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- '70s game show staple Elaine Joyce clad in full bondage regalia swinging a whip
- Tubing with Ida in her old-timey bathing suit & cap
- The garden uprising of the critters
- Chainsaw fight!
your happy childhood ends here!
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You knew it was just a matter of time! It's not cheap maintaining the lifestyle we've grown accustomed to. Yoo-hoo baths and mallomars don't grow on trees! Kindly visit our new sponsors frequently. And remember if you can't read the text it simply means you have a detached retina and are going blind! Go buy a cane!
Aside from cranking out some of the finest prime-time soap operas to ever grace the small screen, uber producer Aaron Spelling also had a hand in executive producing some of the more memorable supernatural movies-of-the-week in the ‘70s. CROWHAVEN FARM stars HOPE LANGE and PAUL BURKE, as Maggie, a legal secretary prone to bouts of puritanical déjà vu, and Ben Porter, her annoyingly insecure, stay-at-home artist husband. Maggie inherits the titular country estate from some dead relative after the original inheritor dies in an automotive explosion. Upon arriving at the farm, Maggie is overcome by an eerie sense of familiarity and the desire to hightail it out of there. Useless husband Ben decides that the barn would be the perfect place to set up a studio and a gallery for his uninspired abstract creations. Somewhat bored, and somewhat spooked by the onslaught of premonitions featuring angry pilgrims, Maggie goes back to work since Ben can't seem to earn a living. Unannounced, a pack of swingers swing by Crowhaven Farm who announce themselves as being The Weekenders. Maggie learns from them that a pack of 15th century puritans were slaughtered there because of a turncoat, ala the Salem Witch Trails (in a much less publicized fashion). Shortly thereafter, the long-barren Porters end up caring for a dead-eyed, blonde girl named Jennifer. Maggie finally gets pregnant, and creepy lil' Jennifer does her best to stir the turd, and make Ben think that his wife got knocked up by one of the aforementioned Weekenders. After Maggie gives birth, she ends up being confronted by a posse of perturbed pilgrims, the same ones from her sundry premonitions. They try to crush her beneath a door laden with bricks, as payback for her selling them down the river in a previous life. Wisely, as the weight of the stones weighs upon her, Maggie offers up her dumb husband Ben as trade for her and her baby's safe release. Maggie does escape but, in an obvious back lot made to look like Central Park, she encounters a cop who can tie a bow just like her late husband. Apparently, the circle of déjà vu can not be broken.INDELIBLE SCENE(S):
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Dear Heather, by rights you should have been our very first TRAUMATOT but we were at a loss to try to find the words to describe your Herculean influence on KINDERTRAUMALAND. You owned POLTERGEIST, and though some say you toy-phoned in your performances in 2 and 3 to that we say …P'SHAW! Our only wish is that we could have seen you in parts 4,5 and 6!!! Â
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Your aunt john came home one day to find this piece of folk art dominating the living room:
Poor Jessica, she just got released from a four month stay at a mental institution and she ain't feeling so great. I guess riding around in a hearse and making crafty tombstone rubbings on tissue paper isn't as therapeutic as you'd think. ZOHRA LAMPERT not to be confused with TYNE DALY stars as the twitchy title character in this spooky and subtle sleeper. She along with her long-suffering husband BARTON HAEYMAN from THE EXORCIST have just escaped the chaos of New York and bought a beautiful house in the New England countryside. They've even brought along a bug eyed walrus-faced pal named Woody to help with the apple orchard. Yes, all Jessica needs is a little fresh air and some peace and quiet and maybe she'll stop having those nasty audio and visual hallucinations. When they arrive at what is referred to ominously as, "The old Bishop place" they find an ethereal red headed squatter named Emily. You can tell this film takes place in the seventies because instead of shooting her in the face and calling the cops, they invite her to stick around, drink some wine and play MELANIE type songs on her guitar. Inevitably hubby and hottie hippy chick share horny glances and Jessica begins her nosedive into full blown madness. You'll be right there with her because the most impressive thing about this movie is that it locks you into it's unreliable narrator's head and it does not let you go. There's a near constant clammer of subtle and not so subtle sounds, creakings, moanings, whispering voices, some are Jessica's "Don't tell them, they won't believe you!" and some are not, "I'm in your blood!" There's also an overwhelming sense of internal isolation that brings to mind CHARLOTTE GILMAN's famous short story THE YELLOW WALLPAPER. The plot is as evasive as a wraith. It goes from psychological thriller to ghost story to vampire tale and back again and it's impossible to put your thumb down on what's really going on. Unlike most films where the audience is asked to view things miles ahead of its protagonists, you never have any more information then Jessica does. We begin and end our story with Jessica floating in a small boat pondering what she has experienced– "Nightmares or dreams, madness or insanity, I don't know which is which…" Don't be surprised if by film's end you wind up in the same perplexing boat.
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