Archive for Cashiers du Cinemart

Cinema Book Review: IMPOSSIBLY FUNKY

Posted in 2011, Blaxploitation, Book Review, Books About Movies, Nick Cato Reviews, Nicolas Cage Movies with tags , , , , on October 1, 2011 by knifefighter

(2010 Bear Manor Media / 377 pages / trade paperback)

Book Review by Nick Cato

From 1994-2008, CASHIERS DU CINEMART was a fanzine featuring wildly opinionated movie reviews and retrospects, as well as interviews, with everyone from Crispin Glover to cast members of seldom-seen 70s blaxploitation films.  IMPOSSIBLY FUNKY collects some of the fanzine’s finest moments, and features introductions from exploitation film guru Herschell Gordon Lewis to the founder of Film Threat, Chris Gore.

Author Mike White is perhaps best known for calling Quentin Tarantino out for certain “similarities” between the 1989 Hong Kong movie, CITY ON FIRE, and his own film, RESERVOIR DOGS.  White even made a short feature titled WHO DO YOU THINK YOU’RE FOOLING?, which shows (side-by-side) shots from both films, calling Tarantino’s motives into question.  The opening chapters of the book deal with this whole saga, and while I had seen White’s film online, there’s plenty more here for those interested in this on-going celluloid grapple.

Among my favorite sections were Mike Thompson’s look at the original script for the Nicolas Cage film 8MM,  Mike White’s section on ALIEN 3, White’s interview with Canadian cult film director Guy Maddin, and of course, the huge section dedicated to the 1975 blaxploitation classic BLACK SHAMPOO, which features an overview of the cast, interviews with the director and a few stars, and an interesting story on how Mike and his friends became addicted to it (and still hold annual viewings).

While I haven’t mentioned even half of what’s on display here (STAR WARS fans will get a kick out of the small section dedicated to it), IMPOSSIBLY FUNKY looks at films through the eyes of super-geek film fans, and while (at times) things get a bit obsessive (I mean, what film geek DOESN’T get obsessive when talking films?), film fans will not be bored, even if a topic being discussed isn’t of particular interest.

A fun. informative, and smart book to garnish any film freaks’ book shelf.

© Copyright 2011 by Nick Cato

For more about Mike White, check out his website at:



Posted in 2011, Colleen Wanglund Reviews, Interviews, Special Columns with tags , , , , , on September 30, 2011 by knifefighter

By Colleen Wanglund


Mike White and Mondo Justin love movies. Actually they REALLY love movies. So after years of writing about movies for various magazines and websites, Mike and Justin started the podcast THE PROJECTION BOOTH. Each week the guys and their guests discuss a (usually) obscure or cult film, bringing awareness to their audience. I recently interviewed these movie nuts. ~ CW

COLLEEN: So starting off….You guys are both from Michigan right? So how did you end up meeting each other?

JUSTIN: Orginally….Mike just found me online. He had approached me with this press release of sorts about his new book, IMPOSSIBLY FUNKY: A CASHIERS DU CINEMART COLLECTION. He had asked me to review the book for the web. We exchanged a few emails, and through conversation we realized that we were only about twenty minutes away from each other, so we met up for lunch one day and the rest is history.

COLLEEN: How did each of you get into writing about film?

JUSTIN: I’m not sure if I even consider what I do to be film writing in the traditional sense. I’ve written some fun pieces on particular movies, but not criticisms. In fact I really dislike film writing that deals in theory and criticism. It’s boring, and for the life of me I can’t understand why someone would read that stuff. Why in the hell would you let anyone imprint their opinions in regards to what a film “means” on your brain? Why would you allow someone to tell you if a film is “good” or “bad”? Figure out what it “means” for you. Decide on your own if a film is good or bad. Calculate your own interpretation. I’m more interested in deep researching and then writing up background histories on particular films and how that film fits into a particular context.

Also, I’m big on interviews. Interviews are my life blood. I’ve always been a huge fan of interviews. Above anything else, interviewing someone is probably my favorite thing to do. It’s just so personal. It’s one-on-one, and very intimate. And that’s very relative to how we each experience film ourselves.

MIKE: When I went to college I thought to myself, “What is one of the most useless degree’s I could earn?” Philosophy and Art History didn’t appeal too much, so I decided to go into film. When I graduated I was still very much in “paper writing mode” and had a love for ‘zines. I decided to throw my hat into the ring and start Cashiers du Cinemart.

COLLEEN: Speaking of that Mike, what is/was CASHIERS DU CINEMART?

MIKE: It started as a photocopied rag of rants and ended up as a more polished rag of me being a blowhard about movies or topics I wanted to explore. Along the way I made a lot of friends with other folks who would contribute reviews, articles, artwork and more to it. I put it on hold, thinking that it was dead, back in 2007 but jumped onto the “Revenge of Print” bandwagon that Atomic Books in Baltimore started for 2011 and just published the 16th issue.

COLLEEN: Justin what about your website, THE MONDO FILM & VIDEO GUIDE?

JUSTIN: I just started that site out of boredom really. I was bored and wanted something fun to do. Plus I figured that if would afford me opportunities to talk to filmmakers and actors/actresses that I was really interested in learning more about. Prior to that, when I would go around the web and read interviews with people, I’d only be able to find these horrible interviews that really had no thought behind them. So at a certain point, I just thought to myself, “You can do better than that.”  I think I do a pretty good job. People are reading. I started in 2008, and after that first month I had 300 visits.

Last month I had over 70,000 visits — so we’re growing. I mean the studios are looking at it. I did a big interview with a particular actor last year. After I published it online, he notified me that Paramount Studios had contacted him about a project because they had read the interview we had done together.

COLLEEN: Mike, what’s up with you obsession with the movie BLACK SHAMPOO?

MIKE: You’ve seen the film, so I don’t think I need to answer that question. In all seriousness, it just hit a need that my high school friends and I had. It was funky enough to fill our blaxploitation quotient, had some good softcore scenes in there, and was infinitely quotable. It became our ritual to watch that movie as often as we could. After high school it became something more of an obsession in regard to tracking down all the people involved and asking them about this film that was such an influence on us.

COLLEEN: Justin, is there a film that you obsess over in the same way?

JUSTIN: There are a few. But it goes in sprees to be honest. Right now, I’m completely and utterly obsessed with the Orson Welles film, THE MAGNIFICENT AMBERSONS (1942). Researching that, and with working on other projects that I’m working on currently, I’m seeing a similar correlation in terms of how that film was mistreated with something like William Peter Blatty’s EXORCIST 3 (aka LEGION). Both films are beautiful disasters that were ripped out of the visionary’s hands and corrupted by their perspective studios.

Then this little movie from 1989 called, SHAG. I’ve loved this movie for so many years. It’s this wonderful little coming-of-age movie set in the south during the summer of 1963. Like Mike with BLACK SHAMPOO, I’ve interviewed almost the entire the cast, the son of the director, the location manager, the producers, the writers etc…

COLLEEN: Do each of you have a favorite movie, and why is it your favorite?

MIKE: I don’t think I could pick one. There are favorites that are such because I think they’re brilliantly crafted and they’ve expanded the vocabulary of cinema. Then there are favorites that are just trashy flicks that tickle my funny bone whenever I see them.

JUSTIN: I don’t think I could pick just one movie either. I have so many movies that I just love the hell out of. Maybe a favorite filmmaker? I love the films of Jerry Lewis because they’re extremely innovative in not just their comedy but also in film technique. His movies are very innocent too. Child-like, even. Then Kenneth Anger I love, cause of the internal response I get from his work. That work is scary as hell to me, and who doesn’t want to flirt with the dark side at times? Todd Haynes, Gregg Araki, Ken Russell as well. I tend to be really interested in strong visuals in film over anything else. Also, I love to champion bad movies with redeeming qualities like SHOWGIRLS (1995) and LAST ACTION HERO (1993). While many find a lot of faults in movies like those I just don’t because I’m always looking for the positives in everything. The acting in SHOWGIRLS is horrible, but does that make it bad? I think it’s entertaining and campy, a bit raunchy as well and the movie is actually really visually rich.

COLLEEN: So what is THE PROJECTION BOOTH, and where did the idea for it come from?

MIKE: The seeds were sown on a long drive that we took shortly after we met one another. We drove down to Franklin, Indiana for a film event/critics panel that will remain nameless. During the drive we listened to some podcasts and found flaws with several of them. I believe Justin suggested that we start our own and really do it up right. We both started making lists of things we wanted to do and to avoid if we ever created a podcast. First we had to have our declaration of principles. It all went from there.

JUSTIN: I don’t think I suggested it, but maybe I did? I recall that it was you who suggested it (but not seriously) and then like six months later I brought up the idea again randomly one day, and we decided to just do it, and “bring it” big time like Hulk Hogan in NO HOLDS BARRED.

COLLEEN: How do you guys decide on which movies to spotlight each week? Does your decision hinge on the guests you’re able to get?

JUSTIN: It’s very simple. Mike makes a pick one week, then I pick the next week. Usually we plan months and months in advance, and it’s easy for a pick to go by the wayside if we are having a problem getting a guest on-board. The guests come pretty easy for us though for the most part.

MIKE: The show really includes films that we both feel deserve more attention or that we can bring something special to. I think we’re both trying to provide a service to let people know about movies that they may not have gotten into before, or giving them more information about them than has previously been known.

COLLEEN: Do you guys generally agree on the films you’re going to do or are there sometimes arguments?

JUSTIN: It’s a free-for-all. There isn’t any final say or anything like that in the sense that Mike or I have to approve each other’s picks. I respect his picks, and I think he respects mine. Now with that being said…We have had a couple heated debates on-air over the last year, but they are only exactly that. Any disagreements about one particular film doesn’t translate into life when the microphone is turned off.

MIKE: It’s almost a little boring if we both agree 100% on a film. What I tend to rely on is that we both come at movies from different angles and pick up on different things. Justin may have a read on a film completely different than mine and that’s what makes it fun. Two guys sitting around saying, “That was cool” would make for a pretty boring conversation.

COLLEEN: For anyone that hasn’t listened to your show that may be reading this, do you have one show that you’ve done that you feel that everyone should listen to it even if they’re not a fan of podcasts?

JUSTIN: Well, that’s a tough question. I mean we alternate picks each week, so what about re-phrasing the question to “What’s one film that you’ve picked each and done a show about that is your favorite to date?”


JUSTIN: I’d have to say the show we did about THE WARRIORS (1979) from New York City or more recently our KENNETH ANGER show. Probably…For some reason I’m really partial to an early show we did this year about RED SCORPION (1988). I think it’s because around the airing of that episode I think it when we really figured out our format, and the show then became a well-oiled machine, I think.

MIKE: If I had to pick one show to submit for the Podcast Awards it’d be Justin’s THE WARRIORS show. My other favorites include the ROBOCOP (1987) show because I got to talk to a lot of great people and had a blast editing that one. But I think I had the best time when Justin lined up an interview with the creators of FREAKED (1993). Listening to those guys was a blast.

COLLEEN: What are you hopes for the future success of the podcast?

JUSTIN: As far as podcasts go…I don’t know. I fantasize that we’ll someday get offered a paying talk radio gig. It’s a fantasy though. I mean our show is doing really good. We’ve been picked up for syndication, and we’re FM radio in the deep mid-west. We’re on iTunes. We get these big guests. There are only a couple other shows out there that get the guests we do, and frankly they’re not very good. I think what makes our show good is that it’s informative, well edited, thought-out and often relaxed and fun. Plus our show has a great diversity to it as well. In any given month we’ll have a spectrum of guests that is as wide as: John Waters, Orson Welles daughter, Dolph Lundgren and then Trina Parks. I think the show is fun, and frankly a little bit of a secret out there.

MIKE: Total world domination…(laughing)

COLLEEN: So what else are you guys working on?

JUSTIN: Right now I’m very busy. Besides THE PROJECTION BOOTH show, I’m working on content for the website as usual. On top of that both Mike and I have been asked to contribute to this book coming out after Christmas called COMMENTARIES ON MINOR CINEMA CLASSICS. I’m writing the chapters on EXORCIST 3, HARDBODIES and HALLOWEEN 3: SEASON OF THE WITCH. I contribute one or two interviews each issue to SHOCK CINEMA magazine. Then after the New Year I’ll be co-authoring the biography of actor Wings Hauser with Wings Hauser himself. So maybe you should consider it an autobiography? I don’t know. Exactly how does that work?…(laughing)

MIKE: I’m currently working on an article about horror parodies of the early ‘80s for PARACINEMA magazine. How’s that for specific? I’ve had a lot of fun writing about subgenres for them such as the rash of body swap comedies in the late ‘80s and the myriad of talking genitals films. I’m also working on a piece for COMMENTARIES ON MINOR CINEMA CLASSICS. Keeping with the parody idea, I’m writing about AIRPLANE 2: THE SEQUEL. I’m also working on a biography of Greydon Clark and a book I’m temporarily calling “GOULD AND SULTHERLAND IN THE ‘70S”.

THE PROJECTION BOOTH can be downloaded from iTunes or directly at the website And don’t forget to check out where you can also link to THE PROJECTION BOOTH podcast. And Mike White’s website at:

© Copyright 2011 by Colleen Wanglund


Posted in 1970s Movies, 2011, Blaxploitation, Chainsaws!, Exploitation Films, Grindhouse, Soft-core, Suburban Grindhouse Memories, The Mob, VIOLENCE! with tags , , , , , , , on June 9, 2011 by knifefighter

Hair Salons and Chainsaws!
By Nick Cato

Brooklyn’s “reRun Gastropub Theater” was the setting on Wednesday, June 1st for a screening of the 1976 blaxploitation classic, BLACK SHAMPOO. The reRun Theater is a fun little indie cinema, located in the back of a trendy restaurant. Its stadium-styled seating is made up of 60 seats ripped from mini vans (!), and a full bar with snacks are located right alongside them. A 12-foot screen features digitally projected, locally made films as well as independent features from around the world (so, if you’re ever in NYC I strongly suggest a visit). Back in January, I had the pleasure of viewing Alejandro Jodorowsky’s SANTA SANGRE (1989) here, and the picture and sound were phenomenal.

The BLACK SHAMPOO screening was actually part of author Mike White’s book tour (his collection of pieces from his long-running fanzine, “Cashiers du Cinemart,” has been compiled in a hefty volume titled IMPOSSIBLY FUNKY [2010 Bear Manor Media]—and although I’m only halfway through it I can HIGHLY recommend it to any serious film geek). Mike has a large section dedicated to the film BLACK SHAMPOO (his all-time favorite movie), featuring commentary and interviews with a few of the films’ stars, as well as director Greydon Clark (who is responsible for countless 70s/80s exploitation classics, such as SATAN’S CHEERLEADERS (1977), WITHOUT WARNING (1980) and the infamous arcade sex comedy, JOY STICKS (1983)). While Mike did a brief intro for the film and a reading/book signing afterwards, it was the film that was the highlight of the evening.

This was my first screening of BLACK SHAMPOO, and as a life-long fan of the blaxploitation genre, I can safely say you’ll be hard pressed to find a more entertaining, funny, violent and downright FUNKY film. While the first 20 minutes play out like a really bad 70s porn film (complete with some of the coolest music ever to grace this type of feature), BLACK SHAMPOO soon turns into a hybrid love/gangster/revenge story complete with everything we psychotronic film fans love about these types of films: stereotypical black men and women and stereotypical gay hairdressers that would probably cause a protest were they done this way today; a party sequence that’s so out of place it almost gives the film a surreal edge; insane violence that includes chainsaw mayhem, pool cue mayhem and a mob-orchestrated curling-iron anal rape shakedown (you read that correctly); deplorable acting; and so much more, it’s hard to remember half of what went down after just one viewing.

The film centers around Mr. Jonathan, the owner of “Mr. Jonathan’s” hair salon on the Sunset Strip. His reputation as the ultimate ladies man has caused an endless line of women to book appointments for his “services.” And while he’s in the private back room “shampooing” his clients, the front of the place features women having their hair done by Mr. Jonathan’s staff, which includes Artie and Richard, two gay hairdressers who are done so over the top you can’t help but laugh every second they’re on the screen (fans of “classic dialogue” would do well to keep a pad and pen on hand during the entire film).

Mr. Jonathan gets so much action he actually begins to find shagging a real chore (even when two seemingly underage rich white girls seduce him during a house call…only to get their butts whipped by their mom’s belt for stealing her appointment [in a sequence that brings the “roughie” films of the early 70s to mind]. The mother then goes on to shag Mr. Jonathan as the two girls watch from the pool!).

After all this opening soft-core madness, BLACK SHAMPOO gets down to business. It seems the new black secretary at the salon has actually run away from her white mob “boyfriend,” who has kept her in his mansion as a modern day sex slave. When Mr. Jonathan catches wind of this, he takes his new receptionist, Brenda, out on a date and the two quickly fall in love. When the mob finds out Brenda’s whereabouts, they come down to the salon and trash the place (after kicking Artie’s poor little white ass in one of the most unconvincing “fight” scenes ever filmed). Brenda’s ex-boyfriend turns out to be underworld kingpin Mr. Wilson (an amazingly non-stereotypical name for a gangster), who is now on a mission to get Brenda back. He employs three of the goofiest goons ever to grace a trash film (Maddux, appropriately nick-named “Schumck;” an unnamed, tall black guy who looks like he played for the Knicks in the mid-70s; and a hysterical chauffer who has a few scene-stealing lines and actions).

Feeling guilty over the beating Artie took (which left him in a neck brace) and the trashing of the salon, Brenda goes back to the mob’s mansion. Mr. Jonathan—by way of a mob “invite”—takes a trip to the mansion so Mr. Wilson can explain that Brenda’s now back where she belongs—and Brenda seems happy about it. Confused and pissed off, Mr. Jonathan heads out to his cabin in the woods to get his head together—and Brenda eventually meets him there with Mr. Wilson’s top secret book of money laundering information. Before long, the mob catches wind of this, and we’re all set for a bloody-good showdown in the woods.

BLACK SHAMPOO is unlike any blaxploitation film out there, mainly due to the character of Mr. Jonathan. He’s not a cop or pimp ala SHAFT (1971) and DOLEMITE (1975), just a heterosexual hairdresser who happens to be quite handy with a chainsaw and pool cue. And while his onscreen persona is actually quite boring (John Daniels has the acting skills of a parking meter), for some strange reason the audience revels in his booty-shaggin, belly-slashing schtick.

I mean, come on folks: what other film features a chainsaw-wielding black hairdresser dishing it out to the mob after laying pipe on half of Hollywood? Mr. Jonathan just may be the COOLEST blaxploitation character of all time (I’ll let you all know if this holds up to repeated viewings as good as DOLEMITE, the granddaddy of all blaxploitation films). Also, major kudos for a sonically-funky soundtrack that will stay in your head long after the film concludes.

I also recommend watching BLACK SHAMPOO with an audience of like-minded fans: while I’m sure I would have loved this had I watched it alone on DVD, I’m not sure how many non-fans of this subgenre will be won over by it.

But I still say give it a shot. Until next time, I’m off to the salon . . .

© Copyright 2011 by Nick Cato

NOTE: For more about Mike White and his book IMPOSSIBLY FUNKY, check out his site:


Mr. Jonathan (John Daniels) is seduced by two rich white girls, Meg (Kelly Beau) and Peg (Marl Pero) in BLACK SHAMPOO.