Featuring: Nathaniel Holt , Julie Fortenot , William Almaguer
Director: Eugene Hughes
Writers: Eugene Hughes & Buddy Howard
I come to you with a broken heart today, children. My fellow Jethro Skull bandmates and I have agreed to shelve our ambitions of being a death metal group that covers folk rock songs. After 7 years of trying and failing to book a single show (and no, Allen, that time we played your nephew’s graduation party for “exposure” does not count as a gig), the dream has died, been dismembered, the parts stuffed with blasting powder, and finally set ablaze in a VW bus abandoned in a WalMart parking lot. In lieu of flowers, we’d ask that all mourners send donations via PayPal to firstname.lastname@example.org with the subject “My condolences on your loss” and a personal message of your choosing, should you feel so inclined. Thank you.
Now, much like I told my psychiatrist when she tried to convince me to go back on my meds, the only cure for my sadness is some shitty movie badness! And my choice of balm for the occasion? Continuing my year-long march down the trail of clown-based tears! Today’s mile marker? Cannibal Killer Clowns on Dope. Strap in, strap on (huh huh), and strap…up? Uggh. Never mind. Scratch that last bit and let’s just get this over with.
Much like people, sometimes a movie can sell you on its moniker alone. Do you think Martin Sheen would've had the career he did if his name were, oh I don't know, “Joe Estevez”? No. We've seen what happened to Joe Estevez and that wasn't because of his lack of talent, it was all about the name. A rose by any other name may smell as sweet, but would you want to smell a one if it were called a “shit weed” or a “dumpster squirt” or a “diaper cheese”? No. And if you would, maybe you’re the one my grief counselor should be threatening to have institutionalized because you’re a danger to yourself and anyone within stabbing distance. It was a rubber knife, Barbara! It was a joke! Do you not recognize that I deal with my depression through gallows humor that often infringes on the peace of mind of others, or were you just not born with a sense of comedic timing!?
Anyway, you can understand why the subject of this installment made a big fat blip on my cinemasochist radar as soon as I did my initial search online for “killer clown movies”. For the second time today, though, I have to drop a bomb of misery that will shake your belief in the value of existence – I regret my decision to review this. It’s high up there on my “If I had it to do again, I’d risk destroying the fabric of reality by altering history” list, right between selling my CGC graded 9.6 copy of New Mutants #98 a week before Deadpool was confirmed and getting Rocky Dennis’ likeness tatooed on my left cheek. Thank The Shapeshifter for the person who invented skin grafting! And thanks to Trainyard Larry, the hobo whose face I now wear. Ra rest his soul. You finally caught that leprechaun, Larry. You finally caught him…
“The subject matter of this movie contains blood, gore, guts, murder, nudity, sexual perversion, a man getting butt raped by a clown. Yes, ladies and gentlemen, tonight's movie is damn good entertainment in my book!”
I’d like to thank Dr. Teeth’s understudy for that introduction, along with the rest of the narration he provides for today’s feature, senseless as it may be.
The titular flesh-eating junkie jesters in question inhabit what we’re told is an abandoned farmhouse amidst a secluded section of forest near the small Texas town of “Cooter’s Pass”. Now, I know it’s likely just a crude gag, but in the fantasy world I’ve made in my mind to serve as the vine that will help me struggle free from the quicksand pit lying ahead, it’s actually a heartfelt homage to ‘The Dukes of Hazzard‘ supporting character Cooter. Just let me have that. As for the delinquents’ domicile, no farm house would be located in the middle of the woods, unless the previous owners were fucking tree farmers (i.e. lumberjacks), because it’s kinda hard to farm any manner of crop or animals when you’re surrounded by TREES. Furthermore, said “abandoned” house is clearly NOT abandoned if there are people (clown or otherwise) LIVING IN THE DAMN THING! I’m one paragraph into the feature itself and already I’m saying “fuck this movie”.
Were I to describe CKCoD‘s narrative structure in the form of a non-existent adult breakfast cereal, it’d be Honey Nut Cluster Fucks. The majority of the “story” consists of unrelated segments in which one or more of these refugees from a hillbilly meth circus stalks, harasses, occasionally rapes, and eventually murders random victims that are more than likely played by members of the cast’s friends and/or families. I’d much rather talk more about Honey Nut Cluster Fucks, and their shill-happy mascot – an animated honey bee named Bangz whose stinger had been replaced by a big veiny dildo with which it forcably penetrates (and ejaculates into) honey combs.
Actually… that’s everything I had to say about that, so… shit. I guess we have to get back to the movie.
The clowns’ first victim, Dollie, doesn’t even get her own segment really. Instead, she’s given a mash-up of random clips with the narrator telling us how she got there (she went to a juggalo style gathering and was lured away by the temptation to party with the dope slinging slobs), searing our eyes with an “F for effort” photoshopped image of her dismembered body swinging on a rope, and finally alluding to the possibility that her soul is now trapped inside of a toy doll, joining a mountain (well, a sizable pile) of similar plastically incarcerated spirits on the clowns’ property. This potential plot point ultimately leads absolutely no-fucking-where, so any errant agalmatophiles who were directed here while looking for a quick jerk ‘n wipe (I’m looking at you, Charles Band!), you’re s.o.l., and I don’t mean Satellite of Love.
From these first steps into the gurgling cesspool (hope you brought your waders!), we’re greeted by the first actual act of this half-assthology. The victim is a no-doubt poorly compensated and underappreciated single mom type who’s forced to stay late at her job at a hot tub outlet store. As if her station in life weren’t bad enough, being one laugh track away from a ‘Grace Under Fire’ re-hash, the lady is harassed and eventually carcassed-up by a wanna-be Pogo who keeps blathering inane threats of “Who’s got the fuckin’ meat cleaver now, baby?” on repeat. Could he be referencing an untold exchange from their past in which his victim, in fact, once brandished the self-same meat cleaver for… some… reason? As with the number of licks required to breach the core of a Tootsie Pop, the world may never know. I tried to ask Mr. Owl, but after ten minutes without a reply I realized I had been in a battle of steel wills with my replica of the StageFright killer’s mask that’s mounted above my chamber door. I guess I’ll get my answer, nevermore.
The tormentous mirthmaker in this instance wears more traditionally appropos attire than the panel of inbred pagliaccis populating the rest of the picture’s residuum, so call me
maybe crazy for postulating that this segment is either a case of unassociated runtime padding, or a possible proof-of-concept made by creators Hughes and Howard to swindle potential investors into sponsoring their movie. And by “investors”, naturally I’m refering to the local liquor store owner who donated old crates of Tennafly Viper and enough petty cash to pick up a stack of DVD-Rs (from the nearest Circuit City’s “Going Out of Business” sale) upon which to burn sellable copies.
The next course on the cannibal clowns’ menu is a “glamour model” (Liz Ashley), who’s apparently no longer able to find work playing a waitress in commercials for local greasy spoon eateries and has reduced herself to doing a nude pictorial for the all-too handsy photog David Sleazy (William Almaguer), who’s plotting to steal her dirty socks and panties when she’s not looking. We spend an irritating amount of time watching her pose in various states of undress on a rundown tractor (or, if you’re an actual farmer like my grandfather was, a tractor) while the sniveling, “what people from the US midwest think the average Frenchman sounds like” accented perv snaps pics and tries to cop feels. The lass is a genuinely attractive au natural gal who could definitely convince me to buy an X-rated Kubota calender and would be one of the best looking girls on the set of a Troma shoot, but if she appeared in anything other than CKCoD and some webcam videos her boyfriend shot of them drunkenly copulating in a poorly lit bedroom, I’d be surprised.
The clowns (the ones from the opening scenario, not the solitary tormentor of the previous) overhear the antics of perver and pervee from nearby and interrupt the backwoods photo shoot, stripping the camera wielding creep down to his panties and garters (and apparently fitting him with a pair of high heels, since he wasn’t wearing them before…) because, again, he’s “French”. David (“No no no, eet’s ‘Dah-veed’.”) then runs off in a girly screaming panic (“French”, ladies and gents…) while the still nude model points and laughs… seemingly oblivious to the fact that she’s now been left alone, bare ass and defenseless, with a gang of miscreants that were possibly spawned from a nightmare Emmett Kelly had after eating an entire anchovy pizza and falling asleep watching Deliverance. She’s made keenly aware of her situation though, when they chase her and her bouncing breastisses down and stab her to death. She also gets the “shareware ‘shop job” treatment previously seen with Dollie, as her quadruple amputee image too is strung up and further pasted over with unrelated images of mutilation. Sleazy’s death isn’t as poorly budgeted, however, as we watch him tied up and clown hammered in his crap hole before being decapitated. All of this for the sole sake of showing off a severed head prop (which bares a passing resemblence to Dahveed if you squint hard enough… and imagine he was bombarded with Frogtown radiation) that the director probably picked up for 70% off at a K-Mart “Day After Halloween Sale”.
The next lot of prey are three misbehaving ladies (names withheld because fuck it, I don’t feel like typing them) who, as our gravely voiced narrator puts it, “thought it’d be funny to get stoned and laugh at the clowns”. The cadre of painted killers are apparently considered to be a rural legend in them there parts, not unlike the ghost of John Wayne or the Chupacabra or someone who wears a cowboy hat while voting Democrat. Unlike those last three though, no one seems to have any trouble finding the clowns, nor do the police seem interested enough to bother investigating them during any of the purported dozens of missing person cases that come up in Cooter’s Ass! I mean “Pass”! Cooter’s Pass! Back to the estrogenical trio, they meet their end about as you’d expect with one chainsaw’d (or at least drenched in blood by a non-running chainsaw that never comes within a foot of her body), one de-sanguinized on a meathook Texas Chainsaw Massacre style (minus any semblence of acting beyond shivering like she’s cold and in need of a jacket) and the third dealt an unexceptional throat slitting.
We now interrupt our regularly scheduled shit show for an important news bulletin, as reported by Buck Ross (Eugene Hughes) – a girthy bald man who likely spent the majority of his adult life selling used trucks off of a car lot before choking to death on a plate of Jimmy Dean’s “Hung Like a Horse” Sausage Links. According to this so-called journalist for CANN News (I guess because “can” is a euphamism for the butt?), the clowns’ rampage of terror has been discovered by the local constabulary with the remains of over 40 victims found in their rundown farmhouse lair… So, hold on a sec. If their death shack has been unfurled already, does that mean this story is being beamed back to us from the movie’s future? Somebody call Dr. Who so he can fix this reTardised timeline! Whatever the chrono-illogical chicanery at play here, Buck graphically editorializes the hell out of the story, going on a tirade about how the once jovial practioners of the buffooning arts no longer caper for the amusement of others, but instead “man-rape ya, toss your salad, hack you to bits, then EAT your ass”. Well, at least they’re considerate enough to toss your salad after “man raping” you! Most places you’re likely to get a slap in the face or a punt between your uprights for asking someone to apply a gentle propulsionary mixing to your combined vegetative elements! Bucky ends his special report calling for the genocide of all clowns, whatever their ethical/moral alignment. Something of an Alex Jones of his day, minus the marketing genius of hawking his personal brand of taint wipes to his butt hurt viewers.
(If this guy has never once sat astride a horse while shouting into a TV camera about how mentally unfit he is to price used cars and/or home appliances, I will exhume Rue McClanahan and tongue wash her expired clam pocket.)
The next station on this train ride through scenic Non-Sequitur County sees another random victim (Anthony Bailey) secured to a wall of iron bars and awakened by the group of fools’ only female (Dementia Armand), whose attire of choice leans heavily in the direction of “podunk mall goth”. Rather than demanding to know where he is, how he got there, or who put him there (as that would require a backstory of some fashion), the captive’s first instinct is to try and flirt his way into a blowjob, rapidly securing him the award for Most Deserving Casualty. Trailer park Harley Quinn takes the disgruntled UPS driver approach instead and violently mishandles his package. She may not have intended to hurt him though. She may have just really suck at giving hand jobs! Like the girl who gave me my first… I’m lucky I didn’t get PTSD from that.
When she-clown asks him (in her oddly British accent) if he’s ever done meth before, he declares his proclivity for crack instead (because he’s black after all… uggh), but ends up forcibly spoon fed some homemade clown amphetamines anyway, dying from an overdose. Declaring her one-pot artificial sweetener part of a bad batch, she then wanders off to chew on the disembodied bits of a caucasian no-one-in-particular just left sitting around the house. I guess when you’re a gussied up Barnum & Bailey reject by way of Hot Topic whacked out on smack, you don’t really sweat small stuff like refrigerating your leftovers.
The narrator doesn’t chime in on this segment, possibly because he was taking a meth break or sleeping off the previous night’s hangover in the back of his windowless van. Let this be a lesson to anyone out there who intends to hire their uncle to do a voice-over for their movie – you never give him the full case of beer before the recording session is over! Give him one or two to wet his whistle and keep him motivated, but make sure he earns his round trip ticket through the mountains of Busch!
Following this is yet another “how many of the fucking things are there?!” scene of random clown degeneracy. This time, the group’s answer to “What would happen if Jame Gumb and Baby Firefly reproduced?” goes all transvestite Mr. Blonde on still more random captives. Like too many of these scenes, this too is a cacophany of clips thrown into a digital blender and played over a backing track that… actually isn’t that bad. It’s got that amateur stripper, spookshow dancer, “just hip-hoppy enough to have a bit of a hook to it” vibe that’s better than this crapapalooza deserves. Wouldn’t you know it? I guess if you dig through piles of dogshit long enough, you’re bound to come across a shiny
quarter nickle sooner or later!
Reminding us that there’s still much more canine caca in question to get lodged under our fingernails before we can sleep, the next excerpt illustrates that the antagonists are equal opportunity sexual assailants and don’t just ply their perversions on “French” men. Three of the cavortous cornholers forceably strip, grope, manhandle and manacle a wayward redheaded lass (Rose Shannon), during which one of them repeatedly proclaims that he’s going to play with her because “she’s my doll”. Oddly enough, his repetition of the term “my doll” is at such an excess that it comes off like a superliminal advert for Midol. This scene is likely just to showcase Miss Shannon’s willingness to be filmed engaging in moderately rough rape play though, as the clowns exit stage left afterward to leave her mildly struggling against her bondage as things fade to black. I should’ve just called this episode “Twenty Two Short Films About Clown Ghouls”.
Our gravely voiced narrator finally returns (having eaten his daily regiment of broken glass) to introduce the next segment, which will take up the whole second half of today’s movie, making it the most movie part of the whole fucking movie! The (anti-)hero for this final leg of our slog through circus sewage is a prison escapee (Nathaniel Holt) who goes by the nom de bitch of “Zed the Loser”. As our story (45 minutes in and we finally have one!) would have it, Zed had an unfortunate run-in with a clown once that consisted of being suckered into pulling said joker’s finger. The result? No clue. I’m presuming that the clown then farted (possibly under the false pretense of a whoopie cushion), but again, it’s left incredibly vague. After liberating himself, Zed also breaks his fellow clown despiser and grrrlfriend Sally (Julie Fontenot) out of her padded room at the local mental care facility. Her loathing for the Painted Ones stems back to an experience she had as a child during a birthday party wherein a clown did “something” with a balloon animal that she didn’t like. What that “something” was is also left incredibly vague, forcing us to fill in the blanks for ourselves. My guess? That my “fill in the blanks” comment just unintentionally summed it up. Blart.
Because three heads are presumably better than two (unless you’re Ghidorah and lose no matter how many you have) when it comes to combating the menace of imitation juggalos, Sally’s friend-in-fiending Shorty (Kim Mason) tags along for their trolley ride into the three-ring nightmare. They arm themselves with military hardware stolen from a local gun store whose owner they’ve freshly murdered. Given that we were introduced to said owner while he was storytelling his security guy about the time he raped a goat in Iraq, I’m sure you’ll join me in not mourning his passing as any kind of “loss”. Watching this movie, I get the sense that Hughes and Howard have some serious sexual issues that a few years in therapy might be able to start scratching the surface of.
Hopped up on dope they stole from some “about as Mexican as Taco Bell” dealers (in a segment I couldn’t be bothered to relay) and well stocked with absolutely not plastic, I repeat, ABSOLUTELY NOT PLASTIC guns, the raid on the clown college dropouts (awesome name for a band, by the way) is a go. They split up so the girls can start thinning the figurative herd as Zed takes the tactical route of “looking for weaknesses in the clowns’ defense system”. Shouldn’t be too hard given that they’re methed-up hillbillies whose entire success rate as serial killers depends on exponentially stupider people (most further impaired on narcotics) wandering within the perimeter of their secluded shanty, and perhaps the odd blind hiker or “person with their head stuck in the upright position” that trips over one of their in-no-way-conceled booby traps. Given that Zed managed to kill 7 or 8 gangbangers on his own with just a knife (again, previous scene), you’d have to think he can handle 5 rape happy honkeys in Halloween makeup while paired with his new life partner, Mr. Shotgun.
After taking way too long playing out a weak cheese Vaudeville act where the clowns’ mentally retarded member swats at her targeting laser dot like a fly he can’t brush off, Sally aces one of the goobers with ease. She immediately regrets her excessive pre-raid drug consumption though, when it sucks her down the super happy fun slide to Bad Trip Boulevard. She somehow manages an escape, but gets a cloud of clown dope up her nasal hatch courtesy of one of their traps. The narrator says the drug will destroy her mind forever, but it DOESN’T FUCKING MATTER since she’s just grabbed my her prey-turned-predators later on anyway!
Shorty is the trio’s first fatality, as she’s stalked all too slowly around the compound by the gang until being unexceptionally headlocked to death. I was going to call it the clownpound but, by the maligned suggestiveness of Yog-Sothoth, that name just conjures up an all-clown gangbang porn the likes of which my ebbing sanity can never again fathom! I’m by no means a caulrophobic, but even I have my limits. Speaking of pornographic imagery, the previously imprisoned Duracell (because she’s a copper top…. and bottom, in case you were curious just how much) gets additional screen time when she’s spanked crimson with a rubber chicken, then slips her bonds to attempt an escape, but is ultimately stabbed to death before she could get far. I’m actually glad there was never an effort to establish who the Hel she was, because even my naming her after a battery was more effort put into establishing her character than the writers bothered with.
Back to Sally, she winds up the Marilyn Burns guest of honor at the clowns’ homage to the Texas Chainsaw Massacre supper scene. Much like that Sally, this Sally too escapes her cannibal captors (where did these fuckheads learn to tie knots?!), only to be rundown and killed by her rotund pursuer because there’s no convenient passing pick-up truck to carry her cackling ass to safety. And what about Zed? Not that it matters, but “The Loser” lives up to his nickname when he’s unceremoniously exploded by one of those tripwire traps he was supposedly looking out for. Anti-climactic? Absolutely. But at least it’s over now! Praise Professor Bobo’s tick ridden backside for that!
This could very well be one of those “It’s amazing if you watch it while drunk or fucked out of your lobe on brown sauce!” instances, but where does that leave those of us not allowed to indulge in mind altering substances because we’re on permanent probation for burning a busload of school children alive? I’ll tell you where it leaves me, I mean “us” – losing unrecoverable time from our lives that could’ve been spent productively, including but not limited to plowing mouth-first into a 6ft hoagie, bleach-washing the blood out of the trunk out of our car, or masturbating ourselves to sleep, content in the knowledge that we didn’t watch a bunch of bumblefucks in clown outfits splice together a series of lazy, incoherent, otherwise unrelated skits under the false pretense that they were trying to cobble nonsense into a feature.
And for anyone who read that last indictment of this micro-budget, shot-on-video, rectal recital of an anthology and immediately condemned me for being an unfun movie snob (which is likely the nicest possible term I could imagine any motherfucker reading this would use), remember that it all came from someone who has a long standing love affair with Redneck Zombies and has no issue shouting as such from the metaphorical rooftops while dancing along to the musical accompaniment of an unnamed, fiddle-playing, Hasidic gentleman. No, Cannibal Killer Clowns on Dope is a muddled, wanna-be shocker, chicken with its head cut off, so bad it’s bad, blender full of dog shit set to puree. Fuck. This. Movie.
For the sake of the ladies who bared their all for this fart locked in a plain black DVD case, I really really REALLY hope they were either paid moderately well to do so, or are residents of a local nudist colony and got naked on camera “for the cause”. The thought of them doing so under the false pretense of becoming the next Demi Moore, Jennifer Anniston, Charlize Theron, or Renee Zellweger (all of whom started in low budget horror roles) would rupture my oil and tar belching heart, undoubtedly ruining the carpet in my den.
Before I go, I’d like to bookend this review with the announcement that my new band, Gore & Greasepaint, will be holding a release party this Thursday night at The Pumpkin Patch to celebrate the release of our first demo tape: Ruined By Clowns. It’s going to be a cash bar event and clown attire is mandatory. The dress code will be strictly enforced, so don’t show up without your polka dots and comically oversized shoes unless you want to leave your family emotionally distraught for the rest of their lives while they try to solve the mystery of your disappearance. Anyone unable to make the show is welcome to donate to our possible future endeavors through PayPal via email@example.com or can buy our t-shirt (or any of a hundred other things) at The Tomb’s CafePress and/or TeePublic stores.
Until next time, fight the power, don’t fear the reaper, party hard, burn down the KKK, have a drink on me, and say hi to your mother for me!
Ever the Rip Van Winkle of popular culture, Jay Leno’s attempt at revitalizing his comedy career via YouTube starts (and ends) with his first video, “Baby Planking”. One look at the comments section an hour later and Leno deleted his account.
Sandra Bernhard researches Uwe Boll’s filmography to mine material for her upcoming NetFlix “original” series, ‘Reel Wild Cinema: the Return’. The streaming service’s deepest dive into nostalgia niche necromancy to date, until they figure out who owns the rights to ‘Captain Simian and the Space Monkeys’.
Oh no. These commercials from The American Society for the Prevention of Cruelty to Balloon Animals (ASPCBA) always break my heart. The Puddles Pity Party cover of that Sarah McLachlan song is the last nail in the coffin.
Genre section sign purchased at the local Circus Video store’s going-out-of-business sale.
Kubota’s efforts to publish an “Easy Rider” style magazine for farmers never caught on like they’d hoped.
“I told you to stop getting your breasts in the pictures. Why are you topless anyway?! This shoot is for a Fruit Stripe Gum ad!”
Eschewing theatrical tradition, this year’s “Shakespeare In the Park” program will be replaced instead by a production of “Rocky Horror In the Trailer Park”. No refunds.
Uggh! That’s disgusting! Don’t just leave your dismembered human leftovers lying around! THAT’S HOW YOU GET ANTS!
“I don’t understand! He continues to promote class warfare, white supremacists, anti-Muslim bigotry, and nuclear war against other psychopathic dictators! When does Twitter step in and DO SOMETHING?!”
In the Mirror Universe, Amy Schumer became an ultra-conservative Republican extremist freedom fighter. Seen here moments before liberating a convenience store from its Muslim oppressors.
“Uggh. I keep waking up with centipedes in my sinuses! Maybe it’s time to stop sleeping on the ground… or start sleeping in a beekeeper helmet.”
Just your average scene from a Gathering of the Juggalos men’s room.
Just your average scene from a Gathering of the Juggalos ladies’ room.
The famed artist depicted here working on his masterpiece: the Shitstain Crappel.
Anubis will return in
“Jim Henson’s Scanner Babies”
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