Nurse Sherri


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Shock-O-Rama presents 2 versions of Nurse SherriThe Possession of Nurse Sherri, which leans more to the ‘horror’ side of things and Nurse Sherri which is the more sleazy sexploitation cut of the film for the grindhouse / drive-in audiences. The main differences between the two are that the ‘horror’ version has additional scenes with actor JC Wells being pursued by the laughing disembodied head of a cult leader and a long car chase which ends with one of the cars crashing and exploding. I chose to watch the sexploitation cut.

The introductory prologue has a small devil-worshipping cult in the desert trying to bring a man back to life. In the midst of conjuring up the forces of evil, the head necromancer Reanhauer has a heart attack and is rushed to hospital. Whilst in hospital he is attended to by Nurse Sherri and he speaks to her in long monologues regarding the supernatural. Reanhauer’s condition rapidly worsens and he ends up on the operating table under the scalpel of Peter, Sherri’s surgeon boyfriend (with the assistance of Sherri) where he eventually expires. Later on when Sherri is at home masturbating on her bed, a strange animated green ethereal fog floats into her room and rapes her (although she doesn’t really put up much of a fight). This is definitely one of the ‘trippiest’ rapes I’ve ever witnessed on celluloid, and probably the highlight of the film.

It turns out that the green fog was the blasphemous cult leader’s spirit and now Nurse Sherri is possessed! You can tell cos she speaks in a man’s voice and bugs her eyes outta her head. She then goes on a killing spree, massacring a few doctors – one is dispatched via pitchfork impalement, another is stabbed in the chest. A blind ex-footballer hospital patient whose grandmother is a Haitian Voodoo priestess says the only way to exorcise Nurse Sherri’s evil possessor is to dig up and burn the corpse of Reanhauer, so a couple of Sherri’s nurse friends cruise to the cemetery for some good ol’ grave desecratin’.

I actually dug this cheapie from Al Adamson quite a bit more than I’d expected to. I mean yeah, there are a lot of slow parts, the ultra low budget sets and amateurish acting are blatant and the films theme song is stolen directly from The Godfather, but that just goes to show this flick for what it essentially is – a typical slice of ’70s exploitation fare designed to draw in the crowds who are eager to see some gratuitous nudity and a bit of blood.

And there’s enough exploitable elements here to make for some entertaining (if slightly tame) sleaze, mainly of the sexed-up female nurse variety. Whether it be pointless flashbacks to ‘the craziest sexual experience’ Sherri and her boyfriend have ever had (a lesbian encounter and a naughty blowjob), patient ‘relief’ that goes far beyond the call of duty, some semi-bloody kills, and a grand finale that has a bugged out Nurse Sherri covered in blood with a meat cleaver in each hand preparing to slaughter her boyfriend Peter. All in all one of the more enjoyable pieces of trash I’ve seen from schlock-maestro Adamson.

Like a lot of recent double feature DVD releases (due to the bullshit ‘grindhouse revival’ instigated by the Tarantino/Rodriguez film) Shock-O-Rama have presented this release as a tribute to the classic grindhouse double features with a bunch of trailers acting as intermission between the two films.

  • Nurse Sherri (alternate cut)
  • Interview with Marilyn Joi
  • Retro Drive-In Theatre promos
  • Commnentary with Producer Samuel M Sherman

Drive-In Delirium [Volumes 1 & 2]

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They have many varying and wonderful names – cult films, exploitation, drive-in, midnight movies – but whatever you call them, the ‘b’ movies of the 60s, 70s and 80s represent a time of remarkable freedom and adventure in cinema. Typically, this was done under restrictive budget pressure and often well outside the mainstream both in a commercial sense and in subject matter.

Marketing such works became an art form in itself. The advertising campaigns tended to latch on to one facet of each movie, be it the premise, the star or – far more often – the more lurid aspects. Sometimes the marketing became as notorious as the films themselves, such as the “Keep repeating to yourself, it’s only a movie…it’s only a movie…” tag line for 1972’s Last House On The Left.

That Wes Craven video nasty is one of the many, many, MANY titles whose trailers are included in the two volume Drive-In Delirium collection from Umbrella Entertainment. The hundreds of trailers are spread over two four-disc sets for a whopping total running time of nearly 24 hours. It’s a staggering assortment of everything from sex comedies to sci-fi schlock to European slasher flicks – all packed into trailers that run the gamut from brilliant to hilariously awful.

Well-known flicks are in attendance, such as Videodrome, Re-Animator and Friday the 13th , but the real fun is in the more obscure titles. If you cannot find dozens of new titles and desperately want to see them, then you must be dead inside. Continue reading

42nd Street Pete Interview

42nd Street Pete @ 8th Ave 6/2/2009
Michael Raso shot this image with Canon FTb 35mm SLR

Right now ‘Grindhouse’ fever is on the rampage, (Rodriguez/Tarantino’s “Grindhouse”), so who better to interview than 42nd Street Pete, the most well known Grindhouse aficionado/historian around.

For those of you who think ‘Grindhouse’ is a film, I’m hoping that by the end of this interview that you will be psyched to go into the lurid and sinful world of Exploitation films and find yourself a whole bunch of new films to devour.

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