GHOST PHOTOGRAPHY: PART II

“Then away out in the woods I heard that kind of a sound that a ghost makes when it wants to tell about something that's on its mind and can't make itself understood, and so can't rest easy in its grave, and has to go about that way every night grieving.”

- Mark Twain

SHITTY FLICKS: FOR YOUR HEIGHT ONLY

Shitty Flicks is an ongoing column that celebrates the most hilariously incompetent, amusingly pedestrian, and mind-bogglingly stupid movies ever made by people with a bit of money, some prior porn-directing experience, and no clue whatsoever. It is here you will find unrestrained joy in movies meant to terrify and thrill, but instead poke at your funny bone with their weird, mutant camp-girl penis. 

WARNING: I tend to give away major plot points and twist endings in my reviews because, whatever. Shut up.

In 1957, a legend was born; a pint-sized legend that rocked a white suit, triumphed against adversity, and wooed the ladies. His hair was as black as squid ink, his smile glinted like the afternoon sun, and his nipples were the size of silver-dollar pancakes.

He came, he saw, he littled. And in 1992, he died of bad crab.

But in between those two history-changing years, he became an action-star sensation in his native homeland of the Philippines, and his presence in the film community carved a never-fading presence and laid root to his still-celebrated career.

Weng Weng: He's armed, dangerous, and fits into most overhead storage compartments.

1981’s For Your Height Only would be one of two (possibly more) films in which Weng Weng would play a fun-size James Bond-ish super spy known as Agent 00. This role would continue in 1982’s The Impossible Kid (as well as in 1981’s Agent 00, which may or may not exist).

For Your Height Only begins with a montage of the main Weng in action, grasping weapons, jumping off rooftops, and being an all-around tiny bad ass. Once the montage ends, the plot picks up with the kidnapping of the brilliant Dr. Kohler by a Filipino mob for nefarious purposes, namely his formula for the A-bomb. Details of the kidnapping are relayed to Mr. Giant, the shadowy leader of the crime syndicate, by his number 2, Mr. Keiser. They speak through a special blinky mirror/intercom thing, leaving Mr. Giant faceless and mysterious (and with perfect voice dubbing).

Meanwhile, Weng Weng lounges by the pool, wearing a yellow terry-cloth robe and far-too-large sunglasses. His secret spy watch strapped to his tiny doll wrist begins blinking, so he leaves his bikinied company behind him.

On his way through the parking lot to wherever he is heading, he spies the attempted assassination of Irma, a local beauty who states that her refusal to join Mr. Giant’s crime syndicate for purposes of prostituting herself and peddling drugs has led to multiple attempts on her life.

After sending the assassin scurrying, Weng Weng and Irma begin an everlasting partnership for the next 82 minutes.

Weng Weng pumps his mini legs over to the syndicate’s crime compound and begins his assault of little kicks into the knees and genitals of many henchmen. Irma, however, prefers to go for the Adam’s apple, which she does frequently with many men.

Apart, Weng Weng and Irma are soldiers on a quest for justice, but together, they are a force to be reckoned with.

They corner one of the henchmen and demand to know where to find Columbus, one of the bosses of the syndicate.

"Talk, or you’ll eat lead!" orders Weng Weng, his dubbed voice akin to Philip Seymour Hoffman’s take on Truman Capote.

Having been told of Columbus' whereabouts (at a nearby hotel), Irma enters and pretends to offer herself to him. During this womanly deception, Junior Mint-sized Weng Weng crawls in through her legs and slides across the floor, out of view of the boss. Columbus, a bald, Morgan Freeman-looking fellow, gets up from the bed, his gun drawn, ready to shoot Irma. Weng Weng suddenly kicks himself across the floor in a glorious slide and takes a single shot, killing Columbus and knocking his own head on the wall behind him.

"Ow, my tiny head!" cries Weng Weng, grasping his softball-sized skull.

Too little for a regular bed and too big for a doll bed, Weng Weng was forced to sleep on the floor.

Later, Weng Weng goes to see a peer at his spy agency, who shows him a series of “new gadgets” to add to Weng Weng's arsenal: a gold ring that detects ALL poisons, a necklace tracking device, a very tiny machine gun, an Uncle Sam hat that ejects a dangerous blade, an ordinary-looking pen that fires bullets, a belt-buckle filled with various tools, and lastly, X-Ray sunglasses.

"I like the way you pay attention," he oddly states to Weng Weng, as he continues to tediously explain each weapon and what it does, trying best to remember all of his lines for this long, uninterrupted scene.

On his way out, Weng Weng tries out the X-Ray specs on the two cute receptionists, getting a good giggly look at their privates. Weng Weng is both a super spy and pervert. Do not bring him home to mother, unless you need the chimney cleaned.

While Irma successfully infiltrates the crime syndicate as a new member (and I have no idea how this was possible being that both Weng Weng and Irma had previously stormed their compound and killed one of the bosses), Weng Weng meets with a random woman on whom we have no information at all.

"I like ‘em little," states the woman as Weng Weng smiles. As his head is turned, the woman dumps poison into his Coke (Weng Weng’s drink of choice), and leaves him. Luckily, Weng Weng’s spanking new ring detects the poison immediately. Not caring that he was almost killed, Weng Weng drinks his remaining Coke from the bottle, and does not apprehend the woman that tried to poison him.

Say, what was that all about?

No time to explain; it's time for Weng Weng’s shirtless scene!

Ladies, clench those legs!

Irma spots the syndicate’s plot to smuggle bags of cocaine out of the country hidden in loafs of bread.

"There’s lots of dough in this dough! The butcher, the baker, and the candlestick maker!" Mr. Keiser emphatically exclaims, sounding like a hard-boiled private eye from the American 1930s.

Meanwhile, Weng Weng follows Irma’s tracking device necklace to their location and hides under the table. As the men continue their drug-smuggling operation just mere inches away, he hammers on their feet, and the men make extremely over-the-top gorilla “ouch” faces. Weng Weng then springs into action and very lightly hits each of them on the head with a bread pan, knocking them out.

Later, yet another boss, Cabbie (whom I have taken the liberty of naming myself, because I’m pretty certain the movie did not), demands to know how that "little midget" grew wise to their scheme. Someone suggests that a spy might be in their gang, but that idea is quickly and thankfully discounted for absolutely no reason.

The next afternoon, Weng Weng and Irma walk through the park hand-in-hand as she relays new information to him.

"I worry for you," says Irma in a motherly tone. "Maybe we should work together to infiltrate Mr. Giant's hideout." And then she wonderfully adds: "But you’re such a little guy, though; very petite, like a potato."

"Let’s go," Weng says, cutting her off immediately, the movie’s awful editing making it seem like he does not care for the analogy.

That night, the syndicate sweats a local businessman out of his collection of gold at one of their hideouts. The businessman, dubbed by a smarmy Frenchman, sits nervously on a crate.

Weng Weng, again following the lead from Irma, tosses a gas bomb and takes care of all the henchmen, freeing the businessman easily.

Another plot foiled by the half-pint super spy!

Spotted by members of the crime syndicate, a chase gives way in the street as Weng Weng flees in itty bitty terror. Weng Weng tosses his special hat, which hovers around the henchmen and scares them all off. The hat returns to its owner and drops on the smiling head of Weng Weng.

In yet another scene where one would assume that Irma’s cover was blown, her and Weng Weng flee from several of the henchmen following her.

"I’ll meet you later at the discothèque!" Weng shouts as the two separate. He then serves up a kid’s meal of whoop-ass, elbowing and kicking and stamping genitals like he was born to do.

Weng Weng's favorite defensive move: The Kickstand.

Weng Weng goes back to his apartment, but runs afoul of an assassin waiting in the lobby, a gun hidden in his umbrella. The assassin is easily defeated by Weng Weng, but his team of henchmen pursue him. As some of the assassin’s henchmen run up a stairwell, Weng Weng suddenly launches at them from off-screen and impossibly high, obviously being thrown by some off-camera grips. His football-sized body somehow hurtles the men to the floor, and he punches them into darkness with his fists of fury.

Weng Weng then bursts into a random room in which a hot little thing lies relaxing on the bed. Before planning a masterful escape from her balcony, he runs over to the bed and lays on this complete stranger a very intoxicating kiss. It’s so hot that they both keep their eyes open the whole time and stare at each other, as the girl’s hand delicately caresses Weng Weng’s teensy head. He then jumps off the balcony of the apartment, and using the assassin’s umbrella, softly floats to the rooftop of a jeep below.

On the way down, and shot from afar, we are treated to the sight of a very fake Weng Weng dummy attached to an umbrella as it floats to the ground, the "body" swinging haphazardly this way and that.

As promised, Weng Weng and Irma rendezvous at the discothèque, and upon exiting, attract the attention of some of the henchmen.

"Where’s that little midget?" asks one of the men.

"Probably hiding in her handbag," answers one of the men.

You laugh (or not), but it’s entirely plausible.

After getting dropped off by a taxi, Irma is kidnapped by the henchmen, apparently FINALLY seeing that it was her leaking the information about their shady dealings, and she alerts Weng Weng via the tracking device in her necklace. The boss, spotting the blinking red light in her necklace (good one, super secret intelligence agency), rips it from her neck and orders she be taken to Mr. Giant.

The boss uses the tracking device in a trap for Weng Weng and corners him in a warehouse.

"Where’s Irma?! TALK!" Weng Weng shouts, although it sounds an awful lot like:

"Where’s Irma?! FUCK!"

Weng Weng is tied up and one of the henchmen amusingly places Weng Weng very carefully in a tiny box as if he were the newborn Jesus.

Mr. Keiser communicates via blinky mirror with Mr. Giant, who sounds like he was dubbed by a middle-aged British man, and Mr. Giant says he would be pleased to have an interrogation session with Agent 00.

Not one to give up, Weng Weng uses a handy tool from his belt buckle that burns an escape hatch in the side of the box, and he easily dispatches the henchmen guarding (read: sitting on) his box.

One by one, henchmen are punched, kicked, and/or have poison darts blown into their throats, as Weng Weng gets closer to JUSTICE.

"He’s as slippery as an eel! How do you hold onto an eel?" Cabbie demands to know. "I declare war on that little stinker!"

Weng continues to cut a swath of justice on his mission to free Irma, masterfully shooting each henchman with a single bullet. He finally crosses paths with Cabbie, three times sliding across the floor and firing his gun. Out of bullets, it looks like Weng Weng may be visiting that tiny men's suit store in the sky, but as Cabbie continues to balk, Weng slides his not-so-ordinary pen into his hand from his sleeve and quickly shoots Cabbie.

The next day, Weng Weng infiltrates yet another crime compound and continues his no-holds-barred assault on the axis of evil. Weng Weng literally grabs a henchman’s gun and beats him to death with it, before firing the gun itself at a nearby guard tower’s henchman and being blown back by the gun’s trajectory.

Get it?

Cuz he’s got the stature of a baby.

Weng Weng’s tiny machine gun serves up a cold dish of MURDER to each henchman unfortunate enough to cross his path. The magic gun fires automatic rounds as well as tiny bombs, and makes short work of the way-too-many henchmen. One of those men stalks slowly down a walkway, waiting for Weng Weng to show his face...who then surprisingly does, bursting out of some bushes!

With a BOOO-I-I-N-G noise to punctuate his appearance, "kind-of-a-boner" Weng Weng shouts "here I am!" and shoots the man.

CUT TO THE DISCOTHEQUE!

Weng Weng rendezvous with another agent named Anna, also dubbed with a British voice, and collects information on Mr. Giant. During their meeting, Anna’s very rude male companion drunkenly orders her back to their table. Weng Weng then slaps this rude man into unconsciousness for close to a half hour.

"Well, hello there, little one. From what summer camp do you hail?"

Later, at Anna’s apartment, she thanks Weng Weng’s chivalry with a bit of nookie. In a scene that must have been over-dubbed while the sound technician's supervisor was on vacation, the following exchange takes place:

Anna: You’re a great person, you know.

Weng Weng: [very rushed] You know what they say, it ain’t the size, it’s the way you use it.

Anna: Maybe, but are you a sexual animal?

Weng Weng: I dunno.

Anna: I’m crazy about you, Agent 00. Why? I dunno. Maybe it’s the way you strut your stuff. Sex is like tequila. Take one sip, and you’re a goner.

Weng Weng: Shall we get it on?

Anna: Yes, darling. Bare your bod.

Seriously, there’s no way that was ever in the original script, despite how goofy the movie has been up to this point. That’s just too weird.

Sound technician whose supervisor was on vacation: I applaud you.

After the coitus, Weng Weng slides on his snappy Uncle Sam, blade-emitting hat, breaks into yet another secret location, and finds a map detailing the location of Mr. Giant, Irma, and… Dr. Kohler!

You COMPLETELY forgot about him, didn’t you?

So did I!

Weng Weng infiltrates Mr. Giant’s secret hideout on an island with the aid of Weng’s newest gadget: a jetpack! As Weng Weng wobbles back and forth on his way over the crevice and onto the island, one wonders how these genius filmmakers were able to make the strings attached to the jetpack only kind of visible, instead of obnoxiously visible.

Weng Weng FINALLY meets the infamous Mr. Giant, another midget who is still taller than Weng himself. The two midgets throw wee punches and little kicks, before the fight ends with little-person grappling and a puny gun firing mini bullets into Mr. Giant’s not-so-giant torso.

MINI DANCE PARTY!!

Meanwhile, Weng Weng’s unit storms the location and kills hundreds of henchmen all dressed in red-crested sweaters and matching berets.

Weng Weng frees Irma and Dr. Kohler as the henchmen continue to easily catch bullets in their bellies.

Know who else catches a bullet in the belly?

Irma.

"Irma!" Weng Weng shrieks, struggling to lift her heavy body to him. She dies, her last words being, “Mission accomplished!”

The movie ends with Weng Weng saluting a grave that’s assumed to be Irma’s, but whose name is blocked by flowers because they were most likely filming guerrilla style in a local cemetery.

Weng Weng may have loved and lost, but his fight isn’t over. He has many more enemies to overcome, ladies to bed, and tiny to be, and his presence in film history has only just begun.

WHAT THEY USED TO DO

SHITTY FLICKS: CHOPPING MALL

Shitty Flicks is an ongoing column that celebrates the most hilariously incompetent, amusingly pedestrian, and mind-bogglingly stupid movies ever made by people with a bit of money, some prior porn-directing experience, and no clue whatsoever. It is here you will find unrestrained joy in movies meant to terrify and thrill, but instead poke at your funny bone with their weird, mutant camp-girl penis.

WARNING: I tend to give away major plot points and twist endings in my reviews because, whatever. Shut up.

Robots.

Are you scared yet?

Well, you should be.

The robots are coming, people. Whether along the lines of that maid from "The Jetsons" who will strangle you with its metal claws, or even in the form of an advanced bathroom scale that convinces you you’re not overweight until you eat yourself to death, robots are going to be the human race’s undoing.

This is why Chopping Mall is so terrifying. It’s a robot killing teenagers. In a mall. A mall of teenagers and robots. Seriously, is there anything more terrifying?

The movie opens with a leather-clad thief smashing the display case of several jewels. The thief, having collected his night’s pay in the form of glinty rock, strolls through the mall.

And then the hum of little robot feet soon cuts through the air.

Security robots? What's next, a black president?

“STOP. RIGHT. THERE,” the robot demands. “SURRENDER. YOUR. WEAPON.”

The thief shoots the robot, not at all put off by the fact that he is being pursued by one in a shopping mall. The robot, unaffected by the gunshot, continues its pursuit. The thief then makes one last effort to escape before the robot shoots him with a laser, or something.

THE END.

Of the promotional video, that is.

The flip screen goes blank, the lights come on, and Dr. Stan Simon approaches the stage of what appears to be a press conference to introduce the three robots that will begin serving as security of the mall where this presentation is taking place.

Dr. Simon demonstrates a typical robot/human scenario:

• The robot demands to see identification.
• Dr. Simon holds the badge in front of its face.
• The robot scans the badge and wishes him a merry day.

Sure, looks easy enough, but one can only assume that if something occurs where the robot cannot scan the badge, the human will end his night paralyzed by lasers.

Despite this thrilling display, the audience asks the typical “I am nervous about robots” questions, worried about working alongside them. Dr. Simon assures them that “nothing could possibly go wrong.”

Cue title: CHOPPING MALL.

No, dear reader, that's not a robot.
That's what we call an "80s human."

We barely meet our first two characters: young, supple, mall-restaurant waitresses named Suzi and Allison. Intriguing character development is introduced, such as Allison being new to the restaurant, while Suzi isn’t new to the restaurant. Also, Suzi is the outgoing type. Allison isn’t the outgoing type.

That’s about all we get for character development.

Lightning suddenly strikes the mall’s outdoor-important-electric-thinger, sending a scientist in a control room scrambling to stabilize everything. The robots just behind him whir and flash their face light, having been awakened by said lightning, unbeknownst to the scientist. Having stabilized the big dashboard of blink-lights, he wheels around in his chair, looks at pornography, and is killed by a robot claw.

Boy, these robots sure are proactive!

ROBOTS: 1

HUMANS: 0

We then meet our trio of testosterone-driven generic hornball dudes. They pass the time of their shitty mall furniture job by discussing the plans of the evening: drinking beer and maybe having some sex at night in the furniture store where they work…after hours.

Dude. Hardcore.

Another scientist enters the control room, talks banter to himself for several minutes in an attempt to make a scene with himself interesting, and is killed by robots.

ROBOTS: 2

HUMANS: 0

"DR. GEORGE. COME. TO. BED. IT'S. LATE."

Now that all of our introduced children have met up, some serious dancing is taking place in the furniture store, as Ferdy, wearing glasses and therefore nerdy and awkward, is set up with Allison, an also nerdy and awkward teen.

Meanwhile…

“PROTECTOR. ONE. GOING. ONLINE. LEVEL. ONE,” a robot says to no one as he begins his nightly patrol of the mall. He comes across the partying teens in the furniture store, turns his robot head to analyze the threat-level, but then goes on his robot way.

Not just yet, robot.

Not just yet.

The other robots take their place on each level and begin their robot shift as well.

Couple Number One enjoys a roll in the sack, their underwear clad bits grinding.

Couple Number Two are stationed on a couch, as the girl does a naughty strip tease for her fella.

Couple Number Three seem to be engaging at failed cunnilingus.

Aaaand… Ferdy and Allison watch a giant killer crab movie, of which Allison is actually scared.

“Sorry, I don’t know why I watch these things,” she says sheepishly.

I don’t either, Allison. It’s a fucking giant crab movie. Then again, I am watching a killer robot movie.

Dick Miller, reliable genre favorite, plays Walter the janitor, who deflects mean-spirited comments from his janitor associates as he mops up the floor. His peers leave him to mutter, mop, and wonder where his life went wrong. But then a mystery guest shows up to help.

Robot.

It demands to see Walter’s identification badge, and when Walter refuses, the robot shoots a taser line, which misses and crashes in the moppy mess at Walter’s feet.

“What the hell is that?” Walter asks, reading my mind. He raises his mop, about to administer a braining, but he accidentally steps in the electrically charged puddle and subjects himself to the best electrocution visual effects that the 1980s had to offer. We even see a brief flash of his skeleton.

ROBOTS: 3

HUMANS: 0

Michael and his girlfriend, Leslie, finish up with their sex, so Michael decides it is time to smoke cigarettes. He puts on some jeans and leaves the furniture store to find a vending machine of smokes. His gum-smacking stupid face was born to be crushed by the metal tangibles of a wacko jacko robot. And so that happens now. The robot approaches and asks for his ID. Michael is more amused by the robot than intimidated. This will be his ultimate undoing. The robot claw softly caresses Michael’s throat, but in the robot way that robots do it. Needless to say, Michael doesn’t chew gum anymore. Or be alive.

ROBOTS: 4

HUMANS: 0

When Michael doesn’t return with a pack of smokes and his eighteen-year-old penis, Leslie soon loses patience and wanders after him, finding his motionless body in the vending machine hallway. Leslie decides to have a ten-minute conversation with Michael’s corpse in order to pad out the running time of this movie.

Leslie then does the typical “stop foolin’” shake until she sees his cut throat.

CUE ROBOT!

It pursues the girl through the mall, firing electrical bolts at her pantied ass until shooting one final and terribly satisfying blow to her face, exploding her head in a fountain of gore and delight.

ROBOTS: AWESOME

HUMANS: LAME

The robots then storm the furniture store, their robot meters set on destroy, as they shoot lasers at the half-naked hooligans. The kids lock themselves in a storage closet as the robots fire their lasers at the conveniently steel-enforced doors.

“PREPARE. FOR. DETONATION,” says one of the robots, firing plastic explosives at the door hinges.

Why on earth would a mall robot have that?

The robots take refuge away from the explosion, but then they rush to the room to find…nothing. The girls manage to make it up into the air duct, while the boys haul ass to the mall’s sporting-good store: Peckinpah’s (ugh, I’m sure he would be pleased).

“Let’s go send those fuckers a Rambo-gram,” says one of them, as I groan. The idea that sporting good stores—in a mall, no less—sell magnum hand guns and machine guns is just as convenient as it is unrealistic, but that doesn’t matter, because a combination of aimless shooting and a haphazardly-tossed propane tank results in one Rambo-gram DELIVERED.

ROBOTS: 5

HUMANS: 1

The girls make it to a Sears Hardware-ish type store and collect cans of gasoline, the plan being to whip up a small arsenal of tin-can cocktails to make some robot toast. Unfortunately it doesn’t go so well, since they're girls. Allison tosses a flaming gas can at an oncoming robot, which results in a minor explosion which the robot simply wheels over.

“THANK. YOU. AND. HAVE. A. NICE. DAY,” says one of the robots, smarmily. He fires a laser at a gas can and delivers to Suzi a fiery death.

ROBOTS: 6

HUMANS: 1

The boys show up in time to get the girls to safety with the robot hot on their trail. They fire a series of shots into the elevator, exploding it and blocking the robots from accessing their higher level. The kids then chillax and try to regroup. Greg bitches at Allison, telling her that if they had stayed in the duct, Suzi, his fuck girl, would still be alive.

Accusations hurl.

Tensions mount.

Robots beep.

The kids try to make a break for it up an escalator, but Greg makes the mistake of leaving his back unguarded. Cue robot # 2, who was assigned to protect that level. The robot claws Greg in the back and pushes him over the railing to his death several levels below.

ROBOTS: STILL AWESOME

HUMANS: STILL LAME

The kids flee and the robots continue to pursue, using escalators to get around (haha, there is no better sight than seeing a robot slowly ride up an escalator as its stupid robot head swivels back and forth). Surprisingly, we’re this far into the movie when someone actually suggests that splitting up would be the best option. Everyone begins to shout at each other, which was bound to happen eventually.

“I guess I’m just not used to being trapped in a mall in the middle of the night being chased around by killer robots,” says Linda.

Suddenly, an idea sprouts and they get to work. And not a moment too soon! The robot lasers his way into their hideout and the kids open fire with their small arsenal. After attracting the lasers of the robot, they hide behind a row of mannequins and uncover the mirrors strategically placed behind them. The robot’s lasers deflect off the mirrors and fire back at himself, blowing himself up, but not without taking Linda and Rick with him.

ROBOTS: 9

HUMANS: 2

With Ferdy and Allison the remaining robot targets, the two finally opt to split up and see if they can find a way out. And from what I gather from their plan, if one finds the way out, they are to alert the other by screaming. A lot of loud, piercing screaming.

After a few minutes, Allison starts screaming.

Not at an exit, though.

At a robot.

Luckily, Ferdy shows up and fires his stupid gun which he has yet to learn is pointless against the steel robots. Once out of ammo, Ferdy throws a fire hydrant at the robot, which the robot promptly throws back, knocking Ferdy on his ass and out cold.

“THANK. YOU. HAVE. A. NICE. DAY.”

And the chase continues.

"Put my balls in your mouth you nasty robots!"

Allison takes refuge in a pet store, which turns into open season for robot hunting. The robot’s dumb body knocks over glass tanks left and right as he searches for her. The robot’s stupid robot head turns round-and-round, looking for Allison, but she has cleverly hidden herself under a tank, where, thanks to the robot's ability to turn his head left to right, yet, not pivot up and down, she is out of the robot’s sight. All of the creepy things from the smashed tanks, like tarantulas and snakes, figure Allison’s body is the best place to hang out, and so they all cuddle together as she tries to keep from screaming (which, let’s face it, when compared to killer robots, isn’t worth getting into a pissy over). Soon, the robot leaves, and Allison vacates the store, but a shrieking monkey (yes, a monkey in a mall pet store) causes Allison to cry out, and once again attracts the attention of the robot. Allison throws herself over the ledge and hangs onto the railing in order to hide from the robot, but that, too, fails, and she falls on a conveniently placed tent which breaks her fall—and her leg.

ZING!

Allison, with a newly found car flare, crawls into a paint shop, where she begins opening and throwing can after can of paint all over the floor, along with some paint thinner. After attracting the attention of the robot, his stupid conveyor wheels can’t find traction through the gooey paint and can only spin in circles, dumbly extending his robot arms.

“Have a nice day!” Allison yells ironically, tossing the flare into the paint store which results in a much-too-big explosion, ending the robot’s robot life.

HUMANS: VICTORIOUS

ROBOTS: NOT (BUT STILL AWESOME)

Allison crawls away from the wreckage, relieved that her night of robot evil is over, but one more surprise awaits her:

Ferdy, clasping a rag to his head.

“Nice shot,” he says, smiling, and wearing glasses.

They later get married, move to Long Beach, and have nerdy kids who then grow up to be killed by the kids of the dead robots.

Life just keeps going on, doesn't it?

ROBOT MOVIES: 1

ME: 0

CROSSROADS

Meeting with the Devil at the Crossroads

A “vision,” as told by Henry Goodman

Robert Johnson been playing down in Yazoo City and over at Beulah trying to get back up to Helena, ride left him out on a road next to the levee, walking up the highway, guitar in his hand propped up on his shoulder. October cool night, full moon filling up the dark sky, Robert Johnson thinking about Son House preaching to him, “Put that guitar down, boy, you drivin’ people nuts.” Robert Johnson needing as always a woman and some whiskey. Big trees all around, dark and lonesome road, a crazed, poisoned dog howling and moaning in a ditch alongside the road sending electrified chills up and down Robert Johnson’s spine, coming up on a crossroads just south of Rosedale. Robert Johnson, feeling bad and lonesome, knows people up the highway in Gunnison. Can get a drink of whiskey and more up there. Man sitting off to the side of the road on a log at the crossroads says, “You’re late, Robert Johnson.” Robert Johnson drops to his knees and says, “Maybe not.”

The man stands up, tall, barrel-chested, and black as the forever-closed eyes of Robert Johnson’s stillborn baby, and walks out to the middle of the crossroads where Robert Johnson kneels. He says, “Stand up, Robert Johnson. You want to throw that guitar over there in that ditch with that hairless dog and go on back up to Robinsonville and play the harp with Willie Brown and Son, because you just another guitar player like all the rest, or you want to play that guitar like nobody ever played it before? Make a sound nobody ever heard before? You want to be the King of the Delta Blues and have all the whiskey and women you want?”

“That’s a lot of whiskey and women, Devil-Man.”

“I know you, Robert Johnson,” says the man.

Robert Johnson, feels the moonlight bearing down on his head and the back of his neck as the moon seems to be growing bigger and bigger and brighter and brighter. He feels it like the heat of the noonday sun bearing down, and the howling and moaning of the dog in the ditch penetrates his soul, coming up through his feet and the tips of his fingers through his legs and arms, settling in that big empty place beneath his breastbone causing him to shake and shudder like a man with the palsy. Robert Johnson says, “That dog gone mad.”

The man laughs. “That hound belong to me. He ain’t mad, he’s got the Blues. I got his soul in my hand.”

The dog lets out a low, long soulful moan, a howling like never heard before, rhythmic, syncopated grunts, yelps, and barks, seizing Robert Johnson like a Grand Mal, and causing the strings on his guitar to vibrate, hum, and sing with a sound dark and blue, beautiful, soulful chords and notes possessing Robert Johnson, taking him over, spinning him around, losing him inside of his own self, wasting him, lifting him up into the sky. Robert Johnson looks over in the ditch and sees the eyes of the dog reflecting the bright moonlight or, more likely so it seems to Robert Johnson, glowing on their own, a deep violet penetrating glow, and Robert Johnson knows and feels that he is staring into the eyes of a Hellhound as his body shudders from head to toe.

The man says, “The dog ain’t for sale, Robert Johnson, but the sound can be yours. That’s the sound of the Delta Blues.”

“I got to have that sound, Devil-Man. That sound is mine. Where do I sign?”

The man says, “You ain’t got a pencil, Robert Johnson. Your word is good enough. All you got to do is keep walking north. But you better be prepared. There are consequences.”

“Prepared for what, Devil-man?”

“You know where you are, Robert Johnson? You are standing in the middle of the crossroads. At midnight, that full moon is right over your head. You take one more step, you’ll be in Rosedale. You take this road to the east, you’ll get back over to Highway 61 in Cleveland, or you can turn around and go back down to Beulah or just go to the west and sit up on the levee and look at the River. But if you take one more step in the direction you’re headed, you going to be in Rosedale at midnight under this full October moon, and you are going to have the Blues like never known to this world. My left hand will be forever wrapped around your soul, and your music will possess all who hear it. That’s what’s going to happen. That’s what you better be prepared for. Your soul will belong to me. This is not just any crossroads. I put this “X” here for a reason, and I been waiting on you.”

Robert Johnson rolls his head around, his eyes upwards in their sockets to stare at the blinding light of the moon which has now completely filled tie pitch-black Delta night, piercing his right eye like a bolt of lightning as the midnight hour hits. He looks the big man squarely in the eyes and says, “Step back, Devil-Man, I’m going to Rosedale. I am the Blues.”

The man moves to one side and says, “Go on, Robert Johnson. You the King of the Delta Blues. Go on home to Rosedale. And when you get on up in town, you get you a plate of hot tamales because you going to be needing something on your stomach where you’re headed.”

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OUR NEW LITTLE FRIENDS

"These are not your average kiddie dolls. They are hellish, tortured souls. Definitely conversation starters or the beginning of your bad dreams. Mutilation, injuries and monsters might be common themes in my work but they aren't all that bad! They still give you that warm, fuzzy feeling where you just want to hug each and every one of them. Right?.... Right? Hmmm.... its pretty quiet out there. Where did everybody go?"

Get the creeps.

A SADISTIC APPETITE

Marie Delphine LaLaurie (d. 1842), more commonly known as Madame LaLaurie, was a Louisiana-born socialite, known for her involvement in the torture of black slaves.

Jeanne deLavigne, writing in Ghost Stories of Old New Orleans (1946), alleged that LaLaurie had a "sadistic appetite [that] seemed never appeased until she had inflicted on one or more of her black servitors some hideous form of torture" and claimed that those who responded to [an] 1834 fire had found "male slaves, stark naked, chained to the wall, their eyes gouged out, their fingernails pulled off by the roots; others had their joints skinned and festering, great holes in their buttocks where the flesh had been sliced away, their ears hanging by shreds, their lips sewn together ... Intestines were pulled out and knotted around naked waists. There were holes in skulls, where a rough stick had been inserted to stir the brains."

The story was further popularized and embellished in Journey Into Darkness: Ghosts and Vampires of New Orleans (1998) by Kalila Katherina Smith, the operator of a New Orleans ghost tour business. Smith's book added several more explicit details to the discoveries allegedly made by rescuers during the 1834 fire, including a "victim [who] obviously had her arms amputated and her skin peeled off in a circular pattern, making her look like a human caterpillar," and another who had had her limbs broken and reset "at odd angles so she resembled a human crab."

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