were not made by multimillionaires with houses on both coasts of the country.  Grindhouse movies were made by director who had to work to create something memorable, filmmakers who knew that they might never get another chance to put their vision on-screen.

2) The Mainstream Lies.  The Grindhouse is honest.

Mainstream films are just that.  They are films designed to appeal to the widest possible audience.  A mainstream movie is not made for you.  A Mainstream movie is made to appeal to the brain-dead suburbanites who can be easily recruited at the local mall to be a part of a test screening.  A Mainstream movie is made to be inoffensive.  A Mainstream movie is edited and re-edited to remove anything that could possibly negatively reflect on the bottom line.

Grindhouse movies, however, didn’t have time for that.  Grindhouse movies were made to exploit the moment.  As a result, there was no time to worry about appealing to everyone.  There was no time to constantly edit until not a single rough edge remained.  Grindhouse films are messy.  Grindhouse films are not always pleasant.  They don’t always have the perfect ending.  In short, Grindhouse movies are like life itself.

In the end, safe and inoffensive mainstream movies are made to appeal to the who we wish we were.  Grindhouse movies — sordid, sometimes uncomfortable, and always appealing to the audience’s most primal thoughts, fears , and desires — are made to appeal to who we actually are.

3) The Mainstream is bland.  The Grindhouse is dangerous and unpredictable.

Where else but in a Grindhouse film could you hear a killer who speaks like a duck like in Lucio Fulci’s The New York Ripper?  Because the Grindhouse was free of the need to try to fit in with what the mainstream decreed to be normal, the Grindhouse had the freedom to come up with some of the most brilliantly demented plots in the history of film.  When was the last time that the plot of a Mainstream film really caught you off guard?  I’m not talking about safe, inoffensive surprises like Avatar‘s 3-D effects.  I’m talking about a plot where, halfway through, you look at your fellow viewer and you both say, “What the fuck was that!?”  Anything can happen in the Grindhouse.  As soon as things start to feel safe and a little boring, the Grindhouse has the ability to make things exciting again.  The Mainstream, meanwhile, just asks you to get married.

4) The Mainstream always condescends.  The Grindhouse occasionally empowers.

Here’s a story of two movies.  In the mainstream Brave One, Jodie Foster gets a gun after she’s raped and her dog is stolen.  (In typical mainstream fashion, the movie doesn’t seem to be sure which crime is supposed to be worse.)  In the grindhouse Ms. 45, Zoe Tamerlis gets a gun after she’s raped twice in one day.  In the Brave One, Foster passively sits on the New York subway and waits until she threatened with rape a second time before she kills the potential rapist.  In Ms. 45, Tamerlis shoots every man she sees because she knows that every man she sees is a potential rapist.  In The Brave One, Foster gets her revenge by remaining the victim.  In Ms. 45, Tamerlis becomes the aggressor.  Both Foster and Tamerlis act in self-defense but Foster is wracked with guilt because the mainstream cannot risk losing its audience.  Tamerlis becomes stronger and more confident with each murder as, for the first time, she has found a way to control her own destiny.  At the end of The Brave One, Foster is not only rescued by a man but she gets her dog back too.  At the end of Ms. 45, Tamerlis goes on a shooting rampage at a Halloween party and is finally killed by another woman.  The Brave One‘s tag line was “How many wrongs to make it right?”  Ms. 45’s tagline: “She was used and abused and it will never happen again!”

I know this is probably going to be my most controversial argument.  Don’t get me wrong, I’m not advocating that we should just go out and start randomly shooting men.  But, I will say this — in Ms. 45, Zoe Tamerlis refuses to be a victim and she — and the film — refuses to let society off the hook.  When I think about Ms. 45, it doesn’t inspire me to hate men (because, trust me, I don’t) and it certainly doesn’t inspire me to grab a gun and start shooting.  It does, however, inspire me to not allow myself to fall into that never-ending cycle of victimhood.

I’m not attempting to argue that Grindhouse films are secretly feminist films.  Grindhouse films are infamous for exploiting women.  However, so does the mainstream.  (Of the two films, The Brave One features nudity.  Ms. 45 does not.)  Both the Grindhouse and the mainstream obviously get off on victimizing women.  However, in the Grindhouse, women were occasionally (though certainly not often) allowed to fight back with the same aggression and determination that the mainstream, for the most part, usually reserves just for men.

(If The Girl With The Dragon Tattoo had been released in the 70s, it would have played at the Grindhouse.)

5) Lastly, and most importantly, the Grindhouse is still our little secret.

Let’s just admit it — independent films are trendy.  Contemporary independent films have, to a large extent, become the new mainstream.  The earnest film students who had a Sundance hit are now going to Hollywood to make the next Benjamin Button.  Sundance is just ShoWest with more facial hair.  However, the old school grindhouse will never sell out because it no longer exists.  It was destroyed by the morality police before it could sacrifice its soul.  While an independent filmmaker is just a director who will eventually grow up and break your heart, the great Grindhouse films are frozen in time, too sordid to ever be corrupted.  The Mainstream will never embrace the Grindhouse and for that reason, the Grindhouse will always be the ultimate statement of freedom.

6 More Exploitation Film Trailers That I Love

Back in May, I posted 6 old school exploitation trailers that I love.  At the time, I said that even though I only posted 6 of them, I could have easily listed 666.  While I don’t have the space to put up quite that many, here’s 6 more exploitation film trailers that I love.

1) A Black Veil For Lisa — There’s several things that I love about this trailer.  I love the faux-noir narration.  I love the teasing tone.  I love the old school femme fatale attitude of lead actress Lucianna Paluzzi.  But, to be honest, the main reason I love it is because it’s all about a redhead named Lisa.  That and the line “Every man wants a Lisa…”

2) The Italian Stallion — This is the trailer for the re-release of Sylvester Stallone’s porn debut, A Party At Kitty and Stud’s.  I’ve never seen the movie nor do I have much desire to see it but this trailer just amused me to no end.  Whether its the awesomely phony line readings of Gail Palmer or the catchy and empty theme song, this trailer feels like a genuine time capsule.

3) The House On The Edge of the Park — Speaking of catchy but empty theme songs, Ruggero Deodato’s The House on the Edge of the Park features my personal favorite, Riz Ortolani’s infamous Do It To Me (Once More).  It can be heard at the end of this trailer and once it gets stuck in your head, it’ll stay there forever.  As for the trailer itself, it’s a perfect example of how a well-edited trailer can actually make a somewhat draggy film seem exciting (that said, this movie is one of my all-time guilty pleasures, as misogynistic and wrong-headed as it ultimately is).  A few things I love about this trailer — the blue-tinted views of New York City, David Hess’s iconic psycho performance, the sight of my man Giovanni Lombardo Radice dancing, and the fact that the trailer actually manages to 1) get the movie’s name wrong and that 2) nobody ever bothered to fix it.

(Author’s note: Whoops!  Before you watch this, I have to admit that I’d forgotten just how explicit, violent, and exploitive this trailer really is.  So, consider this to be definitely NSFW — not that you should be watching any of these trailers at work, to begin with — and seriously, no joke, don’t watch this trailer if you are easily upset or offended.  Honestly, if I saw this trailer without having any knowledge of how silly the actual movie really is, I would probably find this trailer to be deeply offensive.  Well, no, actually, I probably wouldn’t.  For the most part, I’m only offended by things that happen offscreen in the real world. — Lisa Marie Bowman)

4) The Texas Chainsaw Massacre — Yes, I know everyone’s probably seen this trailer a hundred times but it’s still probably one of the best and most effective trailers of all time.  Plus, I’m from Texas so you know I had to mention this movie at some point.  (I may have mentioned this in the past, but seriously — try to imagine this movie being as effective if it was called The Vermont Chainsaw Massacre.)

5) Mindwarp (a.k.a. Galaxy of Terror) — I’ve been eagerly awaiting the chance to buy this film on DVD ever since seeing this trailer on the latest 42nd Street Forever compilation.  Rumor has it that this film was actually directed by James Cameron, back when he was still interesting.  Supposedly, this film features a very aggressive tentacle but, to be honest, I mostly just want to see Sid Haig’s arm get cut off.  (Seriously, who doesn’t?  Take that, Capt. Spaulding!)

6) Stage Fright — This is the wonderfully intense and claustrophobic trailer to the great Michele Soavi’s 1st film, Stage Fright, a movie I’m going to watch as soon as I finish up this post.  So, with no further delay…

5 Performers Who Deserve A Role In A Tarantino Movie

One of the great things about watching a Quentin Tarantino film is the chance to see B-movie actors and various grindhouse veterans getting a chance to show off just how talented they actually are.  Below are four men and one woman who, in a perfect world, would have a date with Tarantino in the near future.

1) Giovanni Lombardo Radice

Who is he? He’s one of the great Italian exploitation actors.  He played a character named Charles Bukowski in Cannibal Apocalypse.  He was Bob the Pervert in City of th Living Dead.  Remember his little disco dance in House On The Edge of the Park?  And who can forget him snorting cocaine, getting castrated, and shouting “Twatface!” in Cannibal Ferox?  He was also a regular in the movies of Michele Soavi and though he hasn’t been as active in recent years, he can be seen in both Gangs of New York and the Omen remake.

Why Should Tarantino Use Him?  Are you kidding?  Because he rocks that’s why.  Plus, Tarantino has said that he’s a fan and, in a documentary included on the Cannibal Apocalypse DVD, Radice expressed a desire to some day work with Tarantino.  And, with his current bald look, Radice could easily play Mussolini if Tarantino wanted to make a prequel to Inglorious Basterds.

2) Tony Sirico

Who is He? He’s the Italian version of Danny Trejo, a real-life gangster who went to prison and then became an actor. 

Why Should Tarantino Use Him? Because Paulie was my favorite character on The Sopranos.  Sirico deserves at least one starring role in his  post-prison career.

3) Colby Donaldson

Who Is He? Okay, Colby’s kinda been a little bit pathetic on the current season of Survivor but in his two previous appearances on the show, Colby was the man.  In between reality show appearances, Colby has pursued a career as an actor and, surprisingly, he’s not half bad.  His best post-Survivor role, though, was playing himself on Curb Your Enthusiasm.

Why Should Tarantino Use Him? Because someday, Tarantino’s going to have to make an actual western and who would be better to star in it than my fellow Texan, Colby?

4) Fred J. Lincoln

Who is He? Lincoln has spent most of his career working in the porn industry but Lincoln has appeared in a few “mainstream” movies.  Most infamously, he played “Weasel” in the original Last House On The Left.  In the 70s, Lincoln was the owner of Plato’s Retreat, an infamous sex club in NYC.  He’s also one of the central figures in Legs McNeil’s The Other Hollywood: The Uncensored Oral History of the Porn Film Industry .

Why  Should Tarantino Use Him?  David Hess got the majority of the attention but, of Last House’s trio of killers, Lincoln was the truly scary one.  A cameo in a Tarantino movie would be the perfect way to pay credit to Lincoln’s role in one of the seminal exploitation films in history.

5) Catriona MacColl

Who is She? English actress who appeared in several exploitation films in the late 70s and early 80s.  She is probably best known for starring in Fulci’s Beyond trilogy.  Currently semi-retired from acting and living in France.

Why Should Tarantino Use Her? Because she starred in The Beyond, of course!