All posts by Patti PaulterGeist

Owner, operator, and fuzzy retro feelers giver at Worshipper of our Lord and savior Boo Berry, Patti is a seasoned pro having written for the top horror websites and magazines over the past few years until she decided to go balls to the wall and make her own focusing on pure feel-good nostalgia. Mom to two humans and three furballs.

[VIDEO] Blockbuster Who? The Magic of the Mom-and-Pop Video Shop

I have to credit my discovery of many different horror films to my local Mom and Pop Video Store growing up, Action Video. Under a mile away, it was close enough for me to hop on my bike and undergo one of my favorite journeys to take on a weekend afternoon or anytime during the Summer. It was located in a shopping mall that included a Smiths’, Osco Drugs, Naugles, Pizza Hut, and of course, a McDonald’s. Usually, before a trip to Action Video, we’d pop into Osco for the latest issue of MAD magazine and Fangoria and some snacks for later’s horror marathon festivities. Then a trip to one of the fast food chains located within to get some carbs in for the adrenaline rush to come later; a personal pan Pizza Hut pizza or ye’ old faithful Hamburger Happy Meal from the clown was my regular go-to. And then, off to Action Video for the finale to discover what new and glorious atrocities await to be feasted upon thine eyes.

The VHS cover art alone was all the advertisement we would need to be sold on a horror flick, as we would be standing there gawking at the enticing and illustrious covers of films I had never seen. Hell, if Return of the Living Dead or The Blob didn’t have the cover art they did, it may have very well been a long time before I would have seen those masterpieces. Take for instance here, Dead Pit, with its gimmicky light-up cover case (you’ll catch that in the video down below). I mean, the cover alone is cool as hell, but that extra flair from the art screaming “PICK ME UP AND RENT ME YA’ WALNUT” added that extra incentive to take it home with you.

Blockbuster, as popular as it was, didn’t have this kind of cool shit gracing their shelves, people. As a matter of fact, it was so bland with their mediocre white clamshell casings. Hell, you’d be hard-pressed to find ONE rental copy of, let’s say, MOTEL HELL or CHEERLEADER CAMP. That, in itself, is a travesty. One that a local Mom and Pop Video Shop never seemed to bear onto their consumers. At the very least, when you rented with a smaller venue, you would get a way cooler clamshell that looked like it contained something sinister inside. Oh and hey, with those places usually having those adult-only curtains in the back of the store, sometimes there really was, heh.

The last living relic of Action Video remains in my hands. Grabbed this when bitch-ass Blockbuster put them out of business back in 1997. THE EXORCIST III in rare mom-and-pop video form is a beautiful thing over 25 years later.

Unfortunately, time and many moves through my life took my bright orange Action Video punch hole rental card that I had hung on to long after they closed. I’ve looked far and wide for another one in the wild, but continuously come up empty-handed. So if anyone reading this is local to Las Vegas and happens to have one sitting in a dusty box somewhere, I will gladly take it off your hands and display it like the nostalgic treasure I deem it to be is.

Like Action Video, many of these mom-and-pop stores fell to the corporate giants of Blockbuster and Hollywood Video, unable to compete. I personally, never went to one until there was no other choice as I was rather bitter that they put my favorite rental place out of business. The place where I struck up conversations about horror films with other fans and Nick, the son’s owner behind the counter who would always shoot me some wild recommendations like Basket Case; of which I totally rented upon his imaginative description of Belial. When I finally made my way into Cock-Buster, I found the horror section to be rather dull. It was too bright in there, kids running around unattended… The magic was just, gone for me. And the clerks with their Gap-inspired uniforms didn’t seem to be as knowledgeable as Nick from Action Video. So here I was, biting my lip and bitterly renting Blair Witch from these corporate clowns until Karma finally made its way back to them when Netflix came into the circle.

The City of Irving published a video back in 1988 highlighting all the wonderful things a Mom and Pop shack has to offer, much of what I’ve stated here and uploaded it to YouTube. Probably one of the most wholesome things you’ll see on the internet today, folks.

Maybe I’m being too harsh on Blockbuster, ( I don’t really think I am) but aesthetically and nostalgically speaking, you just can’t compete with the powerful entity that is the small video store.

A clusterfuck of films that beg you to dig in and really do your due diligence in searching for the right film.

While the memory remains solid for myself, we luckily have people on YouTube who prior to the video website ever being a twinkle in Google’s eye, had the good sense to video record trips to their local video store so that we may bask in its glorious nostalgia. People here like HugeMovieFanatics who uploaded this home footage from December 1992 doing what we all did-wander around aimlessly looking at all the mystical things a small venue like that had to offer.

Bless these guys. Bless the Mom and Pop Video Shop. And Fuck the Blockbuster. I hope you read that in the Iron Shiek’s voice.

Cutting Room Gore, Girl Empowerment, and Hodder: 35 Years Of ‘Friday the 13th Part VII: The New Blood’

In 1988, slasher franchises were doing much of the genre’s heavy lifting. Freddy, Michael, Pinhead, and even Tarman all had their hand in the melting pot of the horror genre that year, and it was a goddamn glorious time to be alive and a horror fan. With the exception of 1983 and 1987, the Friday the 13th series had been a consistent force throughout the decade, releasing one film a year solidifying Jason as a top contender for King Slasher in the 80s; and with Jason Lives grossing $19 million off a $3 million budget in 1986, another sequel was bound to happen even with a neat and tidy closure to Voorhees leaving the franchises’ hero Tommy Jarvis victorious. Although the numbers were impressive enough to put them in the green, Crystal Lake still wasn’t doing Elm Street numbers as in 1987, The Dream Warriors raked in 44.8 million on a budget of over $4 million. So an idea was hatched to pin Freddy against our favorite mama’s boy in the spirit of classic monster-mash ups. Studio rights among other bullshit would prevent us from seeing the two square off until 2003 so instead of waiting around, let’s throw Carrie Jr into the ring with Jason and see what results from it!

Filmed under the mystery title Birthday Bash, around Bay Minette, Alabama, Troll director John Carl Buechler took the seat to helm Friday Part 7 which takes a vastly different approach to the franchise than the films before it.

The New Blood follows Tina Shepard (Lar Park Lincoln) who at a tender young age accidentally kills her drunk and abusive father after a nasty fight with her mother using her then uncontrolled telekinetic powers by drowning him in, you guessed it, Crystal Lake. Years later, Tina’s powers which also include Pyrokinesis remain uncontrolled as the trauma over what happened as a child has only fueled, for lack of a better term, fire of her own abilities. Enter Bernie, I mean Terry Kiser as a dick psychologist, “bad news Crews”, who on the surface claims to want to help her, but really wants to put her trauma into crisis mode, so he can document her supernatural powers. How does he do that? Well, by taking her back to Crystal Lake, of course… where it all started.

And in doing so, Tina, whose guilt is immense at this point, unknowingly resurrects Jason who is still chained at the bottom of the same lake where her father met his demise.

Bad idea, Bernie.

The New Blood is so unique among its sister films for so many reasons. Friday movies usually follow the same simple formula where sex equals death, and beyond Tommy Jarvis, we never really get much of a backstory with our hero. This installment breaks the mold by not only giving us that narrative with Tina but takes us along for one hell of a chaotic journey navigating through her trauma. Part VII has a pretty deep social commentary running throughout touching on abuse and aforementioned PTSD. Tina is not only fighting Jason but everyone else around her; especially Dr. Crews (Kiser) who is just gaslighting the hell out of this poor girl. Bad News Crews, to me personally, is an even bigger monster than Jason himself. This piece of shit drags Tina and her loving mother out to the lake, forcing the traumatized teen to do things beyond her will to ignite her powers, all the while threatening to commit her. At the heart of it, this actually does Tina some good as she herself, towards the end, has a better grasp on her abilities which definitely come in handy with a foe like Jason. The abuse and unethical behavior from her doctor might have pushed her over into a forced confrontation within herself and her gifts.

Tina, even in her mental state of grief, confusion, and anger, can see right through that fucker. Although Tina wrestles with her emotions quite a bit, which results in a few things flying at people’s faces (rightfully deserved mind you), Tina holds her ground as one of the more level-headed people in this film ironically. In so many of these slasher films of the decade, we the viewers watching the heroine or final girl don’t get the option to navigate these complex emotions and trauma along with her. Tommy Jarvis had three movies in the series dedicated to him and his mental state, whereas before it was just a simple premise of slash, dash, and there’s a random final girl they’ve chosen out of the bunch. Jason Lives character of Megan (played by Jennifer Cooke) helped pave the way for Tina, but Tina delivered on all fronts in a way that hadn’t been seen since Nancy in A Nightmare on Elm Street. We got mad with Tina. We felt happy with Tina. And we goddamn rooted for Tina all the way.

Now that’s some true Final Girl Power.

Then, there’s Kane Hodder who is among a fan-favorite in the Friday films as Jason Voorhees. With The New Blood being Kane’s first take on Jason in the films, he made a grand enough impression for him to come back for Manhattan, Jason Goes To Hell and Jason X. Although he isn’t my personal favorite, (I know, le gasp) credit where it’s due as he certainly gave Voorhees a more personable approach with those deep, discerning breaths that spoke for him alone. I hadn’t seen that prior in any Friday films and this was a whole new Jason, folks. His walk was stern yet graceful like a demented zombie ballerina as you could actually feel the anger and rage with each step. When Jason is actually unmasked, the expressions Kane lent to the Crystal Lake killer are something we really have never seen before, either. In previous entries like III and IV, we had an almost stiff and expressionless face. Don’t get me wrong, I’m not knocking that makeup, but Jason has way more depth here that would continue to the sewers of Manhattan where you could see the pain and fear in this monster’s face. That I applaud both Hodder and John Carl Buechler for, as it’s true movie monster art at its finest.

Kane also had the pleasure of dishing out some of the franchises’ most fucked up and brutal death scenes. Unfortunately, most of those scenes need up on the cutting room floor because at the time, the MMPA were absolute pricks about blood in films. And with Buechler, oh boy, there was a lot. Remember the amazing sleeping bag scene where Jason repeatedly beats the horny girl against a tree until bursts of blood visibly stains the bag itself? Or, how about when Dr. Crews is disemboweled? No? Well, those moments sadly only remain to be seen as grainy footage that never made it into the theatrical cut thanks to the Karens’ of the movie business who really hate slasher films, apparently. It wasn’t even the first time the censorial body bitches took aim at the Friday films as the first sequel, Part II was cut to shreds as well. Although, duly note that Part VII was more impressively gory. Sadly, while the grainy cut of death scenes exist in some form, as you can see below provided by The Friday the 13th Network, it’s not likely enough for a restoration of an uncut version to ever be released.

The New Blood was released 35 years ago on but of course, Friday the 13th, and falls in the middle of the pack of either loved or hated by franchise fans. Personally, I’m a huge fan of this one. I mean, clearly, I just wrote a goddamn essay about it. But perhaps also for nostalgia purposes. This was the first Friday film I had ever seen all the way through. Being born in 1982, I had snippets of the other films via family members, but when I was deemed old enough to make my own video rental choices and this being the newer one, well, there you have it. So let’s let’s pop in the old VHS, listen to Crazy Ralph narrate the opening, and relive that thrill of Carrie Jr beating the crap out of Jason.

Oh, and grab some Slice Cola while you’re at it. Can we just agree this is the greatest food spread in all the films? Just looks at that retro KFC box!

Nostalgic Trauma 101: The Garbage Pails Kids Movie!

I was lucky enough to be a kid throughout the 80s and have a first-hand experience with what is now, the glory days of nostalgia. One thing from my childhood that I was completely obsessed with was The Garbage Pail Kids, even at a ridiculously young age. I was three years old when GPK first hit the scene and was a bit of an oddball at that age loving both the insanely popular Cabbage Patch Kids while being immensely intrigued by all things horror, I remember being absolutely enthralled with the cards to the point where anytime we were at the store, I would beg the parents for a pack or two.

Actual pic of my room in 1986 so you know I ain’t bullshitting you.

The Garbage Pail Kids were TOPPS middle finger to Xavier Roberts and his CPK line as the infamous trading card company had initially wanted the license to put out some wax packs like pretty much every other pop culture entity had in the 80s and 90s. However, Roberts scoffed at the idea and turned the company down, in turn launching a series of cards in 1985 from artists at TOPPS poking fun of the toy line by making them even uglier than they already were with a gross-out factor. And thus was born the Garbage Pail Kids and a phenomenon of the 80s that is carried on to this very day with collectors catching new packs faster than your parents attempting to nab a CPK doll in 1983.

The line was so popular in fact that in 1987, a movie came along that (I think) was meant for kids… but hey it’s the 80s, and all kids’ movies were pretty damn dark anyway. It was almost like a rite of passage to help put some hair on our balls and The Garbage Pail Kids Movie was in no way short of providing plenty of trauma to kids who watched it. Add in a tiny person with an alligator face who loves to eat fingers and we got ourselves a tried and true, 80s kids’ movie folks!

In all honesty, this movie is one of the worst films ever made, and as much as I love GPK and I actually did get a kick out of this movie as a kid, watching it as an adult even with those nostalgia goggles, it’s just one of the most fuck-awful films I’ve ever seen.  It’s a trash spectacle of Z-grade 80s cinema. But you know what? In all the mess that it is, I believe that also might be its saving grace. A movie, so terrible, so awful that most that have seen it, have wiped it from their memory or shrugged it off as some sort of fever dream could be the very reason that when people talk about it today, they just laugh their hardy asses off. No one actually gets MAD at how bad it is; just at that, it’s just so damn weird and wild that no one would ever take this shit seriously.

If you’re someone that hasn’t witnessed this chaotic shitshow, the plot is basically the “kids” are mutant alien children that live in a trash can and befriend a bullied kid named Dodger along with his only friend, an antique shop owner who somehow knows everything about these gross ass kids from outer space. And by kids, I mean piss-poor animatronics and puppetry that would scare the shit out of the likes of Freddy Krueger. These “kids” are fucking goddamn terrifying to look at and I don’t know if that was the intention or not, but I had nightmares for weeks about Ali Gator and even more so, Messy Tessie- the booger snot-faced kid with a face that just scared the ever-loving shit out of me by her just standing still- staring. Like the monster she rightfully is.


Makeup f/x artist John Carl Buechler (director of TROLL and FRIDAY THE 13TH PART VII: THE NEW BLOOD) who was initially slated to direct wanted the GPK movie, originally pitched it to be a horror film, with people being turned into hideous Cabbage Patch-like monstrosities that terrorized a small town. Although I think that probably would have worked better for older audiences and would maybe stand the test of time for 80s kids of today, it obviously wouldn’t have worked at all for kids in 1987. And yet without even trying they made a horror movie anyway with those giant prosthetic heads. I want to believe Buechler did that on purpose to scare the shit out of the kiddies. Bravo, it worked.

The Garbage Pail Kids Movie goes balls to the wall on every single level, but I can’t help but find some sick and twisted charm in it. This is a movie nobody should ever willingly watch, but one that everyone needs to see at least once. It’s horrifying, stupid, gross, offensive and so mesmerizing that you’ll feel comatose from horrifically bad 80s cheese that would never get green-lit today.

Or hey if you really hate someone, make sure to recommend this movie to them to ensure they’re out of your life forever.

At least the opening credits were a banger, eh?