Really Surprised!

This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

The movie is made so realistic it has a lot of that WoW feeling at the right moments and never tooo over the top. the suspense is done so well and the emotion is felt. Very well put together with the music and all.

Close shines in drama with strong language, adult themes.

I note that most of the reviewers for SOMETIMES AUNT MARTHA DOES DREADFUL THINGS are quite kind to the film, but I'm afraid that I'm of an otherwise opinion. Vinegar Syndrome recently put a high definition version of this movie onto Amazon Prime but I ended up hating it as I have done with the majority of Vinegar Syndrome's output thus far. What hints at '70s grindhouse horror is in fact a lame-o comedy about cross-dressing and edgy homosexual relations.The film is about a couple of guys who may or may not be homosexuals. One of them likes to fool around with girls in endless nude and would-be sex scenes while the other dresses up as a woman and looks on resentfully. The horror comes from the post-coitus scenes in which the vulnerable women are subsequently stalked and slashed by the transvestite killer. Shades of PSYCHO are present in that premise, but the lousy execution and unfunny, over the top acting styles turned me right off. Things just sort of bumble along until the climax which is a joke by anybody's standards.

Haha, what a great little movie! Wayne Crawford strikes again, or rather this was his first big strike, a deliriously entertaining little ball of manic kitsch energy masquerading as a psycho killer movie. It's actually a **brilliant** satire on post-hippie American culture in flyover country, though the movie was actually filmed independently in Miami. It defies any kind of studio oriented convention or plot device that I can think of: SOMETIMES AUNT MARTHA DOES DREADFUL THINGS may not be a very technically adept movie, but it is a wonderful little slice of Americana, made on the cheap by people who were honest, ambitious, imaginative and had balls made out of steel. It took guts, nerve and guile to make this movie, which amazingly appears to have stood the test of time. This movie is fresh, vital, alive, unforgettable, and charmingly weird enough to recommend to just about anyone with a sense of humor.I dug up last year during a period of time when I was fascinated by "star" Wayne Crawford (here billed under his pseudonym Scott Lawrence), a maestro of what can only be called regional film-making, usually of the B grade variety. He's a writer, producer, director, and actor all in one, probably best known for the 80s teen apocalyptic favorite NIGHT OF THE COMET. Here he plays Stanley, the pants wearing half of a couple of truly marvelous characters, apparently homosexual spree killers on the lam after knocking off some old lady in Baltimore for her jewelry. Unsung screen legend Abe Zwick is completely convincing as Paul, who poses as Stanley's Aunt Martha, the cross dressing brains of the outfit who has conned Stanley into thinking he's committed murder to ensure his loyalty. Martha looks about as feminine as the sailors from SOUTH PACIFIC's supporting choir in their coconut bikini tops, yet somehow nobody seems to notice -- or care? -- that she is a he, has no visible means of income, seems to spend all day fretting about where Stanley is, and scurries around the neighborhood in her bathrobe carrying a butcher's knife. Only in America ...As the film opens the two of them have just arrived in Florida and set up residence in what looks like Ward Cleaver's old house, a garishly lit & designed television home that is so cliché as to be surreal. During one memorable scene Martha and an unwelcome house guest sit on the couch, talk problems and drink cans of Budweiser in what is one of the most mesmerizing, subversively ordinary sequences I've ever seen outside of a John Waters movie. Then there's Stanley, always getting into trouble as he is a mop topped hippie with an STP patch on his vest who drives a psychedelic painted van that's about as subtle as the Batmobile, drinks his milk straight from the carton, snorts drugs with blond bombshell bimbos, and hoards donuts in an old cigar box for a quick snack. Opposites attract, I guess.But Stanley also has a thing about not liking it when the young ladies he gets stoned with try to remove his pants, and it always seems to be up to Aunt Martha to get him out of the trouble that inevitably results. The bodies pile up, a nosy junkie blackmails them into using their house as a flop, Stanley's birthday cake gets squashed, and everybody meets down at the local pizza shop before heading to the wood shed on the back property for a hookah hash party where the girls dance in their underwear. Things get out of hand when one of the neighbors tries to get a bit too chummy with Martha, who naturally prefers to keep people at an arm's length when they rudely invite themselves over for a nice chat. And this is a woman who carries not just a butcher knife but a loaded .38 in her slip. Eventually the strange duo find themselves stuck with a body, a baby, and no place to go, and end up taking refuge at an abandoned movie studio where no doubt the technical crew borrowed the equipment used to make the film. I just hope they politely asked for permission first and cleaned up after themselves.A word of course must be said about Stanley and Martha/Paul's relationship, since to dance around the fact that the two are at least suggested to be a homosexual couple would be to miss the primary gist of the plot. We never see the two of them get intimate and indeed even though Stanley mockingly refers to being "balled" in one scene, their relationship is more symbiotic than sexual. It certainly isn't a "gay" movie, with abundant female nudity and an air of 70s misogyny that cannot be denied either. Stanley & Paul never consummating their implied sexuality on screen, even though the movie certainly would have had the guts to do so if it were important. It isn't, the story isn't about their sex, it's about the bond they share, and how weird it is. Not their being gay, but their being the distinct individuals they are, who are two of the strangest movie creations ever to inhabit my TV set.The film is unique. It was made for only a few thousand dollars on what look like borrowed studio sets, the occasional location work, and an couple of public locations they managed to sneak a camera crew into when nobody was looking. The dialog is completely bizarre, mundane and delightfully esoteric. It's a movie that will take you by surprise, not everyone will like it but for those with a taste for low budget American horror/thrillers like THE NIGHT GOD SCREAMED, HELP ME! I'M POSSESSED, BLOOD & LACE and CHILDREN SHOULDN'T PLAY WITH DEAD THINGS, you've got yourself a winner here.8/10: Usually I'd say something like "Deserves a DVD restoration" but somehow I think doing so would ruin the movie's tacky ambiance. And Wayne Crawford, you, sir, rule.

The working title was: "Don't Spank Baby". Wayne Crawford went on to become a successful producer, films like Valley Girl, Night of the Comet and others, even though he wasn't too terrific in this little Gem. And little known Abe Zwick should have gotten tons of work from this film but didn't. Filmed at Moberly Studios in Hollywood Florida, on the same lot the early Tarzan movies were filmed. This film is definitely for those who appreciate the abstract. The movie was originally shot with much more bloody graphic slasher scenes. For reasons only known to Tom Casey the Director, the bloody slasher scenes were given a tab of LSD, and replaced by Flash Editing. Even though this version is worthy of a look for those so inclined, in my opinion the original version would have packed the punch needed to make this a full on Slasher 70's Cult Classic.

**potential spoilers**Despite the relegation of this film to the horror section of my local independent video store, this film is more of a warped gay psychodrama with some knife murders thrown in for good effect. Paul and Stanley are the lovers in question who flee Baltimore for a Miami suburb after a jewel theft gone horribly wrong. To complete their charade, Paul poses as Stanley's Aunt Martha, complete with dime store wig and the best that Lane Bryant has to offer. If there's anything dreadful, it's the sick relationship between Stanley and Paul, a freaky pseudo-incestuous dynamic that suggests the relationship between Norman Bates and his mother (in addition to Paul's donning the Aunt Martha get-up to off Stanley's potential female conquests). Paul alternately scolds and babys Stanley, who willingly plays along. This bizarre fantasy world is definitely one of the more fascinating aspects of this movie, which has as many holes swiss cheese. A middle-aged junkie shows up midway through the movie and encroaches on the domestic bliss of the two, either to snag the stolen jewels for himself or to blackmail Paul in to giving him a crash pad in exchange for not revealing his true identity. It's not clear. What is clear is that, as Paul's psychosis grows more lethal, the movie drifts further and further out to sea. Thrown in some more murders, a still-born baby delivered by Stanley via Cesarean, a corpse in a trunk dumped in a river, and a deranged finale in an old movie studio, and you have one brain-boiler of a movie!