The Lost Highway's B-movie Reviews and Cult Films

posted by admin | September 28, 2012 | 70's b-movies, 70's movies, Cult Film, Review by Tiger Sixon, Sci-Fi

Comments Off on Tentacles

Tentacles review.
When the opening credits proudly proclaim: “Special Appearance by,” you know you are in for a treat.

This is the case with the 1977 Italian-made Jaws homage, Tentacles. The special appearance is by Hollywood legend Henry Fonda (he musta needed a new water heater)—but the who’s who doesn’t stop there. John Huston plays some kind of aging reporter who had a bizarre relationship with his sister. If the name doesn’t ring a bell, well, bone up on yer film history. Huston directed The Maltese Falcon, The Treasure of the Sierra Madre, and The African Queen, to name only a few. He can also be seen in Chinatown, but most importantly he played The Lawgiver in the Battle for the Planet of the Apes and provided the voice for Gandalf in the animated version of The Hobbit. Tentacles

Oh, and Huston’s sister is played by the one and only Shelley Winters.

Bo Hopkins, of The Wild Bunch and TV fame, rounds out the intrepid cast. Hopkins plays a scientist what trains orcas for…science, I guess. It is all very scientific. The training, not the orcas. They just swim and eat fish.

Huston is trying to solve the mystery behind the dead bodies piling up on the shores of Ocean Beach (yes, Ocean Beach). Or what is left of the bodies anyway—the skeletons have been picked cleaner than my checking account after my last divorce. No one is safe: not even babies or peg leg ship captains.

As the title suggests, the killer is, wait for it, an octopus (even though an octopus’ limbs are usually referred to as ‘arms’). This results in many blown-up, close up shots of a normal octopus, and a few rubber tentacles for good measure. Toy boats are laid to ruin in a few scenes, which is always a joy to watch, plus there are even a few bikinis which are thankfully nearly toy-sized.

Speaking of flesh, one of Winters’ kids has my favorite line of the film: “Mommy, you’re plump! There’s more to love!” Ah, kids. When they ain’t bein’ ate up by a giant octopus, they say the darnedest things. Winters also sports the craziest hat this side of Kurt Russel’s from The Thing, and seems more focused on her son’s urinary tract and having awkward conversations with her brother than the killer octopus.Tentacles

Later on, after a feeding frenzy, Hopkins decides to take the fight to the octopus, and boxes up his trained orcas. By which I mean, he sticks them in a giant metal tube, and hauls them with his boat. Not knowing if the whales will actually fight upon being set free, Hopkins delivers a heartfelt soliloquy via the tube’s food hole (followed by tossing in a couple of fish).

Like any good Jaws ripoff, Tentacles is hilarious. Being a foreign production, there are plenty of absurd moments, which only make the film more endearing. Huston and Fonda don’t seem to phone in their performances either—they give it their all, which is the cherry on top. Plus, this was made in the late 1970’s, so the wardrobe is outstanding. There are lapels you could land a jet fighter on.

Tiger says, give this one a watch.

Tiger Sixon is forced to watch B-movies from the comfort of a secret government base in Death Valley. He looks nothing at all like Daniel J. Hogan (@danieljhogan) who draws comics and writes humor for Clattertron.

roadside attractions

  • Peg legs
  • Neglected Babies
  • Grizzled Sea Captains
  • SCUBA Shenanigans
  • Rubber Tentacles
  • Toy Boats
  • Wide Lapels
  • Crazy Hats
  • Whales in a Tube
  • Hollywood Legends




We see more skeletons than blood, but folks done get ate all over the place.




Plenty of bikinis, but they all stay tied on.




A giant octopus fights two orca whales. Yes, please.


posted by Doktor | September 2, 2012 | 80's movies, B-movie Reviews, B-movies, Comedy, Review by Doktor

Comments Off on Pick-up Summer

Tagline: We’ll make your engine run hot.

Year: Runtime: 99 min

Director: George Mihalka

Writer: Richard Zelniker

Starring: Michael Zelniker, Carl Marotte and Karen Stephen

The year was 1980. The 70s were officially gone, but not far enough to persuade caucasian men into thinking white fro’s were NOT cool. Arcades were stocked solely with pinball machines. And most importantly, women wore their short shorts up past their navels, making a paradise of moose knuckles and buttock cheeks.

Into this nirvana came the movie Pick-up Summer, a teen-age sex comedy that breaks from most expected plot points and tropes in the genre. Originally it was titled Pinball Summer, but changed because there is far more pick-up, and I mean this quite literally (more later), than pinball. There is a bit of pick-up, read: hooking up, but the act of physically sweeping one off their feet way out numbers any getting together.

One of the most disheartening omissions is the lack of sweater meat. Sure, there is titillation in the form of nipples visible through flimsy t-shirts, but only three scenes of full on bazooms. What’s worse, two of the three scenes are quick flashes.

Sex comedy sans boobs?

The biggest departure from the genre is the lack of the outsider/loner/geek who has to challenge the dashing stud at the fad competition highlighted, in this movie’s case pinball. There’s no initial challenge where our hero fails. There’s no training montage to build up the hero back up. And though there is a final showdown, it’s hard to make a game of pinball exciting. It’s like an ugly contest. You can’t get excited about the competition. You feel sorry for the winner. And, at some point, you realize that you simply don’t care.

Instead, what this movie does offer is an hour and twenty minutes of rivalry building, in the form of two sets of idiots stealing a trophy from one another. The trophy they are taking from one another is half of the prize for winning the pinball tournament. The other half being a date with the Pinball Queen, the dream of all young girls. I understand that this is a small town, and a comedy not to be taken seriously, but really, fighting over a trophy? And Pete, the owner of the arcade, is really worried about it being stolen? What, he can’t afford to replace this piece of crap trophy?

Oh, and just to make sure the audience hates everyone in the film, there’s a liberal amount of unwarranted pranking. You would be hard pressed to find a film with kids more deserving of getting viciously murdered than these jerks. Where was Mike Myers, Jason Voorhees or Freddy Krueger?

Everyone in this movie—the teens, the adults, the cops—are all best described as a “shower of bastards.”

Then there’s the new fangled pinball machine, Arthur: The Talking Pinball Machine. This is the creepiest piece of technology since Hal from 2001: A Space Odyssey. Nothing says fun like, “Hey! Don’t tickle me there!” coming from a pinball machine painted to look like Ronald McDonald’s lecherous uncle.

Why would you want to watch such an cinematic abortion? There’s a few reasons. First, there’s a smashing drinking game you can play. (I’m quite fond of the maxim, “The more you drink, the better the film gets.”) Every time someone gets picked up, drink. You can use either definition, getting with someone or sweeping off their feet. The latter will get you good and drunk. Just don’t play this game if you’re going to be driving. I don’t want to be responsible for any DUI’s.

Second, although this movie is a far cry from from what you would expect from a film of this genre made in the 80s, the fact that it does stray so far off corse makes it fun to watch. Fun in a Mystery Science Theatre 3000 kind of way. You can’t help but sling snarky comments at the screen as you watch this film. Go on, try it.

Third, there are quite a few scenes with extras, some of which where obviously there as extras, some just happened to be in the area, or “production value”. It’s fun to watch what these people are doing, partially because of what the camera is focused on is so retarded, but also because there’s some very funny stuff happening, most unintentional. There’s a few scenes where the fourth wall is broken. There’s people who don’t know what the hell they’re supposed to be doing. Better still, in the dancing scenes, the people who are dancing (and I use that term lightly) are only barely doing so. Tonic-clonic seizure comes to mind.

The best background hijinks is during the gym scene. I don’t want to spoil it for you, but I will say this, it is intentional. Despite the filmmaker’s best effort to make a bad comedy, this is pretty funny.

Finally, there’s some unintentional bromance. Greg and Steve spend a little too much time together, during which they get too close for way too long. And then there’s the biker dry humping his fellow— enough of that. You get the idea. With all the touchy-feely tom foolery this film should have been called Grab-ass Summer.

This film isn’t bad enough to be remembered among the greats (Plan 9 from Outer Space, Manos Hands of Fate, KISS Meets the Phantom of the Park) but it is entertaining enough to watch, especially if you’re in a nitpicking mood. It seems counter intuitive to say, but it’s the fact that it strays from the genre that makes it worth your while.

roadside attractions

  • Pressed ham to impress the ladies
  • Futurific talking pinball machine
  • Pinball championship
  • Funny pervert flasher
  • Teen-age boy turning down sex




None. But there is a lot of ketchup, which in b-movies is the same thing.




Not nearly enough for the genre, but Joy Boushel makes up in quality where this film lacks quantity


beast BEASTS

Everyone in this movie is a monster.


Check out the trailer for “Pick-up Summer”



Comments Off on Rawhead Rex

rawhead rex

I sit before you with a migraine, angry, writing this piece. Ahem. I remember checking out some graphic novels at a local Hastings store when I was a kid. One by Clive Barker in particular caught my. It was called Rawhead Rex and at the time, it was one of the most violent and shocking graphic novels I had seen. I was young and comics to me meant something like X-Men and Batman, but this… this was a whole other beast. Gore and foul language filled each page as Rex devoured villagers and children. I remember being stunned that he was totally nude and reminded me of the Alien from… well, Alien. Shortly thereafter, my brother and I saw the VHS at the same store. We were totally shocked this was made into a movie. How could the censors allow such a thing? We had to see it so we rented it immediately.

rawhead rexRemember that one Christmas as a kid where you asked for Top Gun on Nintendo, but instead you got the Top Gun Tiger Electronics Game?

Yeah, so there is this guy Howard Hallenbeck who is on holiday with his wife and two kids in Ireland to research some religious doo-dads for a book he’s writing. What a convenient set up for him. So where does Rex come in? A couple of farmers are trying to remove a phallic like structure (wouldn’t be a Clive Barker movie without one) and eventually it gets struck by lightning and BOOM! Instant demon!

Now here’s where it gets disappointing as I previously mentioned. It didn’t take the movie too long to get to this point.

Rex is… nothing like he looks like in the book. In the book, he was described as a nine foot tall phallus with teeth (…yup). And how does he look in the movie? He looks like Kane Hodder in a goofy Halloween mask with those blinking red LED lights and an S & M suit. And just like I did when I saw this as a kid, my face froze in a state of shock. I didn’t know if I should laugh or be angry. So I did both.

With Rex’s arrival, an alter at the local church becomes hot like a stove and a priest or deacon or whatever religious status he has by the name of Declan O’Brien touches it and sees visions of Rex and all his chaos. This blows his mind and he goes bonkers. Although I think it was unintentional, this guy becomes something of the comic relief character.

rawhead rexNot much to comment on anymore. Rex runs around eating people, one being Howard’s son, which was graphic in the comic, but here it’s only implied through edits. Sigh. Rex lazily slashes at people as what looks like ketchup is slapped on as special effects and people fall down and die. So by now, you’re just waiting for the movie to be over, but luckily O’Brien offers some of the funniest dialogue, with odd combinations of swearing at the top of his lungs and cackling like a madman. Best part of the film is when Rex ‘baptizes’ him by peeing all over O’Brien and he laughs like an idiot the entire time. I think I rewound this part like eight or nine times.

Finally your wish comes true and the movie draws to a close. Howard finds some relic that can kill Rex, but *choke* *gasp* it doesn’t work! Then his wife comes from out of nowhere and apparently, it had to be the power of a female to kill Rex. This could have worked… if they didn’t set this plot device up in the final ten seconds! Seriously, you could have built up to it. I know, they probably wanted to give the female character something to do instead of just being in the background, but that’s all she was up until this point! So they kill him, some kid puts flowers on a grave and Rex’s emerges from the ground and roars, as if this movie merited a sequel.

Come to think of it, in the graphic novel, I believe the villagers got together and pillaged him. That would have been way better. I also heard rumors of a remake a few years back, but nothing since. Clive Barker was wise to discredit this movie. Boo.

roadside attractions

  • Giant hamburgers
  • Raw-ha-ha-head Rex
  • Peed on Preacher
  • Children-O’s
  • Ireland




About as mild as the Hot Sauce at Taco Bell. Whatever that means




I think one instant on pregnant woman? Ew.




FEAR RAWHEAD REX! If you don’t die from laughter first


Check out the trailer for “Rawhead Rex”



posted by Doktor | August 15, 2012 | 90's movies, Comedy, Cult Film, Rest stop, Review by Doktor

Comments Off on There’s Nothing Out There: Rest Stop Review Edition

Tagline: A horror film of comic proportions.

Year: 1992 Runtime: 91 min

Director: Rolfe Kanefsky

Writer: Rolfe Kanefsky

Starring: Craig Peck, Wendy Bednarz and Mark Collver

Damn you and your clever ways, Rolfe Kanefsky! How in the hell am I supposed to make snarky comments about the cliched tropes your film is doing the very same thing? I have been racking my brains trying to get something started that doesn’t create a recursive loop. Every time I think I find a chink, the center caves in and I end up staring at the blinking cursor on the otherwise blank white page.

Interestingly, this intellectual black hole is exactly what happened when Mike, Crow and Tom Servo attempted an episode where they broke the fourth wall, becoming self aware. The universe narrowly escaped existential destruction. Can you imagine? A dimension where Jean Paul Sartre was right. How horrible!

Here’s the thing, if you didn’t know any of the history of There’s Nothing Out There, you might think this was a Screamsploitation film. It’s not. Actually, this movie preceded Scream by 4 years. (Quick note: I’m not going to go into any conspiracy theories about stolen ideas, but I bring it up because there is a possibility of some cross-pollination.) When you know that, things get interesting. There’s Nothing Out There is the product of a 20 year old, first time director, which is damned impressive.

There’s Noting Out There is a great film. It is the transplantation of the audience’s knowledge into the film. When the dumb couple go out for a “stroll” through the dark woods, there’s Mike, the omniscient, with the warning, “You’re actually going? You’re actually going outside. We’ve had warnings, murder attempts and you’re going out for a walk in the woods?” which is exactly the same thing the audience is thinking. This is the ultimate of existential horrors, the Angst and the Nausea. It was misery to be a teenager, but imagine being a teen-ager stuck in a horror movie and you KNOW you’re in a horror movie. At every turn your friends are disappearing and dying and there’s nothing you can do about it, despite the fact you are warning them every step of the way. This is brilliant, and to be written by a 20 year old, it borderlines sublime. If you have no interest in all this film theory deconstruction there is something very practical you can get from this film. B-MOVIE SURVIVAL TIP: Make sure you have well stocked reserves of saving cream. “Nobody likes a mouthful of shaving cream.”

Roadside Attractions:

  • Proper use of “boom in the shot”
  • Gratuitous breasts 80s style
  • Boglin on steroids
  • Decapitation, face melting and green slime gore

For more on Rolfe Kanefsky, check out our interview with him.

Check out the trailer for “There’s Nothing Out Therre”



posted by Doktor | August 14, 2012 | Interviews

Comments Off on Dialoge From the Dungeon: Rolfe Kanefsky

I don’t know how I missed the 1992 film There’s Nothing Out There. It’s a film right up my alley: a horror/comedy that deconstructs the genre (check out the review) in an astute way. So, it’s not surprising that when I did finally see it I had not heard of Rolfe Kanefsky, the writer/director. Like many independent/low-budget filmmakers, Kanefsky’s career has spanned decades. Yet, for all the time he’s been making films, he has done so in relative obscurity. This is tragic because his films are entertaining, and quite often very clever.

Many of the filmmakers I admire most, Kanefsky among them, trudge on against the current, against harsh criticism, and often against an apathetic public. I felt it necessary to track him down and talk with him. Here’s what he had to say:

Doktor: After reading all the interviews on your site (to avoid asking you the same tired questions) I’d like to start off asking you for an update on your films? What is available for rent/purchase? What’s still in the works, looking for a distributor?

Rolfe Kanefsky: Well, most of my flicks (as I’ve always called them) have been released. Actually more have come out overseas then in America where a few have fallen through the cracks. There’s Nothing Out There is currently being handled by Troma Entertainment worldwide.  All the “sexy comedies” that I’ve done for Alain Siritzky, he handles himself internationally. Some of those have been released on DVD in the U.S. Through Roger Corman’s company until he got out of the distribution game. He then gave all rights back to Siritzky. Some have shown on HBO/Cinemax. That’s where the current series, Emmanuelle Through Time is now playing. The Hazing was released by MTI Home Video in the U.S. They have also released stateside my Pretty Cool movies and 1 in the Gun. Warner Brothers Home Video released Jacqueline Hyde. York Entertainment produced and barely released Corpses. Nightmare Man came out through Lions Gate as part of After Dark’s 2007 8 Films To Die For series. Currently, a small company called Lighthouse Productions is trying to make some foreign sales after Mark Lester’s American World Pictures kind of dropped the ball. My personal favorite film, Tomorrow By Midnight remains undistributed in the U.S. but has come out under such titles as After Midnight and Midnight 5 overseas in different territories. Some of my films are available on Netflix and for purchase on My crazy musical Emmanuelle in Wonderland will probably never be released. It is owned by Alain Siritzky as is Tomorrow By Midnight. These are the two that are pretty impossible to find.

Doktor: What was it like working with Troma, first as a P.A. and then later when they were your distributor? Have you gone back to them with any of your other movies?

Rolfe Kanefsky: Troma was a great learning experience. Growing up in New York, they were really the only company to learn the ropes. The West Coast had Roger Corman and Charlie Band’s Full Moon. But on the east coast, young aspiring filmmakers could work for free for Troma. I was 18 working for Troma over the summer before I started college. Troma is best to work for when you’re young, have lots of energy, and when you can afford to work for free to learn the magic of the movies. Now, Troma films are a very specific kind of “magic”. Not the kind that you find in most Hollywood films. I worked on Troma’s War for about a month and a half. Before Troma I had already worked on a bunch of independent features like Posed for Murder, Rich Boys, and Laser Man. I started doing P.A. work on these low-budget features when I was sixteen. It was great training for I was also making my own feature at the time called Strength in Numbers in high school with friends. So, between my P.A. work stints and directing my own flick, it was a great training ground to become a filmmaker.

Going back to Troma, Lloyd Kaufman was always very nice. He’s great with names and he’s fun to be around. Troma’s War was the biggest budget film they had ever done. It was loaded with stunts. We shot in a National Guard park and it was grueling work that got harder when half the crew was fired or quit. We were doing multiple jobs. It was hard work. I eventually stopped because I was about to start college and didn’t want to go to school sick. A few years later when I directed by first professional flick, There’s Nothing Out There, Troma really wanted to distribute it. But at that time, everyone assumed anything released by Troma was produced by Troma and Lloyd would get all the credit. I wanted to make sure people knew Nothing was a Rolfe Kanefsky Flick so we declined. Of course, Troma also paid, or rather, never paid, so money-wise it was a bad idea to go with Troma. But for Nothing’s 20 Anniversary, Troma seemed like a good fit. They still wanted the film and let me release a really cool 2 disc DVD so I’m happy it’s out again. Although, money-wise nothing has changed. We still haven’t seen any but at least it’s out there again.

I’ve talked to Troma about my Emmanuelle in Wonderland movie but the business is so bad right now that they admit it would be a loss to release it. Like most distribution companies, they are pleading poor but if these companies were as poor as they say they are, they would no longer be in business. So, just the fact that the doors are still open means they are not being completely honest with their filmmakers.

Doktor: Speaking of Troma, is it blacklisted (as Lloyd likes to decry)? To me Troma is the first rung on the creative ladder, a necessary first step for outsider filmmakers. Trey Parker, Matt Stone, Kevin Costner, Billy Bob Thornton, and James Gunn come to mind. Though Troma is not in a glamorous or enviable position, they are still valuable and therefore worthy of respect. Or, am I completely mistaken?

Rolfe Kanefsky: Troma has helped start some careers although not nearly in the way that Roger Corman did back in the day. Also, the big difference is that Troma didn’t hire any of those people mentioned. They distributed films that those people were involved in. That’s a big difference. Trey Parker and Matt Stone were already doing their South Park thing independently when Troma released “Cannibal…The Musical!”. Eli Roth did start at Troma but not as a filmmaker. He worked for the company but made his first film, “Cabin Fever” on his own. Most of Troma’s films have been made by Lloyd Kaufman. Whereas, Roger Corman was only a producer for his company, Lloyd is more of a filmmaker and doesn’t tend to give much to aspiring filmmakers. James Gunn did start his writing career at Troma but again, it wasn’t until he moved to Hollywood that he started his directing career. But, I do think Troma is a good learning ground for beginning filmmakers. You will learn what you should and shouldn’t do on a movie and that is very valuable.

Doktor: One thing really struck a chord with me from your interviews, that of your academic career, particularly being a “genre” filmmaker in an “experimental arts” atmosphere. I had a very similar experience in college (mine in creative writing classes) where a teacher’s only comment on my piece was, “Class, where would you put this in your portfolio for grad school?” This has caused me to question the efficacy of teaching creative arts. Do you believe that the creative aspects of filmmaking can be taught? Or are young filmmakers who go through filmmaking schools taught assembly-line fashion cranking out the “McFilmmaker™”?

Rolfe Kanefsky: Anything that opens your mind to the possibilities of writing and directing is a good thing. I watch a lot of movies to study them. I’ve read a lot of scripts to learn format and pacing. Good scripts and bad scripts are very helpful so you can see what works and what doesn’t. In college, I fought with a lot of my teachers in the film and writing courses because they wanted everyone to just experiment. It was almost anti-Hollywood. As I’ve said, they love Hitchcock but hate horror films. So, I always found that a bit of a conflict. That’s why it was interesting working on real independent films during the summers because I’d get a completely different opinion on my work. They liked my short films whereas my teachers didn’t really care for them because they were “too commercial”. Actually, when I took Robert McKee’s scriptwriting workshop, I found that very helpful but at the same time a little too cookie-cutter. He claimed that it takes at least a year to write a good screenplay. For some yes but for others no. If Breakfast Club and Taxi Driver could be written in a week, I don’t agree that every script takes a year. There are too many exceptions and everyone has different methods that work. So, one should be open-minded as a writer/director. It’s when school classes close your mind because of self-preferences that it can be damaging. Everyone needs to find their own voice. You begin by copying what you like but eventually grow to discover your own style. School and classes can sometimes help but I feel, you’ll always learn more by doing. You have to make films. That’s, by far, the best training ground there is.

Doktor: What are you currently writing? Directing? Producing?

Unfortunately, I’m in a lull at the moment and looking for work. That said, I recently had a script I wrote optioned to a company called Victory Angel Films. It’s a road thriller entitled Road to Ruin. I also just extended the option on my horror script Scream Park with Sobini Films. I wrote a new spec currently titled 1 Bad House and have a television series that I’m trying to pitch entitled Whispering Falls. I also have a huge backlog of screenplays that I’d love to sell/make someday. It’s always about finding the funding. The thing I’m most excited about is a project in England that I’m attached to direct. It could be a wonderful film and something very different for me. Too early to really talk about and the money is not in place yet so I can’t really go into it except that it’s based on a true story and deals with Hollywood in the early 1930’s.

Doktor: There are many milestones along the path of our lives. Successful people continue to grow and change with time, as they reach, complete and move beyond goals. At this stage in your life, and career, what do you long to do that you have not yet had the chance to do?

Rolfe Kanefsky: Although I have been fortunate to have made a lot of movies over the past twenty years in this business, I’ve always had to do it with little time and little money. I’ve been complimented for doing a lot with a little but my stuff has always been below the radar in terms of Hollywood. I have almost never been asked to direct a project that someone else has written. I’ve never been on the list of directors or writers that get hired. Almost all of my movies, I created and had to work hard to find the funding. I am pleased with many of my flicks but I know what they are lacking due to time constraints and finances. So, it’s been a frustrating career and I have yet to make that one flick that really gets people/producers attention. I’ve heard that some people think that I am out of the budget range, although that is probably untrue. After Troma released There’s Nothing Out There, they wanted me to make a film for them for a total budget of $10,000 including my salary to write/direct/produce/edit and find the cast/crew and equipment. I have never made a feature film for $10,000 and don’t know how to even do that.

As I’ve said, I have a lot of scripts that I would love to direct someday. On the top of that list is “NEVERMORE” my modern Poe-inspired story, “EXIT” a great Hitchcockian thriller, “MR. HAPPY NEW YEAR” my suburban “After Hours” type comedy, and “HORROR WORLD” my love letter to horror-themed amusement parks. I would also like to make a real musical with a budget. My “WONDERLAND” was a great culty exericise and I know I could do it. Their was an off-Broadway show entitled “WEIRD ROMANCE” that I would love to try to make. Also, I still want to do a great car chase sequence. That’s the one thing I’ve never been able to tackle because of budget reasons. You can’t make a cheap car chase that’s any good. I did a car chase when I was sixteen doing my home movie “STRENGTH IN NUMBERS” but that’s the closest I’ve gotten.

I love most genres so it’s great to dip into different ones. I’d like to do more thrillers. Comedy comes easy for me and horror is always a lot of fun. So, I guess the most challenging for me would be a romantic western. I haven’t written any of those but if someone has a good script, who knows.

About the Highway

Lost Highway is your satirical detour down the twisted back roads of b-movies and cult films reviews. learn more >>