The Watermelon Man (1970)

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What happens when a racist goes through a radical change and is forced to live life as the same type of person he is totally against? Melvin Van Peebles may just have the answer in this raucous comedy that tackles a very sensitive matter that still exists today.

Jeff Gerber is a Caucasian insurance agent who loves to spend his mornings working out and running past the local bus in order to make the bus stop that takes him to his job. His wife Althea watches the recent riots in the city while Jeff doesn’t care what happens to the rioters. He makes wisecracks towards anyone who is African-American much to the chagrin of his fellow co-workers, bus patrons, and even his wife. However, on this fateful day, Jeff’s life is about to change.

That night, he wakes up to go to the bathroom and when he sees himself, he inexplicably becomes African-American. Suddenly, his life takes a turn for the worse. He gets accused of stealing, virtually gets a promotion at work because of diversity, gets an admirer in co-worker Erica, and becomes the ridicule of the community. When Jeff’s attempts to change his skin color back to white fail on a consistent level, he soon learns the hard way that his old ways of being a racist has caught up to him and he must learn to adapt or face some dire consequences.

The tagline of this 1970 film is “A funny thing happened to Jeff Gerber. This won’t happen to you so you can laugh.” Screenwriter Herman Raucher intended this to be a comedy and while it is quite a funny film for its time, it can be considered sensitive due to the topic of the film: racism. In reality, racism is truly not a laughing matter, but director Melvin Van Peebles decided to make light of the situation with this film. Eventually becoming a pioneer in the “Blaxploitation” genre, Van Peebles does pretty well in terms of directing the film.

What Van Peebles came up with can be considered ingenious. When producers first thought of the idea, they had planned to cast a Caucasian actor dressed in blackface. This has been done to death since the days of Amos and Andy and some of the early Hollywood films as well. What Van Peebles offered was to have the producers cast comic actor Godfrey Cambridge, an African-American, dress in whiteface for the first ten to fifteen minutes of the film before becoming Jeff Gerber, the African-American, by being himself. This would be one of only few lead roles for Cambridge, but he does a great job here. The comedy really comes from his attempts to become white again with at times, disastrous results and his racing against the bus in the opening of the film.

The supporting cast does quite well, especially Estelle Parsons (who later gained fame as playing Roseanne’s mother on her hit television series in the 80’s and 90’s) because we get her point of view on the matter involving her husband. It is apparent that while she knows her husband is white, the fact he becomes black begins to affect their marriage. However, it can be considered strange because she seems to watch the riots as if she supports African-Americans yet she doesn’t feel comfortable being married to one. There are some of the classic derogatory terms towards African-Americans as well as the attitudes at that time, just when equal rights have just become known.

If you are truly sensitive to racism, The Watermelon Man may not be your cup of tea. However, director Melvin Van Peebles truly gets his point across with this tale. The film would become influential on later films such as Soul Man and perhaps, Women from Mars, with what can happen when one must change and learn to somewhat adapt with the intention of learning a very hard lesson in life.


A Columbia Pictures production. Director: Melvin Van Peebles. Producer: John B. Bennett. Writer: Herman Raucher. Cinematography: W. Wallace Kelley. Editing: Carl Kress.

Cast: Godfrey Cambridge, Estelle Parsons, Howard Caine, D’Urville Martin, Mantan Moreland, Kay Kimberly, Scott Garrett, Erin Moran.


Bloodfist III: Forced to Fight (1991)

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After two outings as Jake Raye, kickboxing legend Don “The Dragon” Wilson is back in this third installment…as a prisoner.

In prison, Jimmy Boland attempts to protect a friend from a local bruiser gang when he sees his friend being assaulted. Using martial arts, he ultimately kills the leader of the gang and when the warden gets wind of what has happened, he decides to send Jimmy to the worst prison block. The reason is because the warden knows that Blue will seek revenge against Jimmy. Luther was Blue’s drug supplier and now that the supply is gone, Blue does indeed plot his revenge.

Upon his entry in his new “home”, Jimmy meets Wheelhead, the leader of a band of white supremacists. When he invites Jimmy to join the gang, Jimmy, who is Asian-American, refuses and Wheelhead, feeling offended, also wants to get rid of Jimmy. Meanwhile, Jimmy has eventually bonded with his new cellmate, Stark, who is set to be released soon. However, Blue and Wheelhead have decided to put aside their differences to take out the common enemy and that common enemy is Jimmy.

With his starring role in Bloodfist and Bloodfist II, where he played the hero Jake Raye in two different tournaments, kickboxing legend Don “The Dragon” Wilson returns in this third installment that takes a different route. To start, Wilson plays a brand new character in Jimmy Boland. In addition, the film is set in a prison and it was released at a time when the infamous tale of Rodney King occurred. Perhaps the reason why this film was made was to bring the effects of racism in the midst, but in addition, make for a decent action film.

Kickboxing legend Don “The Dragon” Wilson once again shines as this time, he is in the middle of a race war that puts him as the common enemy between two stereotypical gangs. One is the African-American drug dealers led by Blue, played by the late Gregory McKinney. The other is a gang of white supremacists led by Wheelhead, played by Rick Dean. Like its predecessors, the film also features real-life martial arts champions in roles as pretty much thugs sent to kill Wilson’s character. They include Australian kickboxing champion Stan “The Man” Longinidis and former kickboxing champion Ian Jacklin as members of Wheelhead’s gang and Peter “Sugarfoot” Cunningham, who is sadly wasted when compared to his performances in both No Retreat No Surrender and Above the Law, as a member of the drug dealing gang.

The original Shaft, Richard Roundtree, brings a more grounded effort in the role of Jimmy’s cellmate Stark, who serves as a mentor to Jimmy. Stark believes in equality rather than separation and it is after one of Wilson’s confrontations that his voice is heard as perhaps the catalyst that brings a sense of unity amongst some of the prisoners. And naturally, this angers the two villains of the film. There is an additional side character in Diddler, played by John Cardone. While his crime isn’t completely revealed, the appearance of someone during visitor’s day gives the viewer quite a guess and it is when he helps Wilson’s Jimmy that brings a sense of redemption for this character.

Paul Maslak, Eric Lee, and Don “The Dragon” Wilson choreographed the film’s fight sequences and while there are fisticuffs in the film, it is sporadic compared to a more dramatic element that is meant to serve its purpose in terms of the effects of racial prejudice. The fights though are not too bad for the most part. The Longinidis-Wilson brawl in the prison yard is a short and sweet fight that makes good use of both the martial artists’ skills. While McKinney and Dean are not exactly martial artists, they do quite well when it comes to being masterminds and manipulators. Richard Paul’s warden is also quite a manipulator as he intends to make life hell for everyone to keep his authority in line but even that tends to have some possible consequences.

Bloodfist III: Forced to Fight is a pretty good installment of the film series, all in part to its message about racism while at the same time, making the most of its fighting cast.


A Concorde (New Horizons) production. Director: Oley Sassone. Producer: Roger Corman. Writers: Alison Burnett and Charles Mattera. Cinematography: Rick Bota. Editing: Eric L. Beason.

Cast: Don “The Dragon” Wilson, Richard Roundtree, Rick Dean, Gregory McKinney, Richard Paul, Charles Boswell, Brad Blaisdell, Stan Longinidis, Peter Cunningham, Laura Stockman.

College Kickboxers (1991)

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American B-martial arts films, generally, tend to somewhat have a lack of excellent fight choreography. There have been exceptions, like the No Retreat, No Surrender films to name a few. This underrated martial arts film is an exception as well, thanks in part to Hong Kong stuntman-actor Tang Tak-Wing, who gets his first lead role as well in this action film.

James Caulfield is the new kid at a local college. Somewhat arrogant, he ends up becoming roommates with Mark Brown. At first, the two cannot get along, but they soon learn they share a similar passion: martial arts. James holds black belts in various styles and Mark is a champion and studio instructor. The newfound friends also have a common enemy, The White Tigers. Led by the manic Craig Tanner, the Tigers are a bunch of racist martial artists who bully anyone who get in their way.

James makes money by working as a dishwasher as a local Chinese restaurant, where he always gets heckled by chef Wing. When Tanner and the Tigers viciously assault James one night, Wing comes to the rescue and James is stunned to learn that Wing himself is an expert in kung fu. When James hopes to get Wing to train him for an upcoming tournament, Wing tells James that “kung fu for money is no good”. James decides not to take part in the tournament and after a few days, Wing takes him in as a student. However, when Mark, who was ready to enter the tournament, is injured in a fight against the Tigers, James must choose between his promise to his teacher and his loyalty to his best friend, in which they can use the money to open a new karate school.

Many people may not remember this film, as it was released on home video in 1991 as Trained to Fight. Ken McLeod, who plays our hero James, does a good job as playing this arrogant martial artist who thinks he is better than anyone else. At first, he loses the respect of his roommate Mark, played by martial artist Mark Williams. Williams, who got his start in two films starring Jet Li, Dragon Fight and The Master, is an excellent martial artist like McLeod and their sparring scene is quite short but sweet. Soon, the two’s love for martial arts brings them close like brothers. James soon learns life lessons through his training with Wing.

The real highlight truly comes in the form of Tang Tak-Wing, a Hong Kong stuntman who shines here with both comic relief as Wing, but his martial arts are top notch. In his fight scene against the Tigers, he is just a delight to watch. He has the size of Eric Tsang, but can move very fast and is agile as well. In an very interesting scene, Tang does a nice kung fu form that is so intricate that when he finishes, the floor has the yin and yang embedded in the dirt.

The only flaw in the film comes in the form of lead villain Craig Tanner, played by Matthew Roy Cohen. He has this groggy voice, complete with long curly hair and at times, you just want to laugh at him. His biggest enforcer doesn’t come in until the end of the film, as played by an uncredited Jeff Langton, who fights against our hero in the finale.

The fight scenes, choreographed by Tang, are well shot and edited. Tang utilized his Hong Kong-style of film fighting, something he would do a year later, assisting in action choreography for Jackie Chan’s Police Story 3: Supercop. Williams has dealt with this brand before and he shows he still has what it takes. As for McLeod, this is his film debut and he would go on to become more of a supporting actor, his biggest role being the bully in the Billy Blanks-Kenn Scott film Showdown. McLeod shows here what he can do in terms of Hong Kong choreography and does a pretty good job of fighting here.

In the end, College Kickboxer is definitely an underrated B-movie. The character of Tanner may be an annoyance, but it is Tang Tak-Wing that helps boost the film and the appearances of Ken McLeod and Mark Williams helps as they are agile martial artists and pretty good when it comes to the fights.


Curb Esquire Films present a Starlight Film Productions film. Director: Eric Sherman. Producers: Teresa Woo and William Yuen. Writers: Teresa Woo and Roxanne Reaver. Cinematography: Jurg V. Walther. Editing: Brian Varaday.

Cast: Ken McLeod, Tang Tak-Wing, Mark Williams, Matthew Roy Cohen, Kendra Tucker, Roland Francisco, Michael O’Connell.

Best of the Best 3: No Turning Back (1995)

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1995, The Movie Store

Phillip Rhee
Phillip Rhee
Peter E. Strauss
Paul Levine (original characters)
Barry Gray (screenplay)
Deborah Scott (screenplay)
Jerry Watson
Bert Lovitt

Phillip Rhee (Tommy Lee)
Christopher McDonald (Sheriff Jack Banning)
Gina Gershon (Margo Preston)
Mark Rolston (Donnie Hansen)
Peter Simmons (Owen Tucker)
Cristina Lawson (Karen Banning)
Dee Wallace (Georgia)
Michael Bailey Smith (Tiny)
Justin Brentley (Luther Phelps Jr.)
Andra R. Ward (Rev. Luther Phelps)
Kitao Sakurai (Justin Banning)
Cole S. McKay (Bo)
R. Lee Ermey (Preacher Brian)

Tommy Lee faces a new enemy in this solo outing third installment which also marks the directorial debut of Phillip Rhee.

The small town of Liberty, Mississippi have been heartbroken when the local Reverend, Luther Phelps, has been killed at the hands of a neo-Aryan hate group. The Aryan Nation have planned to take over land located on the outskirts of Liberty and the town are debating whether to sell it to their leader, Preacher Bryan. This coincides with the arrival of Tommy Lee, a martial arts instructor who is in town visiting his sister Karen and brother-in-law Jack, Liberty’s sheriff.

When the night of his arrival, Tommy finds his sister, nephew Justin, and Rev. Phelps’ son harassed by some masked members of the Aryan Nation, Tommy unleashes his martial arts skills to fend them off. The next day, at Jack’s request, Tommy dresses up as a clown for the local carnival. When Margo, a local schoolteacher, finds her former student Owen has joined the Aryans, her attempt to talk him out of it forces her to be harassed. Tommy comes to her rescue only to be mad at him for his actions. However, after a blind date is set up between the two, Margo warms up to Tommy. When Margo successfully convinces town hall not to sell the land to the Aryans, a war is imminent and Tommy finds himself in the middle of everything, having to use his martial arts skills as well as help from his brother-in-law to end the hate once and for all.

After two outings with Eric Roberts as his trusted friend Alex Grady, martial artist Phillip Rhee takes his character of Tommy Lee in a solo adventure. The topic of the film is racism, with Barry Gray and Deborah Scott’s screenplay being set in the Southern town of Liberty, Mississippi. Rhee also makes his directorial debut on the film and does quite well as a director. While he no longer has the likes of Roberts (who declined to return to the series), Rhee proves himself to be the breakout of the first two installments so it’s natural for him to go solo especially with a sensitive topic such as racism, one he tackled in the original film from rival turned ally Travis, the late Chris Penn’s character.

Replacing Roberts as Rhee’s most trusted ally is Christopher McDonald, who churns out a dramatic performance as Tommy’s brother-in-law, the local sheriff. While he feels like he can’t do much at first considering the situation in mind, he is pushed to the limit when his wife (Tommy’s sister) is harassed on two separate occasions and supplies more firepower with Rhee handling the martial arts fights. Bloodfight actress Cristina Lawson provides good support as Tommy’s sister.

Gina Gershon proves herself to play Tommy’s love interest quite well as a schoolteacher who also opposes the Aryan Nation, who’s preaching leader is an uncredited R. Lee Ermey but the real puppet master is the maniacal Donnie Hansen, played by Rush Hour’s Mark Rolston, who pulls it off nicely as the main villain of the film. There is a bit of a subplot involving an 18-year old kid played by Peter Simmons who joins the Aryans but soon questions both their motives and the consequences of their actions that meshes well into the film.

Simon Rhee, Phillip’s brother, once again handles the film action choreography and showcases little brother’s skills in Taekwondo and Hapkido. As mentioned, in a fight during a carnival, Tommy dresses up as a clown and confronts one thug he fought earlier in the film by calling himself, “Homey the Killer Clown” before dishing out punishment. The finale is a literal explosive battleground that engages Tommy to face Hansen one on one in a showdown.

Best of the Best 3: No Turning Back has our hero fight racism with Tommy having the best line that makes a valid point: “Don’t forget…your blood is red like mine”. Some great fights and the subject matter drive the film for a good directorial debut for Phillip Rhee.



NOLA Circus (2017)

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2017, Xlrator Media/Illicit Producers/Highfun/Nola Circus Productions

Luc Annest
Arnaud Bettan
Luc Annest
Luc Annest
Andrew Strahorn
Sarah Chartier

Martin Bradford (Will)
Jessica Morali (Nola)
Reginal Vance (Devin)
Vas Blackwood (Marvin)
Kamille McCuin (Karen)
Nicoye Banks (Kahn)
Corey Mendell Parker (Hathi)
Ricky Wayne (Giuseppe)
Dave Davies (Vinny)
Robert Catrini (Marcello)
Candice Michele Barley (Amanda)
Taryn Terrell (Sabrina)
Raylee Magill (Yolanda)

A cast of eclectic characters surround this tale of rival barbershops in New Orleans in this hilarious comedy from director Luc Annest.

Since being a kid, Will has always wanted to keep one thing and that is his trademark Afro hairstyle. Will eventually opens his own barbershop and he has a discreet relationship with Nola. Nola’s older half brother Devin is way too overprotective and despite Nola’s plea to just let him know about their relationship, Will is scared of Devin. He proves this by accusing pizza delivery men of hitting on Nola, in which Devin retaliates by beating up an entire staff of a local pizzeria, and the pizzeria’s owner, Giuseppe, decides to takes things in his own hands.

Meanwhile, Will has a rivalry in terms of his business with Marvin, who will go to great lengths to get what he wants and that doesn’t only pertain to his business being successful, but his relationship with Karen. Karen is somewhat of a pill dealer whose relationship with Marvin is slowly beginning to unravel. Meanwhile, Giuseppe has hired friend and hitman Enzo to come to New Orleans to find Denzel. And if that’s not chaotic enough, Will finds himself under threat from the Ku Klux Klan? When all these stories connect, will this area return to its quiet neighborhood or will the inevitable happen?

Set in the Big Easy, New Orleans, this comedy from Luc Annest is hilarious. It may not have the big budget of similarly themed films like the Barbershop films, but it’s quite funny nearly in that vein. The film is set all within a day in a small usually quiet area of the city where two rival barbershops are the basis. When it comes to these films being set all within a day, it is guaranteed that there will be eclectic and eccentric characters that help drive that comic wit to the film and this film delivers on exactly that.

The narrator is our central character Will, played by Martin Bradford, who just loves three things: running a business, his Afro, and his girlfriend Nola, played by Jessica Morali. While Will has a successful business, it is his relationship with Nola (a double meaning to the film’s title as NOLA is also short for New Orleans, Louisiana) that is iffy because he is scared of Devin, Nola’s older half-brother. Reginal Vance is hilarious as the blonde Afro-sporting Devin, who will remind you of Tiny Lister’s Deebo in Friday. He is clearly the neighborhood bully who upon hearing anyone getting involved with his sister gets their butt kicked.

The film also brings a bit of reminiscence of Spike Lee’s Do the Right Thing in terms of the character of pizza delivery boy Vinny, who will remind one of Roger Guenveur Smith’s Smiley. The character of Giuseppe is hysterically played by Ricky Wayne as we see him going in full Robert De Niro-style as a revenge seeking pizzeria owner who wants revenge on Devin. Marvin, Will’s business rival, is also hilariously played by Mean Machine actor Vas Blackwood, who can be seen as an extremist with an insane fetish that becomes the catalyst for his unraveling relationship with pill popper and dealer Karen, played in femme fatale mode at times by Kamille McCuin.

NOLA Circus truly has a double meaning in its title and it is a hilarious film. If you like films such as Barbershop and even Nora’s Hair Salon, add this to your list of barbershop comedies with a great cast of eclectic and funny characters.


Xlrator Media will release this film in theaters on April 21st and on iTunes and VOD on April 25th.

Black Fist (1974)

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A very interesting entry in the world of Blaxploitation films, this one is revealed to have a shocking revelation, which could described the constant use of fade ins and fade outs throughout most of the film.

Leroy Fisk is a man in Los Angeles trying to earn a living for his family. He ends up working as a fighter for local mob boss Logan, despite the fact that he is more or less a racist. However, Leroy only does it because of the money so he can provide for his family. He hopes to get out in the game once he has enough money to put a down payment on a nightclub. When Heineken, a racist cop, forces Leroy to cut him in on the money he makes from the fights, Leroy knows he doesn’t have a choice. He soon learns that Logan and Heineken are in cahoots with each other.

When Leroy decides that one more fight can get him the money needed for the club, he accepts and defeats Logan’s big heavy Moose. Adding insult to injury, Leroy smears Logan on top of Moose’s bloody body. Logan, very upset by what has transpired, decides that since Leroy won’t continue to fight under him that he must be eliminated. However, when a car bomb kills Leroy’s wife and brother-in-law instead of Leroy, the fighter is now seething with revenge. With the ally of family friend Florence, Leroy begins his plan to get revenge on the mob once and for all.

Directed by Timothy Galfas, this has an interesting distinction of at first being a rare film until it ended up in the public domain. With the constant fade ins and outs and the changing of Leroy, one must wonder whether this is a straight film shot all at once. The answer finally was revealed a few years back by the film’s lead actor himself, Richard Lawson. This could also explain why the future Tubbs from Miami Vice, Philip Michael Thomas, plays two pimps, an African-American named Fletch and then a Latino named Boom Boom.

Lawson revealed that the film is actually a combination of a 1974 entitled Bogard and a film later made by producers entitled Get Fisk. Bogard was originally rated X for some apparently edgy sex scenes but it was revealed that the producer had used illegal means to finance the film so producers William Larrabure and Richard Kaye would get that film and splice it with new footage, hence Kaye is constantly credited for his work here on “additional scenes”. One can only guess those “additional scenes” involve Dabney Coleman (sporting a full head of hair) as the racist cop Heineken and Robert Burr as mob boss Logan.

Lawson makes good use of the splicing as the hero Leroy Fisk, who is only looking to make enough money to provide for his family. However, the only thing he has are his fists, which he uses in street fights. Lawson may not have the build of a Blaxploitation hero of that era, but he proves his own mettle when it comes to the fight scenes, which take up most of the first half in terms of action before it delves into a typical Blaxploitation revenge flick.

The action scenes are not of the martial arts variety but more of a bare knuckle style fighting that has been seen by the likes of Clint Eastwood and adapts to a more boxing-style action then the film becomes more of a street style used especially in the scene when Leroy, on his quest for revenge, proceeds to beat down Boom Boom in the bathroom. This particular scene would come in an hour into the film and would be the scene that would be the film debut of Hollywood veteran Edward James Olmos as a junkie going to the bathroom as this particular fight continues.

Black Fist may be somewhat a cut and paste film, but surprisingly it works out well in certain spots and has an ending that isn’t very clear and it seems like for this fighter, that just might be okay…or not.


World Wide Films Corporation presents a Centaur Pictures production. Directors:Timothy Galfas and Richard Kaye. Producers: William Larrabure and Richard Kaye. Writer: Tim Kelly. Cinematography: William Larrabure. Editing: Andrew Maisner.

Cast: Richard Lawson, Annazette Chase, Philip Michael Thomas, Dabney Coleman, Robert Burr, Charles L. Hamilton, Denise Gordy, Richard Kaye, Ed Rue, John Wesley Rodgers, Ron Carson,
H.B. Haggery, Edward James Olmos.


Porky’s II – The Next Day (1983)


The gang at Angel Beach High are back in this sequel to the 1981 classic, where they now face a barrage of obstacles, all in the name of Shakespeare.

The day after the gang of Angel Beach High defeated Porky, the school is setting up a Shakespeare festival under the supervisor of drama teacher Mrs. Morris, who just happens to be Pee Wee’s mother. With the casting of newcomer Native American John Henry, the festival is a sure fire to be a hit. However, the Flock, a religious order led by Bubba Flavel, plans to boycott due to the “vulgarity of Shakespeare”. Despite efforts from Principal Carter, who retaliates with vulgar matter in the Bible, Flavel truly makes it known that he plans to stand up for what he feels is right.

That becomes the least of the gang’s problems. They learn a Senator, who just happens to have a thing for underage girls, as well as the Ku Klux Klan, intend to stop production of the play all because of John Henry. However, the group of friends plan to rally to support John and learn there is a connection between the KKK and Flavel’s group. They decide to hatch a plan in motion to stop everyone who has tried to stop the Shakespeare festival once and for all.

This is clearly a fun-filled sequel to the original classic film because once again, the eccentric cast of characters really show great chemistry amongst each others and only a few characters have truly transitioned. Pee Wee is still Pee Wee but he is no longer the virgin everyone knew from the film, but still gets himself in hot water. Tommy and Billy are still the pranksters of the group, pulling off one of the funniest pranks against their arch-nemesis Miss Balbricker. Let’s just say this involves a stall and a snake. Wendy truly has risen from bit player to more one of the gang here with her impeccable stunt in the third act of the film. Tim is no longer the racist good guy he was in the beginning and is best friends with Brian, who also has gotten his rank upped to major player.

This time around, the adult characters become more involved in the hijinks. Notably, Principal Carter, who blows a serious gasket when he confronts Reverend Flavel over vulgarity in the Bible to rebuttal Flavel’s vulgarity in Shakespeare and ends the confrontation with one of the best lines in the film. Native American actor Joseph Running Fox is great as the pivotal John Henry, whom the gang must help out. John and Billy do have a funny scene when Henry is missing his sword and uses a device that Clark has used in another classic film, A Christmas Story: the lingerie-sported leg.

Some of the running gags used in the original re-appear in the sequel such as the naked Pee Wee running past a police car after a prank gone wrong and screaming that can be heard in the gym. However, it’s the third act of the film that truly takes the cake. As it is the culmination as to why the gang at Angel Beach High may be the naughtiest but they can also be the smartest when joined together.

Porky’s II: The Next Day is a fun sequel full of gags, the attempts at some action, and a third act that culminates in that friendship can overcome any obstacle.


20th Century Fox Presents A Melvin Simon Productions/Astral Bellevue Pathe Film. Director: Bob Clark. Producers: Don Carmody and Bob Clark. Writers: Bob Clark, Roger E. Swaybill, and
Alan Ormsby. Cinematography: Reginald H. Morris. Editing: Stan Cole.

Cast: Dan Monahan, Wyatt Knight, Mark Herrier, Roger Wilson, Cyril O’Reilly, Tony Ganios, Kaki Hunter, Scott Colomby, Nancy Parsons, Art Hindle, Joseph Running Fox, Eric Christmas, Bill Wiley, Edward Winter, Cisse Cameron, Rod Ball.