Bits and Pieces

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Chilcott & Rene Kakebeen</B></div> <div> <B>Producer..........Michael Koby Leland & Thomas & Richard Bansbach</B></div> <div> <B>Executive Producer....Michael Koby</B></div> <div> <B>Special Effects Makeup by John Naulin</B></div> <bR> <div> <B>Dramatis Personae</B></div> <div> <B>Rosie..............Susanna Smith </B></div> <div> <B>Arthur.............S.E. Zygmont</B></div> <div> <B>Lt. Carter.........Brian Burt</B></div> <div> <B>Tanya..............Sheila Lussier</B></div> <div> <B>Jennifer...........Tally Chanel</B></div> <div> <B>Bag Lady...........Elaine Bartolone</B></div> <div> <B>Mrs. Talbot........Sandy Brooke</B></div> <div> <B>Mr. Talbot.........Don Molins</B></div> <div> <B>Victim no. 8.......Carla Reynolds</B></div> <div> <B>Mrs. Hill (mother).Jeanie Ward</B></div> <div> <B>Man with Mrs. Hill.Dino Zaffina</B></div> <div> <B>Young Arthur.......Devon Ward</B></div> <div> <B>Fred Smith.........Thomas Callaway</B></div> <div> <B>Patrolwoman 1......Nidia Cote</B></div> <bR> <div> <B>Critique</B><B>: WARNING!: This film contains portrayal of sexual mutilation.</B></div> <div> <B>Say good night Rosie. This is not sparkling dialogue, and the acting doesn't help, particularly not Rosie's. The brutal violence is mostly implied: we don't see much, but what we see is gruesome enough. The film does manage to focus attention on the plight of a single victim which is better than a number of films of this ilk manage. The lunatic is convincing in a slimy way. There is some interest in trying to see what his mother could have done to make him such a grisly slasher, and this is one of the grisliest slashers in horror movies. Very cheaply made, with accompanying cheap sound effects and musical score. The mannequin mother's voice is truly unconvincing. This vile film manages to be slow paced for all the horrifying murders. The police force is especially unconvincingly portrayed. This film trots out some of the worst acting you will ever see. And what would a film like this be without a monster intermezzo?</B></div> <bR> <div> <B>Plot Summary: Rosie and Tanya take time off from college to check out the male strip club "the 2001". Waiting outside, however, is a pair of boots. He poignantly snuffs out a cigarette. Tanya heads across a darkened parking lot and she's struck from behind, her attacker loads her into his car and off they drive. She awakens to candles and a collection of garish mannequins. The mannequin called Mommy speaks to Arthur. She notes that he's got another one, Tanya, who is then gagged and thonged to the bed under "Mommy's" watchful gaze. Rouge is applied to her lips and cheeks. He puts on her "favorite" music, now calling her Mommy. He says "You always look beautiful when you're scared". He then goes to work with the scissors and saw. A bag lady watches as refuse in a plastic bag is dumped from a Datsun Pickup truck. She goes to find what she may have won but she finds only bits and pieces of Tanya. Lieutenant Carter gets the call--this is number seven. The community rather unimaginatively calls the killer "the slasher". Gracie is unable to tell them much, except that the license plate was "BG-Daddy". Michael Holrack calls the killer "the bits and pieces killer". Arthur notes that there was another woman last night. Mother (the mannequin) bids him find her. It's unclear how he'll manage that. The remaining girl tells her mother that she was surprised at how cute the guys were, how clever their routines and the variety of women in the audience. We are cued in on the big clue as our chain smoking Bap leaves a pile of cigarette butts wherever he goes. The survivor calls Tanya wondering what's become of her. We get to see some more of the strippers' clever routines and the varied female audience. Another girl leaves the strip show but doesn't make it into her car. She awakens hung by her wrists with Arthur and Mommy. Arthur goes off to eat his dinner, leaving her to hang there a while. During dinner, Arthur has a flashback. When Arthur is caught watching mother and a lover he is dressed in a wig and told that she wished he were dead. Soon the saw is out again as the laughing Arthur gets to work and soon Carter receives another call. Arthur recalls when he was a young man saying "Mommy you're drunk!". When she ridicules him, he pulls out a carving knife which starts him on his psycho-slashing ways. Miss Rosie Talbot finally finds the picture of Tanya in the paper and goes to the police. This encounter doesn't showcase the acting skills. Arthur finally tracks Rosie down when he sees her car. He follows her home as she runs into Jennifer more acting on holiday. He loses Rosie but not Jennifer. He follows (right behind her) to her home and soon she's in the trunk and headed back to his hovel. Jennifer starts banging and he pulls into a wooded area to finish the job. She manages to hit him as he opens the trunk but she is really no runner. She just couldn't get herself to give up those expensive high heels. The result is he gets Rosie's address. "Bob" Carter (the lieutenant) and Rosie seem to have hit it off as they head off to the beach and have a seventies style musical interlude of frolic on the beach. Bob and Rosie head home and hop in the jacuzzie and then the fire side. Out comes the Pernot. What is it about such scenes that is so unattractive? No doubt the accompanying music. In any case, Arthur shows up at Rosie's house and does away with Ma and Pa. When Bob finally drops Rosie off, little does she know that she should have let him walk her to the door.  It looks like Rosie gets to meet Mommy. The incompetent Bob hears her screaming and breaks back into the house but is still unable to get to her. He does, however, get the new plate number. Will he remember it when he wakes up? Will this allow him to get to Rosie before it's too late? </B></div> </td> </tr></table></body>