David Lipman Movies

Adventurous viewers not repelled by the title of this horror exploitation-comedy from Frank Henenlotter (director of the splatter cult classic Basket Case) will find a fair share of laughs on display, thanks to Henenlotter's typically energetic devil-may-care brand of gruesome humor. James Lorinz tears up acres of scenery as Jeffrey Franken, a neurotic electrician and aspiring mad scientist, who goes completely 'round the bend after his slightly pudgy girlfriend (former Penthouse pet, Patty Mullen) is shredded by his latest invention, a remote-control lawn mower. Preserving her head in his mom's freezer, he sets out to acquire shapely female parts to rebuild the rest of her, focusing his search on the city's red-light district. After watching a news feature on crack addiction among local prostitutes, Franken hits on the solution and invents a formula for "supercrack," which triggers the spontaneous detonation of anyone who smokes it. After blowing apart a hotel roomful of unfortunate ladies, he spirits their scattered limbs home to his garage laboratory, where his patchwork creation is eventually brought to life in a hilarious lift from The Bride of Frankenstein. Apparently, her brain spent too much time bobbing in the same preservative bath used for the hooker-parts, since she is instantly compelled to peddle her assets on every street corner in town, resulting in the high-voltage deaths of several johns (who are not entirely dissatisfied with their choice of demise). Her exploits reach the attention of sadistic pimp Zorro (Joseph Gonzalez), who, obsessed with finding the person responsible for blowing up his women, tracks her back to Franken's lab for the inevitable (and quite disgusting) confrontation. Basically a collection of crude but hilarious sight gags (Franken's predilection for plunging a power drill into his own skull; the pimp knocked senseless by flying severed limbs) and goofy throwaway dialogue, this may offer guilty pleasures for fans of Henenlotter's comic theater of the absurd. Frankenhooker is available on video in R and unrated versions, some featuring a suitably tacky slipcase, which, when pressed, screeches the words "Wanna date?" ~ Cavett Binion, All Movie Guide

One's enjoyment of Road Lawyers and Other Briefs is contingent upon one's fondness for student film projects. Three of the segments in this four-part film are student-produced short subjects, with the expected sharp variance in quality. "Road Lawyers" is a broad takeoff of the Mad Max school, its single joke given away by its title. "Escape from Heaven" is all about a nun whose chattering piety drives everyone crazy. And "Hairline" concerns itself with...a hairline. The final segment of this omnibus feature is a gagged-up snippet from the 1951 Republic serial Radar Men From the Moon, which was "funny" enough originally without the overdubbed dialogue. ~ Hal Erickson, All Movie Guide

The self-aggrandizing world of Madison Avenue advertising is the subject of this clichéd, sexist satire that features a cynical ad executive (Loretta Swit) and her minions who choose three regular Joes to represent the Norbecker Beer company in a new ad campaign. ~ Eleanor Mannikka, All Movie Guide

The members of an all-girl rock band, hoping to make it big, team up with the members of a sorority house to beat boys at a number of sporting events in order to keep their house from folding. ~ Sandra Brennan, All Movie Guide

This TV-movie biography of legendary black ballplayer Leroy "Satchel" Paige unfortunately whitewashes and hokes up his fascinating story. Louis Gossett Jr. stars as Paige, who spends virtually his entire professional career in the Negro leagues because of the "gentlemen's agreement" barring African-Americans from the Majors. Paige's prowess as a pitcher is so famous that he becomes the highest-paid player in the Negro leagues -- but as for joining the mainstream teams, the answer is always the same: "If only you were white." When Jackie Robinson is signed by the Dodgers in 1946, the doors open for other black ballplayers; thus it is that in 1948, Satchel Paige becomes the first black pitcher in the American leagues...at the tender age of 42. Don't Look Back down-pedals Satchel Paige's tempestuous private life (his two marriages are combined into one, for example), and tends to shortchange the viewer in the crucial ball-playing scenes. Its saving grace is the towering performance by star Louis Gossett Jr., who struggles manfully to overcome the script's shortcomings. When the film was first telecast on May 31, 1981, the real Satchel Paige appeared in the prologue; one year later, Paige was dead at the (reported) age of 76. ~ Hal Erickson, All Movie Guide

A Vietnam veteran declares a one-man war on crime in this vigilante revenge thriller. Michael Jefferson (Steve James) saved the life of his best friend John Eastland (Robert Ginty) while the two were serving in Vietnam, so when Jefferson is left permanently paralyzed after a vicious attack by muggers, Eastland is determined to get revenge. Declaring war not only on the thugs who injured Jefferson but the entire lawless underclass, Eastland becomes known as "The Exterminator" for his swift and deadly retaliation against muggers and other street criminals. While Eastland's actions may be making for safer streets, they're also illegal, and just as the mob have put a price on Eastland's head, Detective James Dalton (Christopher George) has set his sights on putting "The Exterminator" out of business. Jazz great Stan Getz makes a cameo appearance as himself. ~ Mark Deming, All Movie Guide