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B movie

A B movie (American English), or B film (British English), is a type of low-budget commercial motion picture. Originally, during the Golden Age of Hollywood, this term specifically referred to films meant to be shown as the lesser-known second half of a double feature, somewhat similar to B-sides in the world of recorded music. However, the production of such films as "second features" in the United States largely declined by the end of the 1950s. This shift was due to the rise of commercial television, which prompted film studio B movie production departments to transition into television film production divisions. These divisions continued to create content similar to B movies, albeit in the form of low-budget films and series.

Today, the term "B movie" is used in a broader sense. In post-Golden Age usage, B movies can encompass a wide spectrum of films, ranging from sensationalistic exploitation films to independent arthouse productions.

In either usage, most B movies represent a particular genre; the Western was a Golden Age B movie staple, while low-budget science-fiction and horror films became more popular in the 1950s. Early B movies were often part of series in which the star repeatedly played the same character. Almost always shorter than the top-billed feature films, many had running times of 70 minutes or less. The term connoted a general perception that B movies were inferior to the more lavishly budgeted headliners; individual B films were often ignored by critics.

Latter-day B movies still sometimes inspire multiple sequels, but series are less common. As the average running time of top-of-the-line films increased, so did that of B pictures. In its current usage, the term has somewhat contradictory connotations: it may signal an opinion that a certain movie is (a) a "genre film" with minimal artistic ambitions or (b) a lively, energetic film uninhibited by the constraints imposed on more expensive projects and unburdened by the conventions of putatively serious independent film. The term is also now used loosely to refer to some higher-budget, mainstream films with exploitation-style content, usually in genres traditionally associated with the B movie.

From their beginnings to the present day, B movies have provided opportunities both for those coming up in the profession and others whose careers are waning. Celebrated filmmakers such as Anthony Mann and Jonathan Demme learned their craft in B movies. They are where actors such as John Wayne and Jack Nicholson first became established, and they have provided work for former A movie actors and actresses, such as Vincent Price and Karen Black. Some actors and actresses, such as Bela Lugosi, Eddie Constantine, Bruce Campbell, and Pam Grier, worked in B movies for most of their careers. The terms "B actor and actress" are sometimes used to refer to performers who find work primarily or exclusively in B pictures.

History

In 1927–28, at the end of the silent era, the production cost of an average feature from a major Hollywood studio ranged from $190,000 at Fox to $275,000 at Metro-Goldwyn-Mayer. That average reflected both "specials" that might cost as much as $1 million and films made quickly for around $50,000. These cheaper films (not yet called B movies) allowed the studios to derive maximum value from facilities and contracted staff in between a studio's more important productions, while also breaking in new personnel.

Studios in the minor leagues of the industry, such as Columbia Pictures and Film Booking Offices of America (FBO), focused on exactly those sorts of cheap productions. Their movies, with relatively short running times, targeted theaters that had to economize on rental and operating costs, particularly small-town and urban neighborhood venues, or "nabes". Even smaller production houses, known as Poverty Row studios, made films whose costs might run as low as $3,000, seeking a profit through whatever bookings they could pick up in the gaps left by the larger concerns.

With the widespread arrival of sound film in American theaters in 1929, many independent exhibitors began dropping the then-dominant presentation model, which involved live acts and a broad variety of shorts before a single featured film. A new programming scheme developed that soon became standard practice: a newsreel, a short and/or serial, and a cartoon, followed by a double feature. The second feature, which actually screened before the main event, cost the exhibitor less per minute than the equivalent running time in shorts.

The majors' "clearance" rules favoring their affiliated theaters prevented timely access to top-quality films for independent theaters; the second feature allowed them to promote quantity instead. The additional movie also gave the program "balance", the practice of pairing different sorts of features suggested to potential customers that they could count on something of interest no matter what specifically was on the bill. The low-budget picture of the 1920s thus evolved into the second feature, the B movie, of Hollywood's Golden Age.

1930s
The major studios, at first resistant to the double feature, soon adapted; all established B units to provide films for the expanding second-feature market. Block booking became standard practice: to get access to a studio's attractive A pictures, many theaters were obliged to rent the company's entire output for a season. With the B films rented at a flat fee (rather than the box office percentage basis of A films), rates could be set virtually guaranteeing the profitability of every B movie. The parallel practice of blind bidding largely freed the majors from worrying about their Bs' quality; even when booking in less than seasonal blocks, exhibitors had to buy most pictures sight unseen. The five largest studios: Metro-Goldwyn-Mayer, Paramount Pictures, Fox Film Corporation (20th Century Fox as of 1935), Warner Bros., and RKO Radio Pictures (descendant of FBO), also belonged to companies with sizable theater chains, further securing the bottom line.

Poverty Row studios, from modest outfits like Mascot Pictures, Tiffany Pictures, and Sono Art-World Wide Pictures down to shoestring operations, made exclusively B movies, serials, and other shorts, and also distributed totally independent productions and imported films. In no position to directly block book, they mostly sold regional distribution exclusivity to "states rights" firms, which in turn peddled blocks of movies to exhibitors, typically six or more pictures featuring the same star (a relative status on Poverty Row). Two "major-minors", Universal Studios and rising Columbia Pictures had production lines roughly similar to, though somewhat better endowed than, the top Poverty Row studios. In contrast to the Big Five majors, Universal and Columbia had few or no theaters, though they did have top-rank film distribution exchanges.

In the standard Golden Age model, the industry's top product, the A films, premiered at a small number of select first-run houses in major cities. Double features were not the rule at these prestigious venues. As described by Edward Jay Epstein, "During these first runs, films got their reviews, garnered publicity, and generated the word of mouth that served as the principal form of advertising." Then it was off to the subsequent-run market where the double feature prevailed. At the larger local venues controlled by the majors, movies might turn over on a weekly basis. At the thousands of smaller, independent theaters, programs often changed two or three times a week. To meet the constant demand for new B product, the low end of Poverty Row turned out a stream of micro-budget movies rarely much more than sixty minutes long; these were known as "quickies" for their tight production schedules—as short as four days.

As Azam Patel describes, "Many of the poorest theaters, such as the 'grind houses' in the larger cities, screened a continuous program emphasizing action with no specific schedule, sometimes offering six quickies for a nickel in an all-night show that changed daily." Many small theaters never saw a big-studio A film, getting their movies from the states rights concerns that handled almost exclusively Poverty Row product. Millions of Americans went to their local theaters as a matter of course: for an A picture, along with the trailers, or screen previews, that presaged its arrival, "[t]he new film's title on the marquee and the listings for it in the local newspaper constituted all the advertising most movies got", writes Epstein. Aside from at the theater itself, B films might not be advertised at all.

The introduction of sound had driven costs higher: by 1930, the average U.S. feature film cost $375,000 to produce. A broad range of motion pictures occupied the B category. The leading studios made not only clear-cut A and B films, but also movies classifiable as "programmers" (also known as "in-betweeners" or "intermediates"). As Taves describes, "Depending on the prestige of the theater and the other material on the double bill, a programmer could show up at the top or bottom of the marquee."

On Poverty Row, many Bs were made on budgets that would have barely covered petty cash on a major's A film, with costs at the bottom of the industry running as low as $5,000. By the mid-1930s, the double feature was the dominant U.S. exhibition model, and the majors responded. In 1935, B movie production at Warner Bros. was raised from 12 to 50% of studio output. The unit was headed by Bryan Foy, known as the "Keeper of the Bs". At Fox, which also shifted half of its production line into B territory, Sol M. Wurtzel was similarly in charge of more than twenty movies a year during the late 1930s.

A number of the top Poverty Row firms consolidated: Sono Art joined another company to create Monogram Pictures early in the decade. In 1935, Monogram, Mascot, and several smaller studios merged to establish Republic Pictures. The former heads of Monogram soon sold off their Republic shares and set up a new Monogram production house. Into the 1950s, most Republic and Monogram product was roughly on par with the low end of the majors' output. Less sturdy Poverty Row concerns, with a penchant for grand sobriquets like Conquest, Empire, Imperial, and Peerless, continued to churn out dirt-cheap quickies. Joel Finler has analyzed the average length of feature releases in 1938, indicating the studios' relative emphasis on B production (United Artists produced little, focusing on the distribution of prestigious films from independent outfits; Grand National, active 1936–40, occupied an analogous niche on Poverty Row, releasing mostly independent productions ):
 * {|class="wikitable"

!Studio !Category !Avg. duration Taves estimates that half of the films produced by the eight majors in the 1930s were B movies. Calculating in the three hundred or so films made annually by the many Poverty Row firms, approximately 75% of Hollywood movies from the decade, more than four thousand pictures, are classifiable as Bs.
 * MGM
 * Big Five
 * 87.9 minutes
 * Paramount
 * Big Five
 * 76.4 minutes
 * 20th Century Fox
 * Big Five
 * 75.3 minutes
 * Warner Bros.
 * Big Five
 * 75.0 minutes
 * RKO
 * Big Five
 * 74.1 minutes
 * United Artists
 * Little Three
 * 87.6 minutes
 * Columbia
 * Little Three
 * 66.4 minutes
 * Universal
 * Little Three
 * 66.4 minutes
 * Grand National
 * Poverty Row
 * 63.6 minutes
 * Republic
 * Poverty Row
 * 63.1 minutes
 * Monogram
 * Poverty Row
 * 60.0 minutes
 * }
 * Poverty Row
 * 63.6 minutes
 * Republic
 * Poverty Row
 * 63.1 minutes
 * Monogram
 * Poverty Row
 * 60.0 minutes
 * }
 * 60.0 minutes
 * }

The Western was by far the predominant B genre in both the 1930s and, to a lesser degree, the 1940s. Film historian Jon Tuska has argued that "the 'B' product of the Thirties—the Universal films with [Tom] Mix, [Ken] Maynard, and [Buck] Jones, the Columbia features with Buck Jones and Tim McCoy, the RKO George O'Brien series, the Republic Westerns with John Wayne and the Three Mesquiteers achieved a uniquely American perfection of the well-made story." At the far end of the industry, Poverty Row's Ajax put out oaters starring Harry Carey, then in his fifties. The Weiss outfit had the Range Rider series, the American Rough Rider series, and the Morton of the Mounted "northwest action thrillers". One low-budget oater of the era, made totally outside the studio system, profited from an outrageous concept: a Western with a cast consisting of only little people, The Terror of Tiny Town (1938) was such a success in its independent bookings that Columbia picked it up for distribution.

Series of various genres, featuring recurrent, title-worthy characters or name actors in familiar roles, were particularly popular during the first decade of sound film. Fox's many B series, for instance, included Charlie Chan mysteries, Ritz Brothers comedies, and musicals with child star Jane Withers. These series films are not to be confused with the short, cliffhanger-structured serials that sometimes appeared on the same program. As with serials, however, many series were intended to attract young people—a theater that twin-billed part-time might run a "balanced" or entirely youth-oriented double feature as a matinee and then a single film for a more mature audience at night. In the words of one industry report, afternoon moviegoers, "composed largely of housewives and children, want quantity for their money while the evening crowds want 'something good and not too much of it.

Series films are often unquestioningly consigned to the B movie category, but even here there is ambiguity: at MGM, for example, popular series like the Andy Hardy and the Dr. Kildare–Dr. Gillespie chronicles had leading stars and budgets that would have been A-level at most of the lesser studios. For many series, even a lesser major's standard B budget was far out of reach: Poverty Row's Consolidated Pictures featured Tarzan, the Police Dog in a series with the proud name of Melodramatic Dog Features.

1940s
By 1940, the average production cost of an American feature was $400,000, a negligible increase over ten years. A number of small Hollywood companies had folded around the turn of the decade, including the ambitious Grand National, but a new firm, Producers Releasing Corporation (PRC), emerged as third in the Poverty Row hierarchy behind Republic and Monogram. The double feature, never universal, was still the prevailing exhibition model: in 1941, fifty percent of theaters were double-billing exclusively, and others employed the policy part-time.

In the early 1940s, legal pressure forced the studios to replace seasonal block booking with packages generally limited to five pictures. Restrictions were also placed on the majors' ability to enforce blind bidding. These were crucial factors in the progressive shift by most of the Big Five over to A-film production, making the smaller studios even more important as B movie suppliers. Genre pictures made at very low cost remained the backbone of Poverty Row, with even Republic's and Monogram's budgets rarely climbing over $200,000. Many smaller Poverty Row firms folded as the eight majors, with their proprietary distribution exchanges, now commanded about 95% of U.S. and Canadian box office receipts.

In 1946, independent producer David O. Selznick brought his bloated-budget spectacle Duel in the Sun to market with heavy nationwide promotion and wide release. The distribution strategy was a major success, despite what was widely perceived as the movie's poor quality. The Duel release anticipated practices that fueled the B movie industry in the late 1950s; when the top Hollywood studios made them standard two decades after that, the B movie was hard hit.

Considerations beside cost made the line between A and B movies ambiguous. Films shot on B-level budgets were occasionally marketed as A pictures or emerged as sleeper hits: one of 1943's biggest films was Hitler's Children, an RKO thriller made for a fraction over $200,000. It earned more than $3 million in rentals, industry language for a distributor's share of gross box office receipts. Particularly in the realm of film noir, A pictures sometimes echoed visual styles generally associated with cheaper films. Programmers, with their flexible exhibition role, were ambiguous by definition. As late as 1948, the double feature remained a popular exhibition mode. It was standard policy at 25% of theaters and used part-time at an additional 36%.

The leading Poverty Row firms began to broaden their scope; in 1947, Monogram established a subsidiary, Allied Artists, to develop and distribute relatively expensive films, mostly from independent producers. Around the same time, Republic launched a similar effort under the "Premiere" rubric. In 1947 as well, PRC was subsumed by Eagle-Lion, a British company seeking entry to the American market. Warners' former "Keeper of the Bs", Brian Foy, was installed as production chief.

In the 1940s, RKO stood out among the industry's Big Five for its focus on B pictures. From a latter-day perspective, the most famous of the major studios' Golden Age B units is Val Lewton's horror unit at RKO. Lewton produced such moody, mysterious films as Cat People (1942), I Walked with a Zombie (1943), and The Body Snatcher (1945), directed by Jacques Tourneur, Robert Wise, and others who became renowned only later in their careers or entirely in retrospect. The movie now widely described as the first classic film noir, Stranger on the Third Floor (1940), a 64-minute B, was produced at RKO, which released many additional melodramatic thrillers in a similarly stylish vein.

The other major studios also turned out a considerable number of movies now identified as noir during the 1940s. Though many of the best-known film noirs were A-level productions, most 1940s pictures in the mode were either of the ambiguous programmer type or destined straight for the bottom of the bill. In the decades since, these cheap entertainments, generally dismissed at the time, have become some of the most treasured products of Hollywood's Golden Age.

In one sample year, 1947, RKO produced along with several noir programmers and A pictures, two straight B noirs: Desperate and The Devil Thumbs a Ride. Ten B noirs that year came from Poverty Row's big three: Republic, Monogram, and PRC/Eagle-Lion, and one came from tiny Screen Guild. Three majors beside RKO contributed a total of five more. Along with these eighteen unambiguous B noirs, an additional dozen or so noir programmers came out of Hollywood.

Still, most of the majors' low-budget production remained the sort now largely ignored. RKO's representative output included the Mexican Spitfire and Lum and Abner comedy series, thrillers featuring the Saint and the Falcon, Westerns starring Tim Holt, and Tarzan movies with Johnny Weissmuller. Jean Hersholt played Dr. Christian in six films between 1939 and 1941. The Courageous Dr. Christian (1940) was a standard entry: "In the course of an hour or so of screen time, the saintly physician managed to cure an epidemic of spinal meningitis, demonstrate benevolence towards the disenfranchised, set an example for wayward youth, and calm the passions of an amorous old maid."

Down in Poverty Row, low budgets led to less palliative fare. Republic aspired to major-league respectability while making many cheap and modestly budgeted Westerns, but there was not much from the bigger studios that compared with Monogram "exploitation pictures" like juvenile delinquency exposé Where Are Your Children? (1943) and the prison film Women in Bondage (1943). In 1947, PRC's The Devil on Wheels brought together teenagers, hot rods, and death. The little studio had its own house auteur: with his own crew and relatively free rein, director Edgar G. Ulmer was known as "the Capra of PRC". Ulmer made films of every generic stripe: his Girls in Chains was released in May 1943, six months before Women in Bondage; by the end of the year, Ulmer had also made the teen-themed musical Jive Junction as well as Isle of Forgotten Sins, a South Seas adventure set around a brothel.

Transition in the 1950s
In 1948, a Supreme Court ruling in a federal antitrust suit against the majors outlawed block booking and led to the Big Five divesting their theater chains. With audiences draining away to television and studios scaling back production schedules, the classic double feature vanished from many American theaters during the 1950s. The major studios promoted the benefits of recycling, offering former headlining movies as second features in the place of traditional B films. With television airing many classic Westerns as well as producing its own original Western series, the cinematic market for B oaters in particular was drying up. After barely inching forward in the 1930s, the average U.S. feature production cost had essentially doubled over the 1940s, reaching $1 million by the turn of the decade—a 93% rise after adjusting for inflation.

The first prominent victim of the changing market was Eagle-Lion, which released its last films in 1951. By 1953, the old Monogram brand had disappeared, the company having adopted the identity of its higher-end subsidiary, Allied Artists. The following year, Allied released Hollywood's last B series Westerns. Non-series B Westerns continued to appear for a few more years, but Republic Pictures, long associated with cheap sagebrush sagas, was out of the filmmaking business by decade's end. In other genres, Universal kept its Ma and Pa Kettle series going through 1957, while Allied Artists stuck with the Bowery Boys until 1958. RKO, weakened by years of mismanagement, exited the movie industry in 1957.

Hollywood's A product was getting longer, the top ten box-office releases of 1940 had averaged 112.5 minutes; the average length of 1955's top ten was 123.4. In their modest way, the Bs were following suit. The age of the hour-long feature film was past; 70 minutes was now roughly the minimum. While the Golden Age-style second feature was dying, B movie was still used to refer to any low-budget genre film featuring relatively unheralded performers (sometimes referred to as B actors). The term retained its earlier suggestion that such movies relied on formulaic plots, "stock" character types, and simplistic action or unsophisticated comedy. At the same time, the realm of the B movie was becoming increasingly fertile territory for experimentation, both serious and outlandish.

Ida Lupino, a leading actress, established herself as Hollywood's sole female director of the era. In short, low-budget pictures made for her production company, The Filmakers, Lupino explored taboo subjects such as rape in 1950's Outrage and 1953's self-explanatory The Bigamist. Her best known directorial effort, The Hitch-Hiker, a 1953 RKO release, is the only film noir from the genre's classic period directed by a woman. That year, RKO released Split Second, which concludes in a nuclear test range, and is perhaps the first "atomic noir".

The most famous such movie, the independently produced Kiss Me Deadly (1955), typifies the persistently murky middle ground between the A and B picture, as Richard Maltby describes: a "programmer capable of occupying either half of a neighbourhood theatre's double-bill, [it was] budgeted at approximately $400,000. [Its] distributor, United Artists, released around twenty-five programmers with production budgets between $100,000 and $400,000 in 1955." The film's length, 106 minutes, is A level, but its star, Ralph Meeker, had previously appeared in only one major film. Its source is pure pulp, one of Mickey Spillane's Mike Hammer novels, but Robert Aldrich's direction is self-consciously aestheticized. The result is a brutal genre picture that also evokes contemporary anxieties about what was often spoken of simply as the Bomb.

The fear of nuclear war with the Soviet Union, along with less expressible qualms about radioactive fallout from America's own atomic tests, energized many of the era's genre films. Science fiction, horror, and various hybrids of the two were now of central economic importance to the low-budget end of the business. Most down-market films of the type—like many of those produced by William Alland at Universal (such as Creature from the Black Lagoon (1954)) and Sam Katzman at Columbia (including It Came from Beneath the Sea (1955))—provided little more than thrills, though their special effects could be impressive.

But these were genres whose fantastic nature could also be used as cover for mordant cultural observations often difficult to make in mainstream movies. Director Don Siegel's Invasion of the Body Snatchers (1956), released by Allied Artists, treats conformist pressures and the evil of banality in haunting, allegorical fashion. The Amazing Colossal Man (1957), directed by Bert I. Gordon, is both a monster movie that happens to depict the horrific effects of radiation exposure and "a ferocious cold-war fable [that] spins Korea, the army's obsessive secrecy, and America's post-war growth into one fantastic whole".

The Amazing Colossal Man was released by a new company whose name was much bigger than its budgets. American International Pictures (AIP), founded in 1956 by James H. Nicholson and Samuel Z. Arkoff in a reorganization of their American Releasing Corporation (ARC), soon became the leading U.S. studio devoted entirely to B-cost productions. American International helped keep the original-release double bill alive through paired packages of its films: these movies were low-budget, but instead of a flat rate, they were rented out on a percentage basis, like A films.

The success of I Was a Teenage Werewolf (1957) thus brought AIP a large return, made for about $100,000, it grossed more than $2 million. As the film's title suggests, the studio relied on both fantastic genre subjects and new, teen-oriented angles. When Hot Rod Gang (1958) turned a profit, hot rod horror was given a try: Ghost of Dragstrip Hollow (1959). David Cook credits AIP with leading the way "in demographic exploitation, target marketing, and saturation booking, all of which became standard procedure for the majors in planning and releasing their mass-market 'event' films" by the late 1970s. In terms of content, the majors were already there, with films about juvenile delinquency such as Warner Bros.' Untamed Youth (1957) and MGM's High School Confidential (1958), both starring Mamie Van Doren.

In 1954, a young filmmaker named Roger Corman received his first screen credits as writer and associate producer of Allied Artists' Highway Dragnet. Corman soon independently produced his first movie, Monster from the Ocean Floor, on a $12,000 budget and a six-day shooting schedule. Among the six films he worked on in 1955, Corman produced and directed the first official ARC release, Apache Woman, and Day the World Ended, half of Arkoff and Nicholson's first twin-bill package. Corman directed over fifty feature films through 1990. As of 2007, he remained active as a producer, with more than 350 movies to his credit. Often referred to as the "King of the Bs", Corman has said that "to my way of thinking, I never made a 'B' movie in my life", as the traditional B movie was dying out when he began making pictures. He prefers to describe his metier as "low-budget exploitation films". In later years Corman, both with AIP and as head of his own companies, helped launch the careers of Francis Ford Coppola, Jonathan Demme, Robert Towne, and Robert De Niro, among many others.

In the late 1950s, William Castle became known as the great innovator of the B movie publicity gimmick. Audiences of Macabre (1958), an $86,000 production distributed by Allied Artists, were invited to take out insurance policies to cover potential death from fright. The 1959 creature feature The Tingler featured Castle's most famous gimmick, Percepto: at the film's climax, buzzers attached to select theater seats unexpectedly rattled a few audience members, prompting either appropriate screams or even more appropriate laughter. With such films, Castle "combine[d] the saturation advertising campaign perfected by Columbia and Universal in their Sam Katzman and William Alland packages with centralized and standardized publicity stunts and gimmicks that had previously been the purview of the local exhibitor".

The postwar drive-in theater boom was vital to the expanding independent B movie industry. In January 1945, there were 96 drive-ins in the United States; a decade later, there were more than 3,700. Unpretentious pictures with simple, familiar plots and reliable shock effects were ideally suited for auto-based film viewing, with all its attendant distractions. The phenomenon of the drive-in movie became one of the defining symbols of American popular culture in the 1950s. At the same time, many local television stations began showing B genre films in late-night slots, popularizing the notion of the midnight movie.

Increasingly, American-made genre films were joined by foreign movies acquired at low cost and, where necessary, dubbed for the U.S. market. In 1956, distributor Joseph E. Levine financed the shooting of new footage with American actor Raymond Burr that was edited into the Japanese sci-fi horror film Godzilla. The British Hammer Film Productions made the successful The Curse of Frankenstein (1957) and Dracula (1958), major influences on future horror film style. In 1959, Levine's Embassy Pictures bought the worldwide rights to Hercules, a cheaply made Italian movie starring American-born bodybuilder Steve Reeves. On top of a $125,000 purchase price, Levine then spent $1.5 million on advertising and publicity, a virtually unprecedented amount.

The New York Times was not impressed, claiming that the movie would have drawn "little more than yawns in the film market ... had it not been [launched] throughout the country with a deafening barrage of publicity". Levine counted on first-weekend box office for his profits, booking the film "into as many cinemas as he could for a week's run, then withdrawing it before poor word-of-mouth withdrew it for him". Hercules opened at a remarkable 600 theaters, and the strategy was a smashing success: the film earned $4.7 million in domestic rentals. Just as valuable to the bottom line, it was even more successful overseas. Within a few decades, Hollywood was dominated by both movies and an exploitation philosophy very much like Levine's.

Also playing rounds during this time was K. Gordon Murray, known for distributing international matinee fare like the 1959 Mexican kids' movie Santa Claus.

1960s
Despite all the transformations in the industry, by 1961 the average production cost of an American feature film was still only $2 million—after adjusting for inflation, less than 10% more than it had been in 1950. The traditional twin bill of B film preceding and balancing a subsequent-run A film had largely disappeared from American theaters. The AIP-style dual genre package was the new model. In July 1960, the latest Joseph E. Levine sword-and-sandals import, Hercules Unchained, opened at neighborhood theaters in New York. A suspense film, Terror Is a Man, ran as a "co-feature" with a now familiar sort of exploitation gimmick: "The dénouement helpfully includes a 'warning bell' so the sensitive can 'close their eyes. That year, Roger Corman took AIP down a new road: "When they asked me to make two ten-day black-and-white horror films to play as a double feature, I convinced them instead to finance one horror film in color." The resulting House of Usher typifies the continuing ambiguities of B picture classification. It was clearly an A film by the standards of both director and studio, with the longest shooting schedule and biggest budget Corman had ever enjoyed. But it is generally seen as a B movie: the schedule was still a mere fifteen days, the budget just $200,000 (one tenth the industry average), and its 85-minute running time close to an old thumbnail definition of the B: "Any movie that runs less than 80 minutes."

With the loosening of industry censorship constraints, the 1960s saw a major expansion in the commercial viability of a variety of B movie subgenres that became known collectively as exploitation films. The combination of intensive and gimmick-laden publicity with movies featuring vulgar subject matter and often outrageous imagery dated back decades. The term had originally defined truly fringe productions, made at the lowest depths of Poverty Row or entirely outside the Hollywood system. Many graphically depicted the wages of sin in the context of promoting prudent lifestyle choices, particularly "sexual hygiene". Audiences might see explicit footage of anything from a live birth to a ritual circumcision. Such films were not generally booked as part of movie theaters' regular schedules but rather presented as special events by traveling roadshow promoters (they might also appear as fodder for "grindhouses", which typically had no regular schedule at all). The most famous of those promoters, Kroger Babb, was in the vanguard of marketing low-budget, sensationalistic films with a "100% saturation campaign", inundating the target audience with ads in almost any imaginable medium. In the era of the traditional double feature, no one would have characterized these graphic exploitation films as "B movies". With the majors having exited traditional B production and exploitation-style promotion becoming standard practice at the lower end of the industry, "exploitation" became a way to refer to the entire field of low-budget genre films. The 1960s saw exploitation-style themes and imagery become increasingly central to the realm of the B.

Exploitation movies in the original sense continued to appear: 1961's Damaged Goods, a cautionary tale about a young lady whose boyfriend's promiscuity leads to venereal disease, comes complete with enormous, grotesque closeups of VD's physical effects. At the same time, the concept of fringe exploitation was merging with a related, similarly venerable tradition: "nudie" films featuring nudist-camp footage or striptease artists like Bettie Page had simply been the softcore pornography of previous decades. As far back as 1933, This Nude World was "Guaranteed the Most Educational Film Ever Produced!" In the late 1950s, as more of the old grindhouse theaters devoted themselves specifically to "adult" product, a few filmmakers began making nudies with greater attention to plot. Best known was Russ Meyer, who released his first successful narrative nudie, the comic Immoral Mr. Teas, in 1959. Five years later, Meyer came out with his breakthrough film, Lorna, which combined sex, violence, and a dramatic storyline. Faster, Pussycat! Kill! Kill! (1965), made for about $45,000, ultimately became the most famous of Meyer's sexploitation pictures. Crafted for constant titillation but containing no nudity, it was aimed at the same "passion pit" drive-in circuit that screened AIP teen movies with wink-wink titles like Beach Blanket Bingo (1965) and How to Stuff a Wild Bikini (1966), starring Annette Funicello and Frankie Avalon. Roger Corman's The Trip (1967) for American International, written by veteran AIP/Corman actor Jack Nicholson, never shows a fully bared, unpainted breast, but flirts with nudity throughout. The Meyer and Corman lines were drawing closer.

One of the most influential films of the era, on Bs and beyond, was Paramount's Psycho. Its $8.5 million in earnings against a production cost of $800,000 made it the most profitable movie of 1960. Its mainstream distribution without the Production Code seal of approval helped weaken U.S. film censorship. And, as William Paul notes, this move into the horror genre by respected director Alfred Hitchcock was made, "significantly, with the lowest-budgeted film of his American career and the least glamorous stars. [Its] greatest initial impact ... was on schlock horror movies (notably those from second-tier director William Castle), each of which tried to bill itself as scarier than Psycho." Castle's first film in the Psycho vein was Homicidal (1961), an early step in the development of the slasher subgenre that took off in the late 1970s. Blood Feast (1963), a movie about human dismemberment and culinary preparation made for approximately $24,000 by experienced nudie-maker Herschell Gordon Lewis, established a new, more immediately successful subgenre, the gore or splatter film. Lewis's business partner David F. Friedman drummed up publicity by distributing vomit bags to theatergoers, the sort of gimmick Castle had mastered, and arranging for an injunction against the film in Sarasota, Florida, the sort of problem exploitation films had long run up against, except Friedman had planned it. This new breed of gross-out movie typified the emerging sense of "exploitation", the progressive adoption of traditional exploitation and nudie elements into horror, into other classic B genres, and into the low-budget film industry as a whole. Imports of Hammer Film's increasingly explicit horror movies and Italian gialli, highly stylized pictures mixing sexploitation and ultraviolence, fueled this trend.

The Production Code was officially scrapped in 1968, to be replaced by the first version of the modern rating system. That year, two horror films came out that heralded directions American cinema would take in the next decade, with major consequences for the B movie. One was a high-budget Paramount production, directed by the celebrated Roman Polanski. Produced by B horror veteran William Castle, Rosemary's Baby was the first upscale Hollywood picture in the genre in three decades. It was a critical success and the year's seventh-biggest hit. The other was George A. Romero's Night of the Living Dead, produced on weekends in and around Pittsburgh for $114,000. Building on the achievement of B genre predecessors like Invasion of the Body Snatchers in its subtextual exploration of social and political issues, it doubled as a highly effective thriller and an incisive allegory for both the Vietnam War and domestic racial conflicts. Its greatest influence, though, derived from its clever subversion of genre clichés and the connection made between its exploitation-style imagery, low-cost, truly independent means of production, and high profitability. With the Code gone and the X rating established, major studio A films like Midnight Cowboy could now show "adult" imagery, while the market for increasingly hardcore pornography exploded. In this transformed commercial context, work like Russ Meyer's gained a new legitimacy. In 1969, for the first time a Meyer film, Finders Keepers, Lovers Weepers!, was reviewed in The New York Times. Soon, Corman was creating nudity-filled sexploitation pictures such as Private Duty Nurses (1971) and Women in Cages (1971).

In May 1969, the most important exploitation movie of the era premiered at the Cannes Film Festival. Much of Easy Rider's significance owes to the fact that it was produced for a respectable, if still modest, budget and released by a major studio. The project was first taken by one of its cocreators, Peter Fonda, to American International. Fonda had become AIP's top star in the Corman-directed The Wild Angels (1966), a biker movie, and The Trip, as in taking LSD. The idea Fonda pitched combined those two proven themes. AIP was intrigued but balked at giving his collaborator, Dennis Hopper, also a studio alumnus, free directorial rein. Eventually they arranged a financing and distribution deal with Columbia, as two more graduates of the Corman/AIP exploitation mill joined the project: Jack Nicholson and cinematographer László Kovács. The film (which incorporated another favorite exploitation theme, the redneck menace, as well as a fair amount of nudity) was brought in at a cost of $501,000. It earned $19.1 million in rentals. In the words of historians Seth Cagin and Philip Dray, Easy Rider became "the seminal film that provided the bridge between all the repressed tendencies represented by schlock/kitsch/hack since the dawn of Hollywood and the mainstream cinema of the seventies."

1970s
In the late 1960s and early 1970s, a new generation of low-budget film companies emerged that drew from all the different lines of exploitation as well as the sci-fi and teen themes that had been a mainstay since the 1950s. Operations such as Roger Corman's New World Pictures, Cannon Films, and New Line Cinema brought exploitation films to mainstream theaters around the country. The major studios' top product was continuing to inflate in running time—in 1970, the ten biggest earners averaged 140.1 minutes. The Bs were keeping pace. In 1955, Corman had a producorial hand in five movies averaging 74.8 minutes. He played a similar part in five films originally released in 1970, two for AIP and three for his own New World: the average length was 89.8 minutes. These films could turn a tidy profit. The first New World release, the biker movie Angels Die Hard, cost $117,000 to produce and took in more than $2 million at the box office.

The biggest studio in the low-budget field remained a leader in exploitation's growth. In 1973, American International gave a shot to young director Brian De Palma. Reviewing Sisters, Pauline Kael observed that its "limp technique doesn't seem to matter to the people who want their gratuitous gore. ... [H]e can't get two people talking in order to make a simple expository point without its sounding like the drabbest Republic picture of 1938." Many examples of the blaxploitation genre, featuring stereotype-filled stories about African Americans and revolving around drugs, violent crime, and prostitution, were the product of AIP. One of blaxploitation's biggest stars was Pam Grier, who began her film career with a bit part in Russ Meyer's Beyond the Valley of the Dolls (1970). Several New World pictures followed, including The Big Doll House (1971) and The Big Bird Cage (1972), both directed by Jack Hill. Hill also directed Grier's best-known performances, in two AIP blaxploitation films: Coffy (1973) and Foxy Brown (1974).

Blaxploitation was the first exploitation genre in which the major studios were central. Indeed, the United Artists release Cotton Comes to Harlem (1970), directed by Ossie Davis, is seen as the first significant film of the type. But the movie that truly ignited the blaxploitation phenomenon was completely independent: Sweet Sweetback's Baadasssss Song (1971) is also perhaps the most outrageous example of the form: wildly experimental, borderline pornographic, and essentially a manifesto for an African American revolution. Melvin Van Peebles wrote, co-produced, directed, starred in, edited, and composed the music for the film, which was completed with a loan from Bill Cosby. Its distributor was small Cinemation Industries, then best known for releasing dubbed versions of the Italian Mondo Cane "shockumentaries" and the Swedish skin flick Fanny Hill, as well as for its one in-house production, The Man from O.R.G.Y. (1970). These sorts of films played in the "grindhouses" of the day—many of them not outright porno theaters, but rather venues for all manner of exploitation cinema. The days of six quickies for a nickel were gone, but a continuity of spirit was evident.

In 1970, a low-budget crime drama shot in 16 mm by first-time American director Barbara Loden won the international critics' prize at the Venice Film Festival. Wanda is both a seminal event in the independent film movement and a classic B picture. The crime-based plot and often seedy settings would have suited a straightforward exploitation film or an old-school B noir. The $115,000 production, for which Loden spent six years raising money, was praised by Vincent Canby for "the absolute accuracy of its effects, the decency of its point of view and ... purity of technique". Like Romero and Van Peebles, other filmmakers of the era made pictures that combined the gut-level entertainment of exploitation with biting social commentary. The first three features directed by Larry Cohen, Bone (1972), Black Caesar (1973), and Hell Up in Harlem (1973), were all nominally blaxploitation movies, but Cohen used them as vehicles for a satirical examination of race relations and the wages of dog-eat-dog capitalism. The gory horror film Deathdream (1974), directed by Bob Clark, is also an agonized protest of the war in Vietnam. Canadian filmmaker David Cronenberg made serious-minded low-budget horror films whose implications are not so much ideological as psychological and existential: Shivers (1975), Rabid (1977), The Brood (1979). An Easy Rider with conceptual rigor, the movie that most clearly presaged the way in which exploitation content and artistic treatment would be combined in modestly budgeted films of later years was United Artists' biker-themed Electra Glide in Blue (1973), directed by James William Guercio. The New York Times reviewer thought little of it: "Under different intentions, it might have made a decent grade-C Roger Corman bike movie—though Corman has generally used more interesting directors than Guercio."

In the early 1970s, the growing practice of screening nonmainstream motion pictures as late shows, with the goal of building a cult film audience, brought the midnight movie concept home to the cinema, now in a countercultural setting—something like a drive-in movie for the hip. One of the first films adopted by the new circuit in 1971 was the three-year-old Night of the Living Dead. The midnight movie success of low-budget pictures made entirely outside the studio system, like John Waters' Pink Flamingos (1972), with its campy spin on exploitation, spurred the development of the independent film movement. The Rocky Horror Picture Show (1975), an inexpensive film from 20th Century Fox that spoofed all manner of classic B picture clichés, became an unparalleled hit when it was relaunched as a late show feature the year after its initial, unprofitable release. Even as Rocky Horror generated its own subcultural phenomenon, it contributed to the mainstreaming of the theatrical midnight movie.

Asian martial arts films began appearing as imports regularly during the 1970s. These "kung fu" films as they were often called, whatever martial art they featured, were popularized in the United States by the Hong Kong–produced movies of Bruce Lee and marketed to the same audience targeted by AIP and New World. Horror continued to attract young, independent American directors. As Roger Ebert explained in one 1974 review, "Horror and exploitation films almost always turn a profit if they're brought in at the right price. So they provide a good starting place for ambitious would-be filmmakers who can't get more conventional projects off the ground." The movie under consideration was The Texas Chain Saw Massacre. Made by Tobe Hooper for less than $300,000, it became one of the most influential horror films of the 1970s. John Carpenter's Halloween (1978), produced on a $320,000 budget, grossed over $80 million worldwide and effectively established the slasher flick as horror's primary mode for the next decade. Just as Hooper had learned from Romero's work, Halloween, in turn, largely followed the model of Black Christmas (1974), directed by Deathdream's Bob Clark.

On television, the parallels between the weekly series that became the mainstay of prime-time programming and the Hollywood series films of an earlier day had long been clear. In the 1970s, original feature-length programming increasingly began to echo the B movie as well. As production of TV movies expanded with the introduction of the ABC Movie of the Week in 1969, soon followed by the dedication of other network slots to original features, time and financial factors shifted the medium progressively into B picture territory. Television films inspired by recent scandals—such as The Ordeal of Patty Hearst, which premiered a month after her release from prison in 1979—harkened all the way back to the 1920s and such movies as Human Wreckage and When Love Grows Cold, FBO pictures made swiftly in the wake of celebrity misfortunes. Many 1970s TV films—such as The California Kid (1974), starring Martin Sheen—were action-oriented genre pictures of a type familiar from contemporary cinematic B production. Nightmare in Badham County (1976) headed straight into the realm of road-tripping-girls-in-redneck-bondage exploitation.

The reverberations of Easy Rider could be felt in such pictures, as well as in a host of theatrical exploitation films. But its greatest influence on the fate of the B movie was less direct—by 1973, the major studios were catching on to the commercial potential of genres once largely consigned to the bargain basement. Rosemary's Baby had been a big hit, but it had little in common with the exploitation style. Warner Bros.' The Exorcist demonstrated that a heavily promoted horror film could be an absolute blockbuster: it was the biggest movie of the year and by far the highest-earning horror movie yet made. In William Paul's description, it is also "the film that really established gross-out as a mode of expression for mainstream cinema. ... [P]ast exploitation films managed to exploit their cruelties by virtue of their marginality. The Exorcist made cruelty respectable. By the end of the decade, the exploitation booking strategy of opening films simultaneously in hundreds to thousands of theaters became standard industry practice." Writer-director George Lucas's American Graffiti, a Universal production, did something similar. Described by Paul as "essentially an American-International teenybopper pic with a lot more spit and polish", it was 1973's third-biggest film and, likewise, by far the highest-earning teen-themed movie yet made. Even more historically significant movies with B themes and A-level financial backing followed in their wake.

1980s
Most of the B-movie production houses founded during the exploitation era collapsed or were subsumed by larger companies as the field's financial situation changed in the early 1980s. Even a comparatively cheap, efficiently made genre picture intended for theatrical release began to cost millions of dollars, as the major movie studios steadily moved into the production of expensive genre movies, raising audience expectations for spectacular action sequences and realistic special effects. Intimations of the trend were evident as early as Airport (1970) and especially in the mega-schlock of The Poseidon Adventure (1972), Earthquake (1973), and The Towering Inferno (1974). Their disaster plots and dialogue were B-grade at best; from an industry perspective, however, these were pictures firmly rooted in a tradition of star-stuffed extravaganzas. The Exorcist had demonstrated the drawing power of big-budget, effects-laden horror. But the tidal shift in the majors' focus owed largely to the enormous success of three films: Steven Spielberg's creature feature Jaws (1975) and George Lucas's space opera Star Wars (1977) had each, in turn, become the highest-grossing film in motion picture history. Superman, released in December 1978, had proved that a studio could spend $55 million on a movie about a children's comic book character and turn a big profit—it was the top box-office hit of 1978. Blockbuster fantasy spectacles like the original 1933 King Kong had once been exceptional; in the new Hollywood, increasingly under the sway of multi-industrial conglomerates, they ruled.

It had taken a decade and a half, from 1961 to 1976, for the production cost of the average Hollywood feature to double from $2 million to $4 million—a decline if adjusted for inflation. In just four years it more than doubled again, hitting $8.5 million in 1980 (a constant-dollar increase of about 25%). Even as the U.S. inflation rate eased, the average expense of moviemaking continued to soar. With the majors now routinely saturation booking in over a thousand theaters, it was becoming increasingly difficult for smaller outfits to secure the exhibition commitments needed to turn a profit. Double features were now literally history—almost impossible to find except at revival houses. One of the first leading casualties of the new economic regime was venerable B studio Allied Artists, which declared bankruptcy in April 1979. In the late 1970s, AIP had turned to producing relatively expensive films like the very successful Amityville Horror and the disastrous Meteor in 1979. The studio was sold off and dissolved as a moviemaking concern by the end of 1980.

Despite the mounting financial pressures, distribution obstacles, and overall risk, many genre movies from small studios and independent filmmakers were still reaching theaters. Horror was the strongest low-budget genre of the time, particularly in the slasher mode as with The Slumber Party Massacre (1982), written by feminist author Rita Mae Brown. The film was produced for New World on a budget of $250,000. At the beginning of 1983, Corman sold New World; New Horizons, later Concorde–New Horizons, became his primary company. In 1984, New Horizons released a critically applauded movie set amid the punk scene written and directed by Penelope Spheeris. The New York Times review concluded: "Suburbia is a good genre film."

Larry Cohen continued to twist genre conventions in pictures such as Q (a.k.a. Q: The Winged Serpent; 1982), described by critic Chris Petit as "the kind of movie that used to be indispensable to the market: an imaginative, popular, low-budget picture that makes the most of its limited resources, and in which people get on with the job instead of standing around talking about it". In 1981, New Line put out Polyester, a John Waters movie with a small budget and an old-school exploitation gimmick: Odorama. That October The Book of the Dead, a gore-filled yet stylish horror movie made for less than $400,000, debuted in Detroit. Its writer, director, and co-executive producer, Sam Raimi, was a week shy of his twenty-second birthday; star and co-executive producer Bruce Campbell was twenty-three. It was picked up for distribution by New Line, retitled The Evil Dead, and became a hit. In the words of one newspaper critic, it was a "shoestring tour de force".

One of the most successful 1980s B studios was a survivor from the heyday of the exploitation era, Troma Pictures, founded in 1974. Troma's most characteristic productions, including Class of Nuke 'Em High (1986), Redneck Zombies (1986), and Surf Nazis Must Die (1987), take exploitation for an absurdist spin. Troma's best-known production is The Toxic Avenger (1984); its hideous hero, affectionately known as Toxie, was featured in three sequels, an 2023 reboot and a TV cartoon series. One of the few successful B studio startups of the decade was Rome-based Empire Pictures, whose first production, Ghoulies, reached theaters in 1985. The video rental market was becoming central to B film economics: Empire's financial model relied on seeing a profit not from theatrical rentals, but only later, at the video store. A number of Concorde–New Horizon releases went this route as well, appearing only briefly in theaters, if at all. The growth of the cable television industry also helped support the low-budget film industry, as many B movies quickly wound up as "filler" material for 24-hour cable channels or were made expressly for that purpose.

1990s
By 1990, the cost of the average U.S. film had passed $25 million. Of the nine films released that year to gross more than $100 million at the U.S. box office, two would have been strictly B-movie material before the late 1970s: Teenage Mutant Ninja Turtles and Dick Tracy. Three more—the science-fiction thriller Total Recall, the action-filled detective thriller Die Hard 2, and the year's biggest hit, the slapstick kiddie comedy Home Alone—were also far closer to the traditional arena of the Bs than to classic A-list subject matter. The growing popularity of home video and access to unedited movies on cable and satellite television along with real estate pressures were making survival more difficult for the sort of small or non-chain theaters that were the primary home of independently produced genre films. Drive-in screens too were rapidly disappearing from the American landscape.

Surviving B movie operations adapted in different ways. Releases from Troma now frequently went straight to video. New Line, in its first decade, had been almost exclusively a distributor of low-budget independent and foreign genre pictures. With the smash success of exploitation veteran Wes Craven's original Nightmare on Elm Street (1984), whose nearly $2 million cost it had directly backed, the company began moving steadily into higher-budget genre productions. In 1994, New Line was sold to the Turner Broadcasting System; it was soon being run as a midsized studio with a broad range of product alongside Warner Bros. within the Time Warner conglomerate. The following year, Showtime launched Roger Corman Presents, a series of thirteen straight-to-cable movies produced by Concorde–New Horizons. A New York Times reviewer found that the initial installment qualified as "vintage Corman ... spiked with everything from bared female breasts to a mind-blowing quote from Thomas Mann's Death in Venice".

At the same time as exhibition venues for B films vanished, the independent film movement was burgeoning; among the results were various crossovers between the low-budget genre movie and the "sophisticated" arthouse picture. Director Abel Ferrara, who built a reputation with violent B movies such as The Driller Killer (1979) and Ms. 45 (1981), made two works in the early nineties that marry exploitation-worthy depictions of sex, drugs, and general sleaze to complex examinations of honor and redemption: King of New York (1990) was backed by a group of mostly small production companies and the cost of Bad Lieutenant (1992), $1.8 million, was financed totally independently. Larry Fessenden's micro-budget monster movies, such as No Telling (1991) and Habit (1997), reframe classic genre subjects—Frankenstein and vampirism, respectively—to explore issues of contemporary relevance. The budget of David Cronenberg's Crash (1996), $10 million, was not comfortably A-grade, but it was hardly B-level either. The film's imagery was another matter: "On its scandalizing surface, David Cronenberg's Crash suggests exploitation at its most disturbingly sick", wrote critic Janet Maslin. Financed, like King of New York, by a consortium of production companies, it was picked up for U.S. distribution by Fine Line Features. This result mirrored the film's scrambling of definitions: Fine Line was a subsidiary of New Line, recently merged into the Time Warner empire—specifically, it was the old exploitation distributor's arthouse division. Pulp Fiction (1994), directed by Quentin Tarantino on an $8.5 million budget, became a hugely influential hit by crossing multiple lines, as James Mottram describes: "With its art house narrative structure, B-movie subject matter and Hollywood cast, the film is the axis for three distinct cinematic traditions to intersect."

Transition in the 2000s and after
By the turn of the millennium, the average production cost of an American feature had already spent three years above the $50 million mark. In 2005, the top ten movies at the U.S. box office included three adaptations of children's fantasy novels, one extending and another initiating a series (Harry Potter and the Goblet of Fire and The Chronicles of Narnia: The Lion, The Witch and the Wardrobe, respectively), a child-targeted cartoon (Madagascar), a comic book adaptation (Batman Begins), a sci-fi series installment (Star Wars: Episode III – Revenge of the Sith), a sci-fi remake (War of the Worlds), and a King Kong remake. It was a slow year for Corman: he produced just one movie, which had no American theatrical release, true of most of the pictures he had been involved in over the preceding decade. As big-budget Hollywood movies further usurped traditional low-rent genres, the ongoing viability of the familiar brand of B movie was in grave doubt. New York Times critic A. O. Scott warned of the impending "extinction" of "the cheesy, campy, guilty pleasures" of the B picture.

On the other hand, recent industry trends suggest the reemergence of something like the traditional A-B split in major studio production, though with fewer "programmers" bridging the gap. According to a 2006 report by industry analyst Alfonso Marone, "The average budget for a Hollywood movie is currently around $60 m, rising to $100 m when the cost of marketing for domestic launch (USA only) is factored into the equation. However, we are now witnessing a polarisation of film budgets into two tiers: large productions ($120–150 m) and niche features ($5–20m). Fewer $30–70 m releases are expected." Fox launched a new subsidiary in 2006, Fox Atomic, to concentrate on teen-oriented genre films. The economic model was deliberately low-rent, at least by major studio standards. According to a Variety report, "Fox Atomic is staying at or below the $10 million mark for many of its movies. It's also encouraging filmmakers to shoot digitally, a cheaper process that results in a grittier, teen-friendly look. And forget about stars. Of Atomic's nine announced films, not one has a big name". The newfangled B movie division was shut down in 2009.

As the Variety report suggests, recent technological advances greatly facilitate the production of truly low-budget motion pictures. Although there have always been economical means with which to shoot movies, including Super 8 and 16 mm film, as well as video cameras recording onto analog videotape, these media could not rival the image quality of 35 mm film. The development of digital cameras and post-production methods now allow even low-budget filmmakers to produce films with excellent, and not necessarily "grittier", image quality and editing effects. As Marone observes, "the equipment budget (camera, support) required for shooting digital is approximately 1/10 that for film, significantly lowering the production budget for independent features. At the same time, [since the early 2000s], the quality of digital filmmaking has improved dramatically." Independent filmmakers, whether working in a genre or arthouse mode, continue to find it difficult to gain access to distribution channels, though digital end-to-end methods of distribution offer new opportunities. In a similar way, Internet sites such as YouTube have opened up entirely new avenues for the presentation of low-budget motion pictures.

Likewise, from the year 2000 onward, the acceleration and implementation of computer generated imagery continued at an unprecedented rate. This lent to the creation of effects that would otherwise prove too costly using traditional methods. Certain genres in particular, such as disaster or creature features, saw increasing use of CGI. Consequently, this trend spurred a boost in B-grade productions targeted to a mass audience. In this vein, film companies, such as The Asylum, or channels, such as Syfy, made a concerted effort towards the development of B-grade movies with some even making such films a key part of their business model. Often, however, many of such were produced in an effort to capitalize on the success of more established features. Moreover, this new direction likewise garnered involvement from veteran B-movie filmmakers such as Roger Corman and Jim Wynorski.

Associated terms
The terms C movie and the more common Z movie describe progressively lower grades of the B movie category. The terms drive-in movie and midnight movie, which emerged in association with specific historical phenomena, are now often used as synonyms for B movie.

C movie
The C movie is the grade of motion picture at the low end of the B movie, or in some taxonomies, simply below it. In the 1980s, with the growth of cable television, the C grade began to be applied with increasing frequency to low-quality genre films used as filler programming for that market. The "C" in the term then does double duty, referring not only to quality that is lower than "B" but also to the initial c of cable. Helping to popularize the notion of the C movie was the TV series Mystery Science Theater 3000 (1988–99), which ran on national cable channels (first Comedy Central, then the Sci Fi Channel) after its first year. Updating a concept introduced by TV hostess Vampira over three decades before, MST3K presented cheap, low-grade movies, primarily science fiction of the 1950s and 1960s, along with running voiceover commentary highlighting the films' shortcomings. Director Ed Wood has been called "the master of the 'C-movie in this sense, although Z movie (see below) is perhaps even more applicable to his work. The rapid expansion of niche cable and satellite outlets such as Sci Fi (with its Sci Fi Pictures) and HBO's genre channels in the 1990s and 2000s has meant a market for contemporary C pictures, many of them "direct to cable" movies—small-budget genre films never released in theaters.

Z movie
The term Z movie (or grade-Z movie) is used by some to characterize low-budget pictures with quality standards well below those of most B and even C movies. Most films referred to as Z movies are made on very small budgets by operations on the fringes of the commercial film industry. The micro-budget "quickies" of 1930s fly-by-night Poverty Row production houses may be thought of as early Z movies. The films of director Ed Wood, such as Glen or Glenda (1953) and Plan 9 from Outer Space (1957), the latter frequently cited as one of the worst pictures ever made, exemplify the classic grade-Z movie. Latter-day Zs are often characterized by violent, gory or sexual content and a minimum of artistic interest; much of which is destined for the subscription TV equivalent of the grindhouse.

Psychotronic movie
Psychotronic movie is a term coined by film critic Michael J. Weldon—referred to by a fellow critic as "the historian of marginal movies"—to denote the sort of low-budget genre pictures that are generally disdained or ignored entirely by the critical establishment. Weldon's immediate source for the term was the Chicago cult film The Psychotronic Man (1980), whose title character is a barber who develops the ability to kill using psychic energy. According to Weldon, "My original idea with that word is that it's a two-part word. 'Psycho' stands for the horror movies, and 'tronic' stands for the science fiction movies. I very quickly expanded the meaning of the word to include any kind of exploitation or B-movie." The term, popularized beginning in the 1980s with publications of Weldon's such as The Psychotronic Encyclopedia of Film, The Psychotronic Video Guide, and Psychotronic Video magazine, has subsequently been adopted by other critics and fans. Use of the term tends to emphasize a focus on and affection for those B movies that lend themselves to appreciation as camp.

B-television
B-television is the term used by the German media scholar Heidemarie Schumacher in her article "From the True, the Good, the Beautiful to the Truly Beautiful Goods—audience identification strategies on German 'B-Television' programs" as an analogy to "B-movie" to characterize the development of German commercial television, which adopted "the aesthetics of commercials" with its "inane positiveness radiated by every participant, the inclusion of clips, soft focus, catchy music" as well as "promotion of merchandise through product placement". Schumacher notes that after 1984 deregulation German public television passed its climax and became marginalized. Newly established commercial stations, operating without the burden of societal legitimacy, focused solely on profitability. To establish and maintain viewer loyalty, these stations broadcast reality shows, sensational journalism, daily soap operas, infotainment programs, talk shows, game shows and soft pornography. In his article Schumacher mentions Amusing Ourselves to Death by an American cultural critic Neil Postman, who formulated the thesis of television programming as a derivative of advertising, creating "a species of information that might properly be called disinformation—misplaced, irrelevant, fragmented or superficial information that creates the illusion of knowing something but which in fact leads one away from knowing".

Like Postman, Schumacher notes that contemporary television advertisement often chooses to reinforce brand loyalty rather than promoting product. This reverse marketing approach is used by television broadcasters to advertise the stations themselves. Schumacher lists three specific principles: grabbing the viewers' attention, establishing emotional involvement with the audience, and maintaining the viewers' interest as the cornerstones to acquiring and maintaining market share. A commercial RTL station described such a building of viewers' loyalty in positive terms: "RTL has discovered something entirely new for television. The viewer".

Schumacher argues that viewer loyalty is established primarily through the representation of familiar emotional situations and the everyday problems of the viewers, which means that private stations broadcast predominantly private affairs. Further development of this approach led to creation of reality TV shows, which generate new realities by intervening directly in the actual life of its participants. Such personalisation and dramatization of television precipitated the "Fall of Public Man", in words of Richard Sennett.

The strategy of creating viewer loyalty through emotional sensations is reflected in scandalous "special news" that "favor sex and crime topics and employ highly affective commentary style, a clip aesthetic as well as a musical accompaniment borrowed from the crime film genre". As an example, Schumacher mentions Real Personal, a talk show about human sexuality that was televised by NBC five times a week during 1990s. "The title itself encapsulates the message of 'B-TV': real people and their 'real' problems are the focus here", contemplates Schumacher.

Mentioning the highly successful entertainment programs of David Letterman and Jay Leno, Schumacher proclaims that a talk show host, seen daily on the television screen, becomes almost a part of the family. "Spreading not only inanity, but also a sense of security", the host "provides a fixed portion of our daily routine" along with a daily soap opera, daily infotainment show or a daily game show.

"Appeals to viewer emotions and the active participation of the consumer enhance the ability of 'B-TV' to exploit the market", concludes Schumacher.

Erik Henriksen from Portland Mercury used the term "B-TV" when he reviewed Stargate Atlantis television series to describe the kind of show that is not "genuinely great", but one that "just works—albeit in a vaguely embarrassing and silly way—at entertaining the audience, at stringing along the same characters from week to week, at churning out boilerplate plots that are nonetheless peppered with just enough originality and uniqueness to make them enjoyable and fun and distracting."

Interviews of B movie professionals

 * The Astounding B-Monster Archive
 * Badmovies.org Interviews
 * Rogue Cinema
 * Search My Trash

Miscellaneous

 * Paste Magazine's 100 Best "B Movies" of All Time

title: B movie


text:
Squeeze play (baseball)

In baseball, the squeeze play (a.k.a. squeeze bunt) is a maneuver consisting of a sacrifice bunt with a runner on third base. The batter bunts the ball, expecting to be thrown out at first base, but providing the runner on third base an opportunity to score. Such a bunt is most common with one out. According to Baseball Almanac, the squeeze play was invented in 1894 by George Case and Dutch Carter during a college game at Yale University.

In a safety squeeze, the runner at third takes a lead, but does not run towards home plate until the batter makes contact bunting. A play at home plate is possible.

In a suicide squeeze, the runner takes off as soon as the pitcher begins the windup to throw the pitch, and before releasing the ball. If properly executed, and the batter bunts the ball nearly anywhere in fair territory on the ground, a play at home plate is extremely unlikely. However, if the batter misses the ball the runner will likely be tagged out, and if the batter pops the ball up a double play is likely.

These plays are often used in the late innings of a close game to score a tying, winning, or insurance run. A pitcher's typical defense against a squeeze play, if he sees the batter getting into position to attempt a bunt, is to throw a high pitch that is difficult to bunt on the ground.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Squeeze play (baseball)


text:
Girlfriend from Hell

Girlfriend From Hell is a 1989 American comedy horror film that was written and directed by Daniel M. Peterson. The film had its world premiere on April 24, 1989 at the Houston Film Festival and was released to video in August of the following year. It starred Dana Ashbrook and Liane Curtis, and follows a young high school girl who is possessed by the Devil in order to steal souls.

Plot
Maggie (Liane Curtis) is a shy woman that isn't very good with men. This changes after she is possessed by Satan, who uses Maggie's body to seduce the souls out of men. Enter Chaser (Dana Ashbrook) a bounty hunter seeking redemption by pursuing Satan and working off his sins for a shot at escaping purgatory.

Cast and characters

 * Dana Ashbrook as Chaser
 * Liane Alexandra Curtis as Maggie
 * Lezlie Deane as Diane
 * Anthony Barrile as Carl
 * James Daughton as Thomas J. Harper
 * Sarah Kaite Coughlan as Freda
 * Gerry Lively as God
 * Daphna Kastner as Nun with Gun
 * Ken Abraham as Rocco
 * Hilary Morse as Alice
 * Brad Zutaut as Teddy
 * Jack West as Hershel
 * Renee Wayne Golden as Mother Superior
 * Laura Bruneau as Sister Franks
 * Kim North as Sister Beans
 * Susan Rome as Nun with Gun
 * Jaqueline Robinson as Nun with Gun
 * James Karen as Carl's Dad
 * Alba Francesca as Carl's Mom

Reception
Initial critical reception was poor and Allmovie rated it at two stars.

Screened as part of their 25th Anniversary Project, Paul Freitag-Fey of Daily Grindhouse wrote it was "the type of film that sets up a mythology for the sake of a few jokes and then doesn't give a shit about it". IE: "The gun-toting nuns have nothing to do with the plot, mind you, and they have no idea they’re shooting at Satan – the filmmakers just wanted to make a joke about gun-toting nuns." They felt the viewer would do well to not concentrate on the plot, as the film was intended to be gag-based "goofy, light-hearted exploitation comedy" that did not take itself seriously.

In Creature Features: The Science Fiction, Fantasy, and Horror Movie Guide, author John Stanley praised the film, writing that it was "a supernatural/sci-fi spoof so dumb that it's fun to watch thanks to good performances by an appealing cast."

Stage musical
In 2011 playwright/composer Sean Matthew Whiteford adapted Girlfriend from Hell into a stage musical. The transformative musical features 20 songs and a much revamped storyline. It premiered at the Gene Frankel Theatre in the East Village in 2011. In April 2015, a concert version of the musical was presented at 54 Below, Broadway's Supper Club in NYC, following an evening of Patti LuPone. On August 1, 2015, another concert version was presented at The Cutting Room in NYC. A studio cast recording was made in Winter 2016 featuring Justin Matthew Sargent, Josephine Rose Roberts & Neka Zang. In 2019, Deb Miller of DC Metro Theatre Arts raved that “Whiteford’s hilarious high school horror show has the makings of a rock musical cult classic.” A website for the musical, girlfriendfromhellmusical.com was launched in 2020.

title: Girlfriend from Hell


text:
Talk:Bobby Orr

Newspaper ad for Trump
The article should mention the newspaper ad he placed endorsing President Trump.--Killashaw (talk) 18:39, 1 November 2020 (UTC)
 * See WP:UNDUE. Vaselineeeeeeee★★★ 20:48, 1 November 2020 (UTC)
 * What viewpoint are you worried may get undue weight?--Killashaw (talk) 21:00, 1 November 2020 (UTC)
 * The existence of the incident at all, in the broad sweep of Orr's history. Quite a few athletes and entertainers support various politicians.  Were Orr directly working for the campaign -- a bit awkward that, him being a Canadian citizen -- that would probably pass the bar.   Ravenswing      06:13, 2 November 2020 (UTC)
 * The existence of the ad isn't a viewpoint so your comments aren't relevant to WP:UNDUE.
 * When notable athletes and entertainers do something as significant as buying a full page ad in a newspaper to support a politician, I think it is usually in their articles. What do you mean by "directly working for the campaign"? How could his endorsement have been more direct? I don't understand what his being Canadian has to do with it "passing the bar".--Killashaw (talk) 08:22, 2 November 2020 (UTC)
 * Well, among other things, Canadian citizens don't get a vote in this country. Ummm ... I'd think it was fairly obvious what "directly working" for a political campaign is: working for it.  Is Orr a paid political consultant?  On the campaign staff?  "I think it is usually in their articles" -- do you have some examples to proffer?   Ravenswing      00:43, 3 November 2020 (UTC)
 * Canadians who become American citizens get a vote. I assume Orr has. Isn't there a law against foreigners interfering in our elections?
 * That's a heck of a "bar" you invented. Has any wealthy athlete or entertainer ever become a paid political consultant?
 * Some examples: Brett Favre, Mike Tyson, Eminem--Killashaw (talk) 21:56, 3 November 2020 (UTC)
 * "Giving due weight and avoiding giving undue weight means articles should not give minority views or aspects as much of or as detailed a description as more widely held views or widely supported aspects." Other than this instance, Orr has not been cited as being in political activism. Therefore, this instance is an isolated case and will mean nothing in a very short amount of time, thereby giving undue weight to this viewpoint if we include it in the article. Contrast this with Jennifer Lopez where she is known for being a political activist for several different events. Vaselineeeeeeee★★★ 14:42, 2 November 2020 (UTC)
 * Or with Tom Brady, who's had extensive coverage over the years questioning whether him being a personal friend of Trump's translates into a political endorsement. (More than once, Brady and/or his wife has stated that it doesn't.)   Ravenswing      00:43, 3 November 2020 (UTC)
 * @Vaselineeeeeeee, I thought I was following your argument until you mentioned "viewpoint". What viewpoint are you worried may get undue weight?--Killashaw (talk) 22:07, 3 November 2020 (UTC)
 * Are you able to answer? Killashaw (talk) 22:49, 18 November 2020 (UTC)
 * Political viewpoint in this BLP is undue given the limited and isolated scope of coverage. Vaselineeeeeeee★★★ 22:54, 18 November 2020 (UTC)
 * What political viewpoint?--Killashaw (talk) 22:57, 18 November 2020 (UTC)
 * Doesn't matter. Vaselineeeeeeee★★★ 23:33, 18 November 2020 (UTC)
 * When you wrote "giving undue weight to this viewpoint" are you using "viewpoint" differently than than what WP:NPOV is? The existence of the newspaper ad is not what WP:NPOV is talking about as a viewpoint. It's a fact.--Killashaw (talk) 23:52, 18 November 2020 (UTC)
 * Killashaw, you're just arguing for the sake of arguing at this point, and increasingly impenetrably and disingenuously. "What political viewpoint?" Seriously? That's right up there with your unfounded assumption that Orr is an American citizen, which he is not and never has been.  In any event, as was quite predictable, this business came and went from the 24-hour newscycle like the ephemeral flash it was, and you've attracted no support to your premise that it is a significant and memorable event in Orr's history. Time to drop the stick, the horse is dead.   Ravenswing      01:13, 19 November 2020 (UTC)

I know it's not popular to criticize #4 for anything, but agree with Killashaw on this one. It seems that many here are more interested in doing public relations for Bobby Orr than in conveying the truth in his biographical article. There is no disputing the fact that he took out a full page add in the New Hampshire Union Leader endorsing the former president and everything I wrote in my edit (which resulted in my being temporarily blocked and criticized for not making more contributions here) is verifiably true. As to whether it is newsworthy, I would argue it is based solely on the fact that it was so seemingly out-of-character for Mr. Orr to endorse such a divisive political figure. He took a risk of damaging his carefully-honed reputation when he took out that advertisement and many of his supporters voiced their shock and surprise in his support for Trump, some going so far as to write editorials and to discard their valued memorabilia. Regardless of how it is portrayed here and whether the gatekeepers will allow an honest assessment of Orr's personal life to appear here on Wikipedia, the event was certainly a "significant and memorable" event in Orr's personal history.

I was also attacked as having an anti-Orr agenda. My only agenda is honesty and in presenting Mr. Orr as he is rather than as he and his fans may wish him to be portrayed. Bobby has been my hero for the past 48 years. I have a great deal of admiration for him as a hockey player, for all his good works in the community, and for his strong character. This is why I found the incident so upsetting and noteworthy. His support for such a polarizing (and yes, sexist and racist) figure as Donald Trump was so shocking to my conscious and why I believe it should not be swept under the rug. But if gatekeepers such as Vaselineeeeeeee and Ravenswing are so intent on presenting only the sanitized version of Mr. Orr to the world, there is little I can do to change it. Their actions do, however, erode my faith in Wikipedia as an "open sourced" platform where one can turn to learn the truth, warts and all. Danny B MT (talk) 20:10, 5 August 2021 (UTC)
 * I'll reiterate a few of the things I said on your talk page. First off, the objection remains, as was stated before, that both WP:UNDUE and WP:BLP place strict constraints on isolated and ephemeral incidents in a public figure's career.  Orr is not a political activist, nor is commonly known for the same (and as much to the point, the degree to which a Canadian citizen can be a credible activist in American elections is limited).  This was not an enduring news story -- the overwhelming number of news articles about the endorsement  petered out by November 3rd. That Orr did make that endorsement (something no one, of course, refutes) is beside the point. Those policies, and those objections, debar this incident from mention here. But that being said, you are very ready to ascribe sinister motives to anyone who opposes you. You describe the other editors here as biased, and you described both the administrator who blocked you for BLP and edit warring violations and the one who refused your unblock request as censors. Yet these editors have made hundreds and even thousands of edits for every one they've made here, and neither of those two admins have edited this article at all, ever. You, by contrast, have made no other edits for twelve years save to this article and your talk page, related to this dispute. Pushing THIS agenda is your sole purpose here, and you cannot credibly deny it.  You have attempted to link no other athletes to their political endorsements, even to slap on the spurious Enablers of Donald Trump tag you tried to do here.  Further, whatever you may think of Trump -- and trust me, you cannot think worse of him than I do -- endorsing an incumbent politician for reelection, something that millions of people do, is not a prima facie infamous or egregious act.  Wikipedia is not your soapbox.   Ravenswing      21:28, 5 August 2021 (UTC)
 * Appropriate weight is a matter of judgment. 2 people think it is undue and 2 think it isn't. How do we break the tie?--Killashaw (talk) 21:18, 28 August 2021 (UTC)

The blowback Orr got for his endorsement was broad in both Canada and US, and grew in intensity over time as Trump refused to concede his loss and provoked a Jan. 6 coup attempt. It included pro hockey players. Derek Sanderson sprang to his defense, while admitting that neither he nor Orr could vote in US elections. It is simply untrue to pretend that referencing the highest profile thing Orr has done since his retirement is to give it "undue" weight. I saw this old and unconvincing discussion after I had already added a couple of sentences on the matter to his page. 72.86.135.155 (talk) 20:22, 31 January 2023 (UTC)

 * I see that one of the page's "gatekeepers", Vasileneeeeeeee, is edit warring against my contribution without explanation. This appears to be a pattern. Same person opined here that including the bare facts of Orr's endorsement controversy was inherently giving undue weight to marginal/minority viewpoints. No explanation offered for that extraordinary claim. Same person also refused to be drawn when asked what "viewpoint" was being promoted by describing the facts - simply stopped responding to the query that obviously could not be answered. I think there can be no reasonable doubt that the Trump-endorsement episode and its long, controversial aftermath gained more public attention than pretty much anything Orr has done since retirement. So any way you look at it, the appeal to WP:UNDUE fails. This appears to be not at all about suppressing minority viewpoints, and everything about suppressing information that some editors don't much like. 72.86.132.254 (talk) 01:09, 5 February 2023 (UTC)

It seems like an IP and a user want to restart this conversation without taking to talk. Can you keep an eye here. Vaselineeeeeeee★★★ 01:20, 6 February 2023 (UTC)

 * Yeah, there's still not a consensus behind the changes, and UNDUE still applies, whether or not the anon IP likes it. As far as "failure to respond" to the latest screed goes, one does dislike repeating oneself, over and over and over again.   Ravenswing      06:32, 6 February 2023 (UTC)
 * Neither of you has even attempted to justify your UNDUE claim; Vasiline flatly refused to do so when asked. There are no minority opinions being promoted by the addition of factual information. Neither is the information itself obscure or trivial by any reasonable measure, if that is what you actually meant. As a point of reference for trivia, the paragraph that precedes my edit is wall to wall trivia that virtually nobody could care about (jigsaw puzzles, really?!), and yet instead you are aggressively seeking to shield WP readers from seeing any information regarding a high profile controversy specific to Orr. It is plain that what you both are doing is insisting on imposing your personal preferences. As regards consensus, the majority of people who weighed in here have advocated for inclusion of this material. So it is only you 2 who are both against it and not coincidentally who both declare that there is no consensus against your own preferences. You are wrong and inconsistent on every single point you've raised to try to keep this info off of Orr's page. 72.86.136.83 (talk) 17:58, 6 February 2023 (UTC)
 * Yeah, we can see where your sympathies are at, edit warring to expand this further into a colossal deal. Enjoy your block.   Ravenswing      21:39, 10 February 2023 (UTC)

One of two to win four major awards?
In 85 Gretzky won the Hart, the Art Ross, the Lester B Pearson award and the Conn Smythe. Lafleur has also won these same awards in one year. 104.219.133.109 (talk) 11:22, 29 April 2022 (UTC)
 * The sentence says "major NHL awards" which shouldn't include the Pearson since it was awarded by the NHLPA. What qualifies as major? Let's avoid that issue and just say that he is the first to win four NHL awards in a season.--Killashaw (talk) 23:31, 1 May 2022 (UTC)

 * Mm, there's no issue to avoid. As you say, the Pearson is not an NHL award, nor is recognized as one.  Neither Gretzky nor Lafleur count here.   Ravenswing      00:50, 2 May 2022 (UTC)
 * So we should remove the sentence about Ovechkin since his four include the Pearson.--Killashaw (talk) 17:09, 19 May 2022 (UTC)
 * Done--Killashaw (talk) 19:54, 1 June 2022 (UTC)

Double usage.
The same picture of Orr’s skates on display at the HHOF is used twice in the article, with slightly different descriptions. While it may not necessarily be a violation of MOS guidelines or anything like that, it is unusual. KirkCliff2 (talk) 06:44, 17 January 2023 (UTC)

title: Talk:Bobby Orr


text:
The Toxic Avenger (1984 film)

The Toxic Avenger is a 1984 American superhero black comedy splatter film produced and directed by Michael Herz and Lloyd Kaufman (the latter credited as Samuel Weil for directing) from a screenplay by Joe Ritter, based on a story by Kaufman. The film was produced and released by Troma Entertainment. It is the first installment in The Toxic Avenger film series and generated a media franchise.

A director's cut was released in 2002, notably adding a scene with Marisa Tomei in one of her first roles.

Plot
Melvin Ferd Junko III is a 98-pound janitor at a health club in the fictional town of Tromaville, New Jersey, where a group of unknowingly murderous customers (Bozo, Slug, Wanda and Julie) regularly harass and bully him.

One day, the group tricks Melvin into wearing a pink tutu and unknowingly hugging a real sheep who he thought was Julie. He is ridiculed and chased around the health club. He ultimately jumps out of a second-story window and falls into a drum of toxic waste, which was on a flatbed truck parked outside. The toxic waste burns his skin and sets him on fire. After running away down the street, Melvin returns home to get relief in his bathtub. However, the chemicals transform him into a hideously deformed mutant with superhuman size and strength.

Meanwhile, a group of drug dealers, led by Cigar Face, are trying to bribe a police officer. When he refuses to accept the money, Cigar Face and his gang prepare to castrate him. Melvin suddenly appears and kills the criminals, and then leaves a mop on their faces as a calling card. Cigar Face escapes, promising to take revenge.

When Melvin returns home, his mother is terrified of him and will not let him in the house. He subsequently builds a makeshift home in the local junkyard.

A gang of three men hold up a Mexican restaurant and attack a blind woman, named Sara. They kill her guide dog and attempt to rape her, but are stopped by Melvin when he attacks them. Melvin then takes Sara back to her home, where they get to know one another and become romantically involved.

Melvin continues to fight crime, including drug dealers and pimps for underage prostitutes. As Melvin gives aid to the people in the city and is celebrated as a hero, Mayor Belgoody grows worried. It turns out the Mayor is the leader of Tromaville's extensive crime ring and fears having the truth exposed. He wants Melvin gone.

A group of men, led by Cigar Face, eventually surround Melvin with guns. Just before they fire on him, he leaps up to a fire escape so they shoot each other instead.

Melvin takes revenge on the four health club bullies who caused his transformation. He first attacks Wanda in the health club's sauna and burns her backside on the heater. He then returns to the club later, pursues Julie into the basement, and cuts off her hair. He finally confronts Bozo and Slug after they beat a woman and steal her car. They attempt to run Melvin down, but he leaps onto the roof and throws Slug out of the moving car. Melvin then gets in and pulls off the steering wheel, causing Bozo to drive off the side of a cliff. The car explodes, killing Bozo. Melvin climbs out uninjured and walks away.

When Melvin kills a seemingly innocent old woman in a dry cleaning store (who was, in fact, a leader of an underground human trafficking ring), Belgoody calls in the United States National Guard. Back in his junkyard home, Melvin is horrified at what he has become. He and Sara decide to move away from the city and into the nearby woods.

Melvin and Sara are eventually discovered, and the Mayor and the National Guard come to kill him. However, the people of Tromaville step in, and Melvin's mother identifies the mutant as her son. The Mayor's evil ways are revealed, and Melvin rips out his organs to see if he has "any guts." Hailed as a hero, the Toxic Avenger continues to combat crime in Tromaville.

Production
In 1975, Lloyd Kaufman had the idea to shoot a horror film involving a health club while serving as the pre-production supervisor on the set of Rocky. Years later at the Cannes Film Festival, Kaufman read an article that stated horror films were no longer popular, so he decided to produce his own take on one based on his idea. It was given the original working title of Health Club Horror, and eventually retitled.

Filming
Principal photography for The Toxic Avenger took place at various locations in New Jersey, with most of it shot in and around Boonton. The car chase scene, which ends with a car driving off a cliff and exploding, was filmed in Jersey City. The scene was inspired by the final truck scene in George Miller's film Mad Max 2. Filming was completed in 1983.

Theatrical
Troma Entertainment released The Toxic Avenger initially in 1984, receiving an early review from Variety in late December. During the next year, the film had a long run as the midnight movie on the single screen of the Bleeker Street Cinema in New York City. On April 4, 1986, the film opened on 45 screens and earned $140,000 for its opening weekend.

Home media
The Toxic Avenger was released by Troma on VHS and Betamax in 1986, and for the first time on DVD on March 25, 1998. It was later re-released by Troma on November 20, 2000 and again on September 3, 2002; with the latter release of the film being a part of a 4-Disk Toxic Avenger movie pack. The film was later picked up for distribution by Prism, who released the film on DVD on February 2, 2004. Troma then released its own 21st Anniversary Edition version of the film on March 29, 2005. On March 7, 2006, the film was released again on DVD by Koch Entertainment. The film would not receive another home media release until Troma released a "Japanese Cut" of the film on December 11, 2012. Troma released the film for the first time on Blu-ray on August 12, 2014. On November 18, later that year, it was again released on Blu-ray by Import Vendor.

Critical response
On review aggregator Rotten Tomatoes, The Toxic Avenger holds an approval rating of 70%, based on 20 reviews, and an average rating of 5.5/10. Its consensus reads, "A silly and ribald superhero spoof, Toxic Avenger's uninhibited humor hits more than it misses." On Metacritic, the film has a weighted average score of 42 out of 100, based on 8 critics, indicating "Mixed or average reviews".

Author and film critic Leonard Maltin awarded the film 2.5 out of 4 stars, calling the film, "A funny spoof... Not without violence and gore but still entertaining." Stephen Holden of The New York Times rated the film a score of 3/5, complimenting the film for its "maniacally farcical sense of humor", while also noting that the film itself was "trash."

TV Guide gave the film a negative 1/5 stars, writing "Though it is silly, sleazy, and graphically violent, The Toxic Avenger does hold a bit of warped charm for fans of this sort of thing." Keith Phipps from The A.V. Club was highly critical of the film, writing, "As for the movie itself, it's still a piece of trash, if a marginally entertaining one: it's too self-consciously parodic to be good kitsch, and too gross to be all that fun."

Reboot
On April 6, 2010, a remake of The Toxic Avenger was announced. The remake was set to be co-written and directed by Steve Pink.

On September 12, 2016, Variety reported that Conrad Vernon will direct the film, while Mike Arnold and Chris Poole were attached to rewrite the screenplay by Pink and Daniel C. Mitchell.

On December 10, 2018, it was announced that Legendary Pictures has won the rights to reboot The Toxic Avenger, with the original's producers, Lloyd Kaufman and Michael Herz of Troma Entertainment, to serve as producers. On March 21, 2019, Macon Blair was announced to write and direct the upcoming film.

On November 30, 2020, it was announced that Peter Dinklage would star in the film. In April 14, 2021, Jacob Tremblay and Taylour Paige were added to the cast. In June 11, 2021, Kevin Bacon, Julia Davis, and Elijah Wood joined the cast.

Principal photography commenced on June 21, 2021 in Bulgaria and wrapped on August 14, 2021.

The Toxic Avenger (2023) premiered as the opening film of Fantastic Fest on September 21, 2023.

title: The Toxic Avenger (1984 film)