Blood Shack

Pity those who have never seen "Blood Shack," depriving themselves of one of the true guilty pleasures in life. Whether you're watching for the bad acting ("That's right, baby!"--the first scene is a scream), the implausible scenes inside the shack (it grows from one or two rooms to a mansion when the Chooper starts his chase), or even, yes, the rodeo footage (note: many people point out the over-abundance of stock rodeo footage, but many do not realize Wolfgang Schmidt [as Steckler is credited in the film] was forced to add the scenes because the film's distributor felt the movie was too short), you can not go wrong with this rental. The story centers (as if it matters) upon an abandoned old shack (that's actually being kind to the edifice) with a past (cue scary music). It is cared for by Daniel, a man whose fear knows no bounds, and whose torso knows no shirt (he does wear a midriff-exposing jacket, however). Well, yadda, yadda, yadda, a lot of hoopla is made about The Chooper (the spirit who supposedly haunts the place), a girl takes off her clothes (to the most laughable sound track I've ever heard), Daniel throws some wood in a bucket, Daniel hits a tree with a shovel, a lady takes a shower, and yes, we all go to the rodeo. In all, a classic. Oh yeah, the mystery is solved. Most people feel "bad movies" are simply a waste of time; I, on the other--well, actually most of the time they are, but as I preach the gospel of "Blood Shack," many converts have been made. I hope that others, too, will soon see this film for what it is: the "Citizen Kane" of people-throwing-wood-in-buckets-movies.

It's so bad your sides will split everytime you watch it. Classic lines like "i told you not you go in there, and now look at you, you're dead" combined with rodeo footage that has NOTHING to do with the rest of film means for anyone who's seen it, this film is tops. Recommended with a capital laugh!

God bless Ray Dennis Steckler, that's all I have to say. Among the countless directors who have come and gone inside and outside the Hollywood system, Steckler has always been a guerrilla maverick of accidental genius; in interviews, you see him unpretentiously share a wealth of cinematic knowledge, and even cite instances in his own work where he is directly quoting from some of the greats (he has name-dropped John Huston and Michelangelo Antonioni). Watching Steckler's films, you can see that borrowed inspiration turned into a mutation of B-movie brilliance. Granted, I wasn't always appreciative of the man's work (my first look: MST3K's lampooning of "The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies"), but have since really warmed up to his obscure filmography.

"Blood Shack" is a masterpiece of shlock. Out in the desert someplace, washed-up starlet Carol Brandt (played by none other than Carolyn Brandt!) has just inherited a significant amount of land, on which rests a dilapidated house ("A historical monument that's been there 150 years!") where bad things always seem to be happening. You see, the place is haunted by 'The Chooper' ("Blood Shack"'s alternate title), a purportedly supernatural being culled from Native American folklore. Also on the premises are two little girls (Steckler's daughters, Laura and Linda) who, in one adorably hilarious scene, give their own interpretation of the Chooper legend; Daniel (Jason Wayne), the amusing, low-intellect hick groundskeeper; and Tim Foster (Ron Haydock, of "Rat Pfink a Boo Boo"), a rival rancher who is hell-bent on buying Carol's property. Also on hand are some less-than-wise youngsters and bit players who run afoul of the Chooper, an assassin in black Ninja pajamas and Chuck Taylors.

At a scant 55 minutes, the plot has no room to be convoluted, but somehow is anyway (what are we to make of the scene where Daniel is "talking" to the Chooper in relation to the denouement?), though most viewers won't care. "Blood Shack" shows off the usual Steckler conventions: gritty location shooting that inspires a real sense of desolation and isolation (not unlike how he made Skid Row a real den of squalor in "Hollywood Strangler"); Zapruder-like cinematography (most regularly exhibited in scenes at a rodeo); and an unshakable sense of silliness that lightens a potentially sinister tone (even when blood is spilled, the film retains an innocent feel). As a bonus, Brandt's voice-over narration (intended to convey all the details the budget couldn't convey visually, methinks) is humorously air-headed, as most of her sentiments are less-than-profound filler. Ditto the repetitive dialog of Haydock ("You're gonna sell! You're gonna sell!") and Wayne ("I told ya to get away from that house! The Chooper'll get ya!"); the lack of an actual script is just another one of "Blood Shack"'s endearing charms.

I don't know that there's a way to summarize my overall feelings on "Blood Shack" that would do the film proper justice--I always find myself in awe of this $500 wonder. Perhaps I'll let Carol Brandt sum things up: "I think I'll worry about it tomorrow...if tomorrow ever comes."

Amen, sister.

Because of intense passion for self loathing, I continue to watch these sort of films. Blood Shack is yet another link in the chain of bad b movies that are out there. This movie is b-movie purgatory. I will say that the lighting was done well. You could see the characters face to foot even in night shots. Also, the killer looks hilarious when he attacks. His monosyllabic grunt is worth a laugh or two. The acting was acceptable for a b-horror film. It's only 55 minutes. It's not even a feature length movie. But, the writer was clever and made the script so bad that it seemed like a 90 minute feature when it was over. They just teased. This whole movie was a mental cock tease. There was blood, but it wasn't gory. There was women but no nudity. There were children, and they lived. I tell you, some film makers take their titles too literally. There was blood, and there was a shack. That's about all you can say.

Easily the best horror film ever made. Makes 'The Shining' look like a crappy B-Movie. The way in which the film turns into a rodeo home-movie half-way through, for no apparent reason, is nothing short of genius.