Before MST3K there was … The Texas 27 Film Vault! In the middle 1980s, way down on Level 31 Randy Clower and Richard Malmos, machine-gun toting Film Vault Technicians First Class hosted this neglected cult show.
ORIGINAL BROADCAST DATE: Saturday February 14th, 1987 from 10:30pm to 1:00am.
SERIAL: None. The movie, Film Vault Corps comedy sketches and commercials filled up the entire two and a half hours this time.
FILM VAULT LORE: This episode marked the second time The Texas 27 Film Vault came with a warning about violent content. It was also at least the second time they riffed on a movie that was originally in 3-D. Randy and Richard did various jokes about wearing 3-D glasses and 3-D effects coming out of the screen at them as they watched the movie.
Randy and Richard firing their machine guns on the T27FV 3D poster.
When you throw in the previous year’s “Mock 3D” interview with Ben Johnson and the 1987 release of The Texas 27 Film Vault‘s official 3-D poster you could say Randy, Richard, Ken “Tex” Miller, Joe Riley and Laurie Savino had a definite fondness for taking shots at the whole 3-D concept.
FOR A LOOK AT THE 3-D TEXAS 27 FILM VAULT POSTER (courtesy of Randy Clower) –https://glitternight.com/2013/03/18/movie-hosts-the-texas-27-film-vault-poster/
THE MOVIE:
Friday the 13th Part 3-D was the most notoriously lame sequel in the Friday the 13th film series during the 1980s. Not only was it part of the laughable 1980s attempt to revive the 3-D craze of the 1950s but it’s also infamous for its DISCO VERSION of the iconic Friday the 13th theme. However it’s essential viewing for horror fans because it was the first time Jason Voorhees put on the hockey mask that is so closely associated with the character. Continue reading
It’s Alive from 1974 is a psychotronic classic. It Lives Again from 1978 features Frederic Forrest, the “I’m a saucier” guy in his second-worst onscreen relationship – the worst was with Teri Garr in One From the Heart. It’s Alive III: Island of the Alive is fairly lame but at least it has Michael Moriarty. 
FRIDAY FOSTER (1975) – Pam portrays the title character, a comic strip heroine from the 1970’s who was often called “the black Brenda Starr.” Friday Foster worked as a photographer for a national weekly and the comic strip figure was regularly involved in much grittier adventures than Brenda Starr (or Mark Trail for that matter) ever had. 
BLACK ROSES (1988) – This legendarily laughable attempt at a horror film belongs to quite a few niche sub-genres. It’s a Canadian horror movie, it’s one of the wonderfully campy Heavy Metal Horror productions of the 1980s and most importantly for trivia lovers Black Roses is one of the Big Three Canadian turkeys to feature Frank Dietz in a supporting role. (The other two are Rock’N’Roll Nightmare and Zombie Nightmare. ) 
THE DEATHMASTER (1972) – In between his pair of movies as the vampire named Count Yorga the one and only Robert Quarry starred as a vampiric Charles Manson wannabe in this film. The Deathmaster starts out with a great bit that wouldn’t look out of place in a Jean Rollin horror flick from France: the huge, hulking Barbado (Le Sesne Hilton) plays eerie flute music, seemingly luring ashore a sea-tossed coffin. Naturally this casket holds our “Deathmaster” – a vampire called Khorda. 
THE SPOOK WHO SAT BY THE DOOR (1973) – The title of this explosive film, based on the controversial novel by Sam Greenlee, plays on the old double meanings of the slang expression “spook”. While spook could be used as a derogatory term for a black person it could also refer to a secret agent. 
THE JET BENNY SHOW (1986) – Buy this for the Star Wars fan in your life … but only if you strongly dislike the Star Wars fan in your life. Buy this for the Jack Benny fan in your life … but only if they’re too old and feeble to be capable of inflicting grievous bodily harm on you. 
Roger Evans directed The Jet Benny Show from a script by Mark Felch. Steve Norman stars as Jet Benny, a take-off on the real-life comedy legend Jack Benny. Norman does not do nearly as good a Jack Benny impression as we’re led to believe by the few positive remarks this pant-load of a film receives. 
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