Recently I’ve gotten several requests to review Suburban Sasquatch, written and directed by Dave Wascavage. I’ve watched some of Wascavage’s flicks in response to those requests and I began to suspect that he is one of the faux-badfilm figures out there.
I like films which are bad UN-intentionally. Suburban Sasquatch further convinced me that Wascavage and his team set out to artificially harness the kind of Midnight Movie notoriety that The Room had organically earned the previous year. The documentary on The Making of Suburban Sasquatch sealed it for me.
In that documentary Wascavage spouts what sound to me like intentionally absurd profundities about the obviously awful movie, and I get a vibe from his behavior that he’s just furthering the illusion that he was trying to make a serious film. Fakeness oozes from the screen, especially when the female costume designer straight-facedly talks about her excitement in working on “a Dave Wascavage film.”
So I won’t be reviewing any of the man’s movies. I’m not trying to dissuade other people from watching his low-budget efforts, though. By all means check them out if you’re so inclined, but I get no enjoyment out of being played like this. I like straight-up parodies of bad movies or failed film efforts which are truly bad but I can’t even force myself to sit through quasi-Andy Kaufman style put-ons.
I’m not saying any of this in anger, it’s just my usual “Give me Troma or give me Ed Wood” philosophy.
BIGFOOT (1970) – Bikers battle Sasquatch!This neglected landmark in Golden Turkey history unites nearly all the bad movie Mafia from the American Southwest in the 1960s and 70s and throws in Haji, Doodles Weaver and a few Mitchums for good measure. 
Some of my e-mailers requested that I review this movie, but I already did years ago. Here it is again for those folks who requested it, along with a reminder that you could have instant gratification for your bad movie fix if you check my Bad Movie page first and see if I’ve already reviewed the film you have in mind. Here is the link: 
FEVER LAKE (1997) – I like to think of this hilariously lame horror film as Twin Peaks 90210. I sometimes toy with I Was A Teenage Shining but that mock title only applies to isolated parts of Fever Lake. Overall, I think the creative team was trying for an imitation Twin Peaks vibe, especially given the time period in which it was made. 
I’ll elaborate on that point in a bit, but for right now I’ll point out the enjoyable kitsch-casting that elevates this turkey slightly above other such dismal efforts. Corey Haim, one-half of the Haim-Feldman Colony Creature, stars as college student Albert. Saved By The Bell‘s Mario Lopez co-stars as college student Steve. 
MOTORCYCLE SQUAD (1937) – This neglected little honey is one of the earliest, if not THE earliest, biker films. Kane Richmond and Wynne Gibson star in a story about a motorcycle cop who is dishonorably discharged from the police force as part of a ruse to send him undercover. 
GHETTO BLASTER (1989) – Rose Marie, best known as Sally Rogers on the ancient Dick Van Dyke Show, started in movies at age 4 in 1927 billed as “Baby Rose Marie.” Legend holds she was in a Vitaphone SOUND short released as an opener for The Jazz Singer, usually credited as the first feature-length movie with sound. 
I’ll start the review-proper for Ghetto Blaster by pointing out that you should buy this film for the Battlestar Galactica (Original Series) fan in your life. Richard Hatch from that show tries to portray the kind of grim and relentless inner city vigilante made iconic by Charles Bronson in Death Wish. 
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