Schlock and awful August 2025

At long last, a good look at Bigfoot. That he looks like your basic rock band bass player matters not one whit.
Provided

At long last, a good look at Bigfoot. That he looks like your basic rock band bass player matters not one whit.
As you seek relief from the relentless summer heat by exploring the bottoms of various barrels, consider 1980’s“Night of the Demon,” a variation on the “Stupid People in the Jungle” genre that began with “King Kong.”
In this example, Professor Nugent wakes up in the hospital with half his face chewed off. The flick reconstructs the tragedy, very slowly.
Seems a Bigfoot has been terrorizing a remote mountain area for years. The prof decides to investigate with his anthropology students, three of whom just happen to be young attractive women.

The gang piles into a boat and heads down the river with a couple of tents, a coffee pot, and no backpacks. What could go wrong?
Along the way we meet Mr. Carlson, the gun-totin’ mountain hermit, and Crazy Wanda. And a backwoods demon cult. And flashbacks within the flashback of Bigfoot attacking nekkid people in vans.
We’ve got gratuitous jazz flute music. Gratuitous plaid shirts. Gratuitous Bigfoot attack flashbacks. Gratuitous science facts.
Plus a mutant Bigfoot baby that looks like a jumbo order of General Tso’s chicken.
Grocery and dollar stores often carry DVDs and Blu Rays and can be good sources of schlock. One particularly good score was a two-fer disc with “The Howling”, installments V and VI. Oddly enough, V’s release date is two years after VI.
VI has got most of what you want in this type of film, except gratuitous nekkidity.
Now I don’t expect great writing, but can’t we do a little better than this roster of stereotypes? Sheriff who is automatically suspicious of foreigners; peckerwood pol in polyester; preacher/weirdo; preacher’s daughter, anxious to get a little sinning in while she can; evil villain who might or might not be Satan and dresses like a member of the Hellfire Club.
We’re talking cat swinging. Supernaturally evil villain in charge of a circus. Tight pants and checked frock coats on same, which for some is the true horror. Alligator boy. Lycanthropic transformation scenes shot on a very tight budget. Werewolf who looks like the late Michael Jackson after a long night in the Magic Kingdom. Yokels. Guns. Some blood but not as much as you’d think for a werewolf flick.
The immortal Weng Weng, all two feet nine inches of him, had a brief but memorable career, starting with “For Your Height Only,” the flick that, in 1981, took the first ever Manila International Film Festival by storm (which annoyed festival organizer Imelda Marcos).
Weng Weng is Agent 00 and/or Agent 3 ½, depending on the dubbing and subtitles.
Either way, “For Your Height Only” is the greatest film ever made.
You can have your “Citizen Kane” and “Battleship Potemkin.” Spare me your “Rear Window” and “The Third Man.”
Why? Because none of these so-called great films has a tiny secret agent who escapes the bad guys by parachuting from a high balcony with a parasol.
Agent 00 (or 3 ½) is a big fan of the groin punch, the groin being the handiest area on the personal bodies of his assailants for a man of his stature.

And he’s proficient with the mini machine gun and the mini samurai sword.
The flick also features atrocious dubbing in a variety of dialects — Long Island Lockjaw, British dowager, Brooklyn hood.
And the main villain clearly studied at the Moammar Qaddafi Institute of Fashion.
We’ll wrap this up with 1991’s “Karate Cop.” Armed with his sawed-off shotgun and “Special Police” ballcap, John Travis is a post-apocalyptic knight errant, righting what wrongs he can in a hopelessly compromised world, which in this case is Stockton, California.
No nekkidity, for an automatic one-star deduction if Schlock and Awful gave out stars.
Mutant cat man with a speech impediment. Gratuitous police car destruction. Magic motorcycle that never needs refueling. Chain swinging. And the Crown Prince of Schlock, the late David Carradine, and his famous “jacky rabbit stew.”
TORRINGTON — Joan Jardine, 90, of Mill Lane, passed away at home on Oct. 23, 2025. She was the loving wife of David Jardine.
Joan was born Aug. 9, 1935, in Throop, Pennsylvania, daughter of the late Joseph and Vera (Ezepchick) Zigmont.
Joan graduated from Harding High School.
She was a working artist for much of her adult life, starting her career studying plein air impressionist oil painting at the Cape Cod School of Art. Her work evolved to include a more representational style, and eventually a large body of abstract pieces. Her award-winning work has been shown in galleries and juried art shows throughout southern New England.
She is survived by her daughter Leslie and her husband George, brothers Joseph, Victor, and their families, nephews Gregory, Christopher, and their families, daughter-in- law Huong, and the extended Jardine family. She was predeceased by her son Douglas, and brother Michael.
A memorial service will be held at All Saints of America Orthodox Church, 313 Twin Lakes Road, Salisbury, Connecticut on Thursday, Oct. 30, at 10 a.m. Memorial contributions may be made to the All Saints of America Orthodox Church, PO Box 45, Salisbury, CT 06068.
The Kenny Funeral Home has care of arrangements.
The ofrenda at Race Brook Lodge.
On Saturday, Nov. 2, the Race Brook Lodge in Sheffield will celebrate the Mexican Day of the Dead: El Día de los Muertos.
Mexican Day of the Dead takes place the first weekend of November and honors los difuntos (the deceased) with ofrendas (offerings) on an altar featuring photos of loved ones who have passed on. Elements of earth, wind, fire and water are represented with food, papel picada (colorful decorative paper), candles and tequila left for the beloved deceased. The departed are believed to travel from the spirit world and briefly join the living for a night of remembrance and revelry.
Music and events programmer Alex Harvey has been producing Día de los Muertos at Race Brook for the past three years, and with the closing of the venue looming, the festival takes on a deep and personal meaning.
“The anchoring gesture of Race Brook, long before I arrived on the scene, has always been to cultivate a space that thins the veil between the worlds. Something otherworldly is hiding in the mountain’s towering shadow: the whispering spring-fed stream, the dense lineage that founder Dave Rothstein brings, the woodsmoke that rises every night of the year from the firepits. This space communes with the spirits,” said Harvey.
“And so we cradle a special ache in our hearts as the leaves turn and the beautiful dance of Race Brook’s project of cultural pollination draws to a close. Fitting, then, to return for one last activation — Día de Los Muertos — a celebration of the end of things. A remembrance of those who’ve made the transition we are all destined for, but also a time when we honor many types of loss. And while we will all mourn those who aren’t there in the flesh, we will also, with humility, come as mourners for the space itself,” Harvey continued.
The event will be a night to remember, to celebrate and to release with ritual, music, and communal remembrance. Participants are invited to bring photos, talismans and offerings for the ofrenda (offering), as well as songs, poems or toasts to share in tribute to loved ones who have passed.
Mexican American musicians Maria Puente Flores, Mateo Cano, Víctor Lizabeth, Oviedo Horta Jr. and Andrea from Pulso de Barro, an ensemble rooted in the Veracruz tradition of son jarocho, will be performing.
Translating to “Pulse of the Clay,” their name reflects a deep connection to the earth and to the living heartbeat of culture itself. Through a synthesis of Mexican, Cuban, Venezuelan and Puerto Rican traditions, Pulso de Barro merges poetry, rhythm and communal song as pathways to coexistence with nature. Their performances feature the jarana and leona (stringed instruments), quijada, cajón, maracas, and marimba (percussion), the tarima (percussive dance platform) and a call-and-response of folk and original versadas.
The evening begins at 6 p.m. in the Barn Space with a Fandango de los Muertos featuring Pulso de Barro, a Race Brook favorite. At 8 p.m., the Open Mic for the Dead invites guests to speak directly into the spirit world — through word, music or memory. The night culminates at 10:30 p.m. with a Fandango for the Dead, a participatory music and dance celebration. Bring your instruments, your voices and your dancing shoes.
Race Brook Lodge is a unique rustic getaway destination for relaxation, hiking, live music, workshops, weddings and more. Sadly, it will be closing for good later in 2026, ending a storied chapter of Berkshire music, art, culture and well-being.
Come experience an evening that honors lost loved ones and the end of a Berkshire institution. The cycle of life endures. Surely, resurrection is in the cards for Race Brook Lodge.
For Tickets and info, visit: rblodge.com
Victoria Morse, director of Gallery of Dreams
Victoria Morse, director of Gallery of Dreams, welcomes those interested in local arts — and artists who create it — to 156 Gay St. in Sharon.Look for a sign at the side of the road and art on the front porch.
In the light-filled parlor room of the gallery, complete with a comfortable couch, Morse warmly greeted visitors and invited them to browse the art in the two intimate exhibit spaces. Morse’s posture revealed her life as a dancer
Morse’s husband, artist Bruce Morse, founded the gallery that he and Victoria ran together for many years. When he died in 2021, Victoria temporarily closed the gallery.
In the summer of 2024, she was ready to reopen. “Last year, I did tag sales and invited friends to join. Then we said, ‘Let’s have a pop-up shop.’”She liked it so much that she decided to reopen the gallery with an inaugural show on Aug. 29, 2025.
With partners and artists Katherine Grealish, Jane Capellaro and Harper Blanchet, who painted walls and worked out new lighting, she readied the gallery rooms.
The inaugural show features sculpture, collage, pottery, painting and jewelry, all from local artists. On display are work by her partners, as well as pieces by Cassandra, Karen and Scott Culbreth, Victoria and her late husband Bruce, Kara O’Neill, Tina Riley, and Diane and Joel Schapira.
Morse described the immediate rewards. “As I was putting together this show, it struck me how much joy and love artists put into their art and how much dedication they have.”
Morse sees putting up shows as “creating a story.I lay it out and see how things fit together.”
The next show will open Oct. 31 and will be a mix of work from new artists and new work from the artists of the inaugural show.
Morse said she is happy to look at portfolios. “I am looking for artists, crafts people, jewelry makers and unusual things.” She invites artists who might want to exhibit, or anyone with questions, to call her at 860-671-4651. A website is coming soon.
Gallery of Dreams is open Friday through Sunday from noon to 5 p.m.