Look, if you’re going to make a movie about a death ray, you might want to think of a more plausible origin for said device than a scientist who created a DEATH RAY for “peaceful purposes only.” Regardless, it’s a pretty hilarious concept for a spy thriller, and I adore the sketch lampooning the “peaceful purposes” death ray in particular, which ignites Crow’s ping pong eyeballs in spectacular fashion. We also get a salute to the “doughy men” of the ‘30s-‘50s, and their powers to inhale beef, alcohol and space on the screen, along with a great “deli” sketch that sees Mike and the Bots opening a restaurant with plenty of in-joke entrees: “Miles O’Beefe,” “Split Pia Zadora Soup,” “Sid Tuna Melton” and the “Manos Ham of Fate Reuben.” MST3k is a show defined by the in-theater segments, but Teen-Age Crime Wave is one of those episodes you should watch just to appreciate the brilliance of its puppetry and perfectly cast performers.īest riff: “They really have captured the grandeur of pasty white guys walking in herds.” Frank knocks it out of the park in the first segment, howling in pain when he’s sprayed with Dr. But every one of the sketches is memorable, and indicative of the wilder, more high-energy tone that came into the show after Mike became the host. Sure, the film is quite solid, a melodramatic “teens in trouble” flick in the vein of Teen-Age Strangler or High School Big Shot, and it receives a thorough riffing.
The thing that always stands out to me about Teen-Age Crime Wave isn’t so much the film, but how great all the host segments are. You just exist in one observable region in phase space, and then realign your point of origin!” Simple!īest riff: When seeing a room full of cigarette butts: “Holy cow, did you have Rod Serling over?” It all inspires a spectacular host segment wherein Servo, always the most intellectual member of the riffing crew, explains to the others how it all works: “We simply observe the apparent relative state of a John Ireland in one place, while in actuality he co-existed in the objective vector state. Joel and the Bots cleverly seize upon the impossible geography and physics of Corman’s makeshift little Western town, pointing out the physical impossibilities of certain characters walking off screen and just appearing in a different location instantaneously. Bruno Ve Sota plays exactly the same kind of portly sleazeball that he was in Daddy-O-talk about typecasting. It stars one of his regulars, the tough Beverly Garland, who is made a temporary marshal after her husband, the previous marshal, is killed. Honestly one of the better films featured on MST3k, Gunslinger comes out of Roger Corman’s prolific ‘50s era, when he was churning out low-budget (but generally watchable) popcorn genre flicks. Best riff: Character: “The good die first.” Servo: “But most people are morally ambiguous, which explains our random dying patterns.”
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