Heavy Midnites

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A carefully curated collection of pizza party classics, fist explosions, international adrenaline-pumpers, ‘80s funbombs, white-hot laugh factories, total freakazoids and more. But this is no MST3K chucklethon; this is a dedicated study of all that is, and can be, AWESOME. Nothing makes us happier than: 1) B-list pics delivering A-list thrills; and 2) the glorious time when the weathered faces of Warren Oates and Charles Bronson were marquee idols. Kick off your weekend in style with your newest cinematic obsession! Follow Heavy Midnites on FB and Twitter!


Ladies of the '80s: A Decade of Horror Directed by Women - Pet Sematary & The Oracle Double Feature!

10/23 - 7:30PM
$14/free for members

During the golden age of big screen fright fests and savage video store shockers, a new wave of female filmmakers emerged to put their personal mark on some of the best genre films of the decade. This weekend’s showcase highlights some of their leading contributions, with all films screening from insanely rare 35mm prints! To get us started, the boney grip of undead terror rises from the grave, with two eerie chillers that will pump ice through your veins! What better way to kick off your weekend than with a bonafide cult classic AND a wild exploitation obscurity—paired on the same ticket?


In the ‘80s Stephen King was a legitimate brand name, the ubiquitous Master of the Macabre, and multiplexes were inundated with a deluge of big-screen adaptations. But Pet Sematary isn’t just one of the good ones, it’s one of the absolute greatest—and not just because King wrote the screenplay himself. Director Mary Lambert (then a young filmmaker making music videos for Madonna and Janet Jackson) manages to mine genuine scares and dread from an admittedly goofy but simple premise: a burial ground outside of a small-town pet cemetery has the power to resurrect whatever—or whoever—is buried in it, but like in all good versions of “The Monkey’s Paw,” there’s a catch. Lambert shows particular skill at incarnating King’s creepiest characters in the flesh: the late great Fred Gwynne’s take on “Jud Crandall”, the nightmare-inducing invalid shut-in “Zelda” (in a daring cross-gender casting coup, played by Andrew Hubatsek), and the skin-crawling presence of murderous baby revenant “Gage Creed.” Plus, you’ll be tapping your toes to the raging Ramones theme song that closes the end credits.

Dir. Mary Lambert, 1989, 35mm, 103 min.
35mm Print Courtesy of the Academy Film Archive


Enter the weird, grimy world of Roberta Findlay, legendary porn pioneer, exploitation maven, and 42nd St goddess. She’s a one woman wonder, grinding out sleazy classics like Snuff and sex obsessed nightmares with titles like Liquid A$$ets. She photographed, edited, and directed The Oracle, a creepy, soft-focus tale of spiritual possession across the sweat-stained streets of vintage NYC. While a mysterious killer lurks in the shadows, an unearthly force communicates with the beautiful new occupant of a cursed apartment, pushing our heroine towards House of Psychotic Women hysteria, while highlighting her on-point wardrobe (maroon overalls, puffy sleeves, chokers). Filled with dime store drama, one-take magic, ineffectual men and Argento-styled lighting, The Oracle showcases Findlay’s unique brand of somnambulant anti-cinema. Oh, and did we mention this is a Christmas-themed film complete with lo-fi synthesizer carols?

Dir. Roberta Findlay, 1985, 35mm, 94 min.

Ladies of the '80s: A Decade of Horror Directed by Women - Humanoids From the Deep, The Slumber Party Massacre, Sorority House Massacre & Stripped To Kill Marathon!

10/24 - 7:30PM
$20/free for members

Presented by HEAVY MIDNITES!

A crash course in the Corman Film School of ‘80s grindhouse gold! Perhaps more than any other producer, Roger Corman has successfully tapped into a powder keg of emerging talent, attracting the brightest minds birthed from the drive-in explosion of DIY cinema. With the rise of an insatiable new home audience, he was quick to fill video store shelves, orchestrating the perfect intersection of opportunity and artistry to help usher in a brief golden age for young female filmmakers hungry to cut their teeth behind the camera.


Sea beasts on the prowl for human mates! Corman veteran Barbara Peeters (Bury Me An Angel, Summer School Teachers) directs the lean ‘n mean ecological monster mash Humanoids from the Deep, crafting one of the most efficiently devastating creature flicks to ever wash ashore, and one of the best illustrations why you shouldn’t make out at the beach. A small fishing town is not prepared when an army of gilled mermen arise from their watery homes to fulfill their need to spawn. It’s gooey, gloppy and filled with carnage, a depraved sleaze-o-rama from which Peeters notoriously tried to remove her name when the producers added more boobs ‘n blood without her consent. Featuring early work by effects master Rob Bottin (The Thing), razor-sharp editing by Cinefamily fave Mark Goldblatt, and a rousing score by multi-Oscar-winning composer James Horner. Heck, the film is so stacked with talent that Terminator writer/producer Gale Ann Hurd was even the production assistant!
Dir. Barbara Peeters, 1980, 35mm, 80 min.
35mm Print Courtesy of the Academy Film Archive


Schedule permitting, director Amy Holden Jones will join us in person to discuss! Penned by feminist icon and Rubyfruit Jungle author Rita Mae Brown as a full-fledged parody, director Amy Holden Jones wisely balances the line, playing it straight so the film works both as a white knuckle thrill-ride and a pointed commentary on the male-driven stalk-and-slash cycle. The Slumber Party Massacre is one of the most-beloved of the era, the ultimate driller-killer slashterpiece, a streamlined tour de force pulsing with energy that barrels forward while piling up bodies, pizza, snappy dialogue and phallic imagery, as a wide-eyed, power-tool-wielding maniac crashes the high school basketball team’s pajama jam. One thing’s for sure, no one’s getting any sleep tonight!

Dir. Amy Holden Jones, 1982, 35mm, 77 min.
35mm Print Courtesy of the Academy Film Archive


Think college tests are tough? The Thetas are about to take a final exam where the stakes are not pass/fail but live/die. A surprisingly late entry in the Halloween knock-off craze from one-and-done writer/director Carol Frank, Sorority House Massacre is a hypnotic dream puzzle via slice ‘n dice slasher, equal parts Elm Street blurred reality and Michael Myers unstoppable terror, a potent & stylish mid-decade mind-melter packed with teased hair, pastel fashion and outrageous attitude. While slow motion nightmares and ominous blood-fueled visions plague the new sorority sister, a crazed killer escapes a mental institution intent on striking again. Could the two be connected?

Dir. Carol Frank, 1986, 35mm, 74 min.
35mm Print Courtesy of the Academy Film Archive


A maniac is killing strippers and Detective Sheehan has only one weapon with which to stop him: her body. Dark and violent, Stripped to Kill is a startling Los Angeles nightcrawler, a vicious neon noir empowered by writer/director Katt Shea, and stars tv mainstay Kay Lenz as a cop undercover as an exotic dancer on the hunt for a ferocious killer. The former UCLA student, model and first-time helmer strives to show these performers in a way never seen before, not just for sexploitation and titillation, but as a tight sorority of artists overlooked and underestimated by mainstream society. Peppered with a colorful supporting cast including My Two Dads’ Greg Evigan as the partner/love interest and Three’s Company’s Norman Fell as the hardboiled club owner, Stripped to Kill demands respect as one of the crowning achievements from the Skinemax heyday of late night erotic thrillers.

Dir. Katt Shea, 1987, 35mm, 88 min.
35mm Print Courtesy of the UCLA Film & Television Archive

Film order subject to change.

Ladies of the '80s: A Decade of Horror Directed by Women - Blood Diner & Spookies Double Feature!

10/25 - 7:30PM
$14/free for members

Presented by HEAVY MIDNITES!

Prepare for a relentless assault on your eyeballs, with two cult trash brain-thrashers that’ll have you lose your lunch and pummel your mind into mush. ‘Cause Ladies of the ‘80s is going out with a BANG, saving the biggest, baddest lo-fi ragers for last, to lay waste to any argument that this wasn’t the best weekend ever!


First they greet you, then they eat you! Take a seat at Blood Diner, a hyperactive fast food gross out that packs more insanity into 88 minutes than most filmmakers muster in a thousand lifetimes. Director Jackie Kong knows that enough is never enough, piling on the goofs, gags and gore at a feverish pace, seizing every opportunity to push the limits of bad taste in pursuit of good times. Yep, this totally bonkers black comedy update of H.G. Lewis’ Blood Feast is overflowing with demented lunacy, talking brains, and topless aerobics, as two restaurateur brothers dismember body parts to prepare a bloody buffet for their cannibal goddess. So get ready to overdose on gruesome absurdity with one of the greatest splatstick flesh-fryers to have ever escaped the video store era!

Dir. Jackie Kong, 1987, 35mm, 88 min.


In one of the most convoluted production histories in all of psychotronic cinema (seriously, read The Dissolve’s 5,000 word exposé), the film’s fickle financier sacked the original directors and their near-complete flick to bring in Troma veteran Genie Joseph to completely retool the movie. Ultimately cutting half the existing footage, restructuring what was left and then adding 40 minutes of newly shot insanity, Spookies is a wild experience, a nonsensical brain bomb that brings a raging party of kitchen-sink attitude and Fangoria FX while unleashing a dizzying array of oozing slime and monstrous beasties, hellish lizards, skeletal reapers, lust-crazed muck men, glowing brains and a full-scale spider woman transformation! It’s a mind-numbing blitz of on-the-spot ingenuity, they-can’t-do-that! continuity and jaw-dropping stupidity that turns a demonic game of hide-and-seek into a night of unrelenting terror. You’ve never experienced anything like it. UNTIL TONIGHT!

Dir. Genie Joseph, Thomas Doran and Brendan Faulkner, 1986, 35mm, 85 min.


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