Matinee is a 1993 comedy film directed by Joe Dante (Burying the Ex; Trapped Ashes; Gremlins; The Howling; Piranha) from a screenplay by Jerico Stone (My Stepmother Is an Alien) and Charlie Haas (Gremlins 2: The New Batch; Martians Go Home), the latter also portraying a schoolteacher.

The film is an ensemble piece about a William Castle (13 Ghosts; The Tingler; Mr. Sardonicus)-type independent filmmaker, with the home front in the Cuban Missile Crisis as a backdrop.

Joe Dante has said that the financing of the movie was difficult:

“Matinee got made through a fluke. The company that was paying for us went out of business and didn’t have any money. Universal, which was the distributor, had put in a little money, and we went to them and begged them to buy into the whole movie, and to their everlasting sorrow they went ahead and did it. [Laughs.]” (the film took $9,532,895 at the box office in the United States)

Main cast:

John Goodman (Kong: SkullIsland; 10 Cloverfield Lane; Arachnophobia), Cathy Moriarty (Casper; White of the Eye), Simon Fenton, Omri Katz, Lisa Jakub, Robert Picardo and Kellie Martin. Genre regulars Dick Miller and Kevin McCarthy have cameo roles.

A then-unknown Naomi Watts (Shut In; King Kong; The Ring) has a small role as a character in film within the film, The Shook-Up Shopping Cart.

Opening plot:

In Key West, Florida in October 1962, boys Gene Loomis (Fenton) and his brother Dennis (Lee) live on a military base (N.A.S. Key West); their father is away on a nearby submarine.

After hearing the announcement of an exclusive engagement of Lawrence Woolsey’s (Goodman) new sensational sci-fi horror film Mant! (“Half man! Half ant!” “in Atomo-Vision and Rumble-Rama!”), including Woolsey’s appearance in-person, they arrive home to President Kennedy’s television interruption, stating the presence of Soviet missiles in Cuba.

Woolsey concludes that this atmosphere of fear and paranoia is the perfect environment in which to open his atomic-radiation-themed film…

In the UK, the film was released on Blu-ray by Arrow Video on 12th September 2016

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• High definition digital transfer supplied by NBC Universal
• Lossless stereo audio
• Optional English subtitles for the deaf and hard of hearing
• Paranoia in Ant Vision, a discussion with director Joe Dante about the making of the film
• Mant!, the full length version of the film-within-a-film
• Discussion with Joe Dante on the effects of Mant!
• Vintage making of featurette
• Rare on-set footage, sourced from Joe Dante’s personal collection
• Original theatrical trailer
• Reversible sleeve featuring original and newly commissioned artwork by Graham Humphreys

Reviews:

“Joe Dante has always been a clever, witty and subversive film-maker, and Matinee is one of the best of his films to display these talents. His love for the cinema of the period means that Mant!, our film-within-a-film is spot-on for a 1950s monster movie…” John Llewellyn Probert, House of Mortal Cinema

“There are a lot of big laughs in Matinee, and not many moments when I didn’t have a wide smile on my face” Roger Ebert

“The scenes from “Mant”, shot in black and white, that Dante and Haas have cooked up are some of the best movie satires on film. It’s not easy to parody a genre that’s already close to self-parody but the filmmakers triumph again and again. Actors such as Kevin McCarthy turn up in cameos for that all important deja-vu effect, and the special-effects are imperially tacky.” Peter Rainer, Los Angeles Times

“Matinee, which devotes a lot of energy to the minor artifacts of American pop culture circa 1962, is funny and ingenious up to a point. Eventually, it becomes much too cluttered, with an oversupply of minor characters and a labored bomb-and-horror-film parallel that necessitates bringing down the movie house…” Janet Maslin, The New York Times

“The charm of Matinee, a witty and affectionate homage to the sci-fi trash of yesteryear, is that director Joe Dante (Gremlins) appreciates both the tackiness and the awe.” Owen Gleiberman, Entertainment Weekly

“At the same time that Dante has a field day brutally satirizing our desire to scare ourselves and others, he also re-creates early-60s clichés with a relish and a feeling for detail that come very close to love.” Jonathan Rosenbaum

“Dante’s movie is a romp, no doubt, but its nostalgia is a heartier variety than what we usually get, and it leaves us with an undercurrent of uneasiness that is unusual for a genre most often content enough to look back through amber. Woolsey’s words resonate for every youngster who has searched for reasons to explain their attraction to the scary side of cinema and memories of the places where those images were first encountered, but in Matinee there’s another terror with which to contend, one not so easily held at bay.” Sergio Leone and the Infield Fly Rule

Interview:

Director Joe Dante interviewed by Glenn Erickson for DVD Savant

Buy Ghouls, Gimmicks and Gold: Horror Films and the American Movie Business, 1953 – 1968
 Amazon.com | Amazon.co.uk

Music:

The original score was composed by Jerry Goldsmith (Poltergeist; Alien; The Omen).

Several cues from previous films were also used, arranged and conducted by Dick Jacobs, including music from Son of Dracula (1943); It Came from Outer Space (1953); Tarantula (1955); The Deadly Mantis (1957); This Island Earth (1955), Creature from the Black Lagoon (1954); Revenge of the Creature (1955); The Creature Walks Among Us (1956).

Cast and characters:

• John Goodman as Lawrence Woolsey
• Cathy Moriarty as Ruth Corday / Carole
• Simon Fenton as Gene Loomis
• Omri Katz as Stan
• Lisa Jakub as Sandra
• Kellie Martin as Sherry
• Jesse Lee as Dennis Loomis
• Lucinda Jenney as Anne Loomis
• James Villemaire as Harvey Starkweather
• Robert Picardo as Howard, the Theater Manager
• Jesse White as Mr. Spector
• Dick Miller as Herb Denning
• John Sayles (writer of Alligator; The Howling; Piranha) as Bob
• David Clennon as Jack
• Lucy Butler as Rhonda
• Belinda Balaski as Stan’s Mom
• Naomi Watts as Shopping Cart Starlet

Wikipedia | IMDb

‘Once you find it. They won’t let you leave.’

The Shrine is a 2010 Canadian supernatural horror film directed by Jon Knautz (Goddess of Love; Girl House; Jack Brooks: Monster Slayer) from a screenplay co-written with Brendan Moore and Trevor Matthews (Girl House).

A young American backpacker has gone missing in Poland. Three journalists link his disappearance to a remote village infamous for its bizarre cult activity and rumours of human sacrifice and go to investigate…

Main cast:

Aaron Ashmore (Fear Island; The Thaw), Cindy Sampson (Supernatural; High Plains Invaders; Swamp Devil), Meghan Heffern (American Gothic; The Fog; Insecticidal), and Trevor Matthews (Girl House; Jack Brooks: Monster Slayer).

Buy: Amazon.co.uk | Amazon.com

Reviews:

“After a rocky start, The Shrine finds its footing and delivers a tense, exciting, wacky conclusion. The final twist is satisfying and does not feel forced in any way. The film is more enjoyable than expected, but could have used a more focused and entertaining beginning. The shrine itself is creepy as hell and the final act is full on madness and possessed mayhem.” Doc Rotten, HorrorNews.net

“Its hard to throw punches at a film that’s so effortlessly entertaining, despite its inherent flaws and weaknesses. In many ways its these perceived weaknesses that actually elevate it to a higher status. The overacting, the ‘too bright’ colours, the head-scratching plot holes, (build a f*cking fence!!) and the cheesy costume designs all add to its charm.” The Horror Hotel

“Everything that is wrong here – the dull stock characters, the derivative plotting, Polish folk obviously played by non-Poles and Polish settings obviously not shot in Poland – could have been elevated by some sharp parodic writing and self-aware wit, as if to show that the filmmaker was in on the joke of how well-worn his material is. Instead we get a po-faced, poor imitation of a standard straight-to-video horror flick.” Anton Bitel, Eye for Film

“There’s a pretty solid crucifixion-style scene, some decent looking rubbery monsters, some solid in-camera no frills jump-scares, and some flat out brutality that redeems this little number by the end of its running time.” Frank Cotton, Horribly Hooched

“Even with its familiar trappings and some occasional bumps in the road, The Shrine is an enjoyable little throwback.” Scott Weinberg, FEAR.net

Buy: Amazon.com

“The Shrine is a lean, mean tale that recalls the fog shrouded hamlets cursed by horrific unearthly evils which were brought to life by H.P. Lovecraft. It’s plot is original and unique; a rare bird to find in this age of cinematic remakes,  bland re-imaginings, crappy reboots and horrid knockoffs. Check it out!” Bloody Whisper

Cast and characters:

• Aaron Ashmore as Marcus
• Cindy Sampson as Carmen
• Meghan Heffern as Sara
• Trevor Matthews as Henryk
• Vieslav Krystyan as Arkadiusz
• Laura DeCarteret as Laura Taylor
• Ben Lewis as Eric Taylor
• Julia Debowska as Lidia
• Monica Bugajski as Emilia
• Stefen Hayes as Aleks
• Connor Stanhope as Dariusz
• Philip Craig as Dale

Production company:

Brookstreet Pictures

Filming locations:

Pickering, Toronto and Vaughan, Ontario, Canada

Wikipedia | IMDb | Facebook

‘The most important man in a woman’s life is her father‘

The Id is a 2016 American psychological horror film directed by Thommy Hutson (writer of Animal; Elm Street and Friday the 13th documentaries, making his feature debut), from a screenplay by co-producer Sean H. Stewart. The film stars Amanda Wyss (The Graves; Black Magic Woman; A Nightmare on Elm Street), Patrick Peduto (Revelator) and Jamye Grant.

Plot:

For decades, Meridith Lane (Amanda Wyss) has felt trapped in her home. Thriving on memories of youth, she watches the years slip by while caring for her abusive father…until a figure from her past makes a surprising return.

In order to live the life she desires, Meridith must confront her father’s monstrous cruelty and attempt to escape his tyrannical grip. But the man who controls her every move won’t let go without a fight, leading father and daughter into a series of desperate and irreversible acts…

Availability:

Alongside being available via digital download, Hutson Ranch Media issued the film on Blu-ray on October 25, 2016 with the following special features:

Featurette: Needs, Wants & Desires: Behind The Scenes of The Id
Audio Commentary with Director/Producer Thommy Hutson and Actress Amanda Wyss
Deleted & Alternate Scenes
Behind-the-Scenes Footage
Audition Clips
Photo gallery
Trailers

Reviews:

“It is of course a slow burn, as we must witness the decline of Meridith’s mind and her (cliché term) descent into madness, but I felt like some of the sequences could have been tightened … The film’s oppressive mood and the painful situations the audience must endure while screening The Id; are nothing compared to the work of Amanda Wyss in the lead role.” Michael Klug, HorrorFreak News

” …there is an over-reliance on flashbacks and fugue-state fantasy sequences that are fine to begin with but become repetitive over time. Luckily, the movie is not overly long, and its lively editing style quickens the pace to the point of a gallop as the bloody climax comes to a close. The Id is a thought-provoking psychological chiller that’s well worth a look.” Staci Layne Wilson, Dread Central

“Along with the storyline, the acting was phenomenal by everyone. Patrick Peduto’s character as Meredith’s father was incredible and ruthless. You were supposed to hate him and you did. Amanda Wyss, hands down, was the perfect pick for the starring role. She gave a brilliant performance as Meredith, one worthy of an Oscar. Her acting is raw, vulnerable, and captivating as you can feel every emotion she is going through.” Tori Danielle, PopHorror

“The opening creepily sets the tone for the movie, as Meridith muses that she believes her father loved her, but “I also believe that if you love something truly, if you love something completely, you can’t help but destroy it.” Overall, I was impressed (and depressed). The more I think about it, the more fascinating the symbolism becomes. Give it a look if you’re in the mood for something thoughtful and haunting.” Lois Kennedy, Addicted to Horror Movies

“When you’re watching The Id – and you really should – then you will definitely be uncomfortable. And you will want to look away. Just like Meridith would prefer to look away from everything. Unfortunately, after years of abuse by her father, his words are constantly in her head. Even when he’s sleeping or nowhere near her, she can imagine what he would say to her.” Scream Queen, Heaven of Horror

Interviews:

Amanda Wyss talks to Legion of Leia

Cast and characters:

• Amanda Wyss as Meridith Lane
• Patrick Peduto as Father
• Jamye Grant as Tricia
• Malcolm Mathews as Ted
• Karen Leabo as Dana
• Brent Witt as Fantasy Ted and Officer McDaniel
• Stefanie Guarino as Officer Lopez
• Erin Astin as Young Meridith
• Ryan Bouton as Young Ted

Wikipedia | IMDb

‘Seconds is not for weak sisters. It may not even be for strong stomachs!’

Seconds is a 1966 American science fiction drama film directed by John Frankenheimer (Prophecy; The Manchurian Candidate) and starring Rock Hudson (Embryo). The screenplay by Lewis John Carlino (Haunted Summer) was based on ‘Seconds, a novel’ by David Ely.

The black and white cinematography by James Wong Howe (Bell, Book and Candle; Mark of the Vampire) was nominated for an Academy Award. The distinctive helvetica opening titles were designed by Saul Bass (director of Phase IV; title design for Hitchcock’s Psycho). The score was by Jerry Goldsmith (Matinee; Link).

Although poorly received at the time and a box office failure, Seconds has gone on to become a cult classic. In 2015, the United States Library of Congress selected the film for preservation in the National Film Registry, finding it “culturally, historically, or aesthetically significant.”

Buy: Amazon.co.uk

• Gorgeous restoration from a 4K transfer, in 1080p HD on the Blu-ray
• Two feature-length audio commentaries: one by director John Frankenheimer, and one by film scholar Adrian Martin
• New video interview with novelist and critic Kim Newman
• Optional English subtitles for the deaf and hearing-impaired
• Original theatrical trailer
• Booklet featuring new essays by critics David Cairns and Mike Sutton

Plot [contains spoilers]:

Arthur Hamilton (John Randolph) is a middle-aged man whose life has lost purpose. He’s achieved success, but finds it unfulfilling. His love for his wife has dwindled and he seldom sees his only child. Through a friend, a man he thought was dead, Hamilton is approached by a secret organization, known simply as the “Company” which offers him a new life.

Upon arriving for a meeting , Hamilton arrives at a meat packing plant. He is given workman overalls and hat, then exits the facility out a different door where he is next seated inside the back of a truck which proceeds to another building. He disappears into a large complex filled with dark, empty hallways where he awaits his transformation. The Company gives Hamilton the body of a young man (Rock Hudson) through plastic surgery and a new identity. He later discovers this identity has been taken from someone who recently passed on.

He is resettled into a community filled with people like him who are “reborns”. Eventually, Hamilton decides the new life isn’t what he wants. He contacts the Company, letting them know he wants a different identity and they seem to agree. It turns out to be a lie and Hamilton learns as he is wheeled to the operating room, before being sedated, that he is to be killed…

Reviews:

” …the film’s uptight view of the hang-loose West Coast feels like a slightly forced argument, until Frankenheimer regroups and the jaws of the narrative shut tight on one of the most chilling endings in all American cinema.” Trevor Johnston, Time Out London

“To watch Seconds is to enter a special kind of Hell that leaves no one unscathed. It indicts the money-grubbing culture of businessmen and the  burgeoning hippie aesthetic as equally hollow with a simple, sinister premise.” Eric Melin, Scene Stealers

“Within a few years, the capitalist and consumerist critique that Seconds put to such thrilling use would be more commonplace in a film industry desperate for counter-cultural cachet. But unlike many of those rebel statements against the mainstream, Frankenheimer’s film understood that there were no easy answers to Arthur’s kind of despair.” Chris Barsanti, Pop Matters

“Director John Frankenheimer and Veteran Photographer James Wong Howe manage to give the most improbable doings a look of credible horror. Once Rock appears, though, the spell is shattered, and through no fault of his own … Seconds has moments, and that’s too bad, in a way. But for its soft and flabby midsection, it might have been one of the trimmest shockers of the year.” Time, October 14, 1966

“This has some intriguing aspects on the yearning for youth and a chance to live life over again by many men. But this Faustian theme is barely touched on and the hero’s tie with the past is also somewhat arbitrary. Film [from the novel by David Ely] does not quite come off as a thriller, sci-fi adjunct or philosophical fable.” Variety, December 31, 1965

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• New 4K digital film restoration, with uncompressed monaural soundtrack
• Audio commentary featuring director John Frankenheimer
• Actor Alec Baldwin on Frankenheimer and Seconds
• New program on the making of Seconds
• Interview with Frankenheimer from 1971
• New visual essay by film scholars R. Barton Palmer and Murray Pomerance
• An essay by critic David Sterritt

Cast and characters:

• Rock Hudson – Antiochus “Tony” Wilson
• Salome Jens – Nora Marcus
• John Randolph – Arthur Hamilton
• Will Geer – Old Man
• Jeff Corey – Mr. Ruby
• Richard Anderson – Dr. Innes
• Murray Hamilton – Charlie Evans (also in Jaws; Jaws 2 and The Boston Strangler)
• Karl Swenson – Dr. Morris
• Khigh Dhiegh – Davalo
• Frances Reid – Emily Hamilton
• Wesley Addy – John
• John Lawrence – Texan
• Elisabeth Fraser – Plump Blonde
• Dodie Heath – Sue Bushman (as Dody Heath)
• Robert Brubaker – Mayberry
• Barbara Werle – Secretary
• Tina Scala – Young Girl stomping on the grapes in the party scene

Wikipedia | IMDb

‘It claws… it drains blood!’

The Vampire is a 1957 American horror film directed by Paul Landres (The Flame Barrier; The Return of Dracula) from a screenplay by Pat Fielder (The Monster That Challenged the World).

Like The Werewolf (1956), The Vampire offered a science fiction take on a traditionally supernatural creature, although the films were produced by different production companies.

The Arthur Gardner and Jules V. Levy production was released theatrically on a double-bill with The Monster That Challenged the World. It was shown on American TV as Mark of the Vampire. In the UK, the film was cut by the BBFC to obtain an ‘X’ certificate.

On April 11, 2017, the film is released on Blu-ray by Scream Factory.

Buy: Amazon.com

Main cast:

John Beal (Amityville 3-D; The Bride), Coleen Gray (Tales from the Darkside ‘The Shrine’; The Phantom Planet; The Leech Woman), Kenneth Tobey (The Thing from Another World; It Came from Beneath the Sea; The Beast from 20,000 Fathoms), Lydia Reed, Dabbs Greer (House IV; It! The Terror from Beyond Space; House of Wax).

Plot:

The late Dr. Campbell was experimenting with vampire bat blood just before his death. Fellow doctor Beecher (John Beal) finds a bottle of pills among Dr. Campbell’s effects and takes them home.

Unfortunately, Dr. Beecher’s daughter accidentally substitutes the vampire blood pills for her father’s migraine tablets. As a result, the kindly Dr. Beecher starts having blackouts from the pills, making him change into a bloodthirsty monster by night…

Reviews:

“As routine and juvenile as this synopsis may sound, John Beal actually turns in a strong and highly sympathetic performance as the tormented doctor and elevates the picture.” Joe Karlosi, DVD Drive-In

“What it lacks in music and atmosphere it makes up in composition and variety of shots. It has good makeup, two time-lapse transformations, and several effective shock moments.” David Elroy Goldweber, Claws & Saucers

“Predictable and rather dull, the film undercuts its own rationalist-scientific approach – with small town replacing gothic castle – by having Beal transform into a wrinkled, shaggy monster-man.” The Aurum Film Encyclopedia: Horror

“Part Jekyll And Hyde story and part traditional vampire movie, the highlight of the film is the last twenty minutes or so, with the time lapse transformation from man into monster standing out as the coolest thirty seconds in the entire movie. Sure, the effects aren’t good by modern standards and you can plainly see that he’s just got a bunch of fuzz and latex glued to his face and hands, but there’s definitely a whole lot of wacky charm to this movie.” Ian Jane, Rock! Shock! Pop!

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” …The Vampire is hindered by uneven pacing, especially in the crucial final act, and by special effects that are nothing short of miserable. Worse yet, the filmmakers seem to have had no idea how pathetic their monster makeup was.” 1000 Misspent Hours and Counting

“The film, while not having the best makeup effects as it looks like they simply pasted some hair and silly putty on the guy to make him a vampire, looks beautiful.  The cinematography by Jack MacKenzie coupled with the direction by Paul Landres is crisply shot in black and white and they make good use of the surroundings with heavy shadows to give the movie the needed tension and dread.” The Telltale Mind

“Infantile stuff, despite the censor’s “X”. But on the whole, a reasonably chilling chiller, with some nice small-town touches.” Picturegoer, 1957

Full pressbook at Zontar of Venus

Cast and characters:

• John Beal as Dr. Paul Beecher
• Coleen Gray as Carol Butler
• Kenneth Tobey as Sheriff Buck Donnelly
• Lydia Reed as Betsy Beecher
• Dabbs Greer as Dr. Will Beaumont
• Herb Vigran as George Ryan
• Paul Brinegar as Willy Warner

Wikipedia | IMDb

‘He’s a specialist in his field!’

Doctor Death: Seeker of Souls is a 1973 American supernatural horror film produced and directed by Eddie Saeta (assistant director on 20 Million Miles to Earth) from a screenplay by associate producer Sal Ponti. It was promoted by US distributors Cinerama Releasing as Doctor Death.

Dr. Death (John Considine) is a thousand-year-old magician who has mastered the art of transferring souls from one body to another and thereby manages to perpetuate himself …

Main cast:

John Considine (Endangered Species; The Thirsty Dead), Barry Coe (Jaws 2), Cheryl Miller, Stewart Moss, Leon Askin, Jo Morrow, Florence Marly (The Astrologer; Games; Queen of Blood), Sivi Aberg, Jim Boles, Athena Lorde, and Moe Howard (one of the Three Stooges).

Reviews:

“Thoroughly enjoyable obscure horror rarity featuring an infinitely memorable grand guignol style lead villain. Saeta may have never directed another movie, but he makes this sole entry deliciously memorable and fun. Without John Considine as Dr. Death, it’s unlikely the film would be as good as it is. A hidden gem of 70’s horror.” Cool Ass Cinema

“A wild, garish collision of drive-in gothic ’60s horror and ’70s shag pile carpet sensibilities, Doctor Death doles out the bloody goods while keeping its camp theatrics at just the right pitch. Fans of Robert Quarry and Vincent Price’s outings from the same era will definitely get a kick out of the bearded Considine’s theatrical performance, which is a pretty good indication of how The Wizard of Gore might have played with a competent actor in the leading role.” Nathaniel Thompson, DVD Delirium Volume 4

Buy: Amazon.co.uk | Amazon.com | Amazon.ca

“Although Saeta had never directed a horror film before, he shows some flair for the genre, never taking the campy material too seriously yet allowing things to be played straight pretty much throughout. There are some haunting sequences within, including Fred following his dead wife’s ghost into her open tomb, and the film should satisfy most gorehounds…” George R. Reis, DVD Drive-In

“The soul transference plot was pretty interesting, and there’s something kind of wonderfully perverse about a movie where the villain seems to care more about the hero’s loved one than the hero himself. Again, the story was kind of novel – it was the lack of urgency that brought it down … There are some surprisingly graphic murders (there’s a great ax kill), but it’s never scary or even that suspenseful – it’s just “kind of cool”. Brian W. Collins, Horror Movie a Day

Buy: Amazon.com | Amazon.co.uk | Amazon.ca

“Overall this is a pretty bad effort, but camp fans may get some satisfaction from the cameo appearances by former Stooge Moe Howard (in his final role) and TV horror host Larry “Seymour” Vincent.” James J. Mulay (editor), The Horror Film: A Guide to More Than 700 Films on Videocassette. Buy: Amazon.com | Amazon.co.uk

“Considine, later a regular in Robert Altman and Alan Rudolph movies, gives an all-out performance, killing one woman after another with the help of his assistant, Thor, and screaming, “Enter that body! Why do you resist these beautiful souls?” When someone stabs him, blood spurts from the doctor’s body into the face of the attacker, who disintegrates, then bursts! A bloody head with guts attached is delivered in a box. Dr. Death is a very strange movie.” Michael J. Weldon, The Psychotronic Video Guide

Buy: Amazon.com | Amazon.co.uk | Amazon.ca

“It’s not anything great, but it is entertaining. This is basically due to the story and to Considines’ wonderfully hammy performance. The filmmaking isn’t anything special, despite the use of some amusing scene transitions. Considine really is the main reason to watch…” Scott LeBrun, IMDb

In 2009, Scorpion Releasing issued a limited edition (1,000 copies) Blu-ray.

Buy: Amazon.com | Amazon.co.uk

Choice dialogue:

Doctor Death: ““Enter that body! Enter that body!”

Fred Saunders (referring to Doctor Death): “Why, he’s mad!”

Moe Howard (Three Stooges) admires Sivi Aberg

Filming locations:

Aldrich Studios, Los Angeles, California, USA

IMDb | Image thanks: Cool Ass Cinema | The Last Drive-In

‘A young bride alone with an evil dwarf’

The Sinful Dwarf – original title: Dværgen (English: “The Dwarf”) – is a 1973 Danish exploitation horror film directed by Vidal Raski (his sole film credit, so most probably a pseudonym). The film was released theatrically in the US by Harry H. Novak as both The Sinful Dwarf and Abducted Bride.

On February 23, 2016, Severin Films unleashed The Sinful Dwarf on Blu-ray with the following special features:

• The Abducted Bride – Alternate US Release Version
• The Harry Novak Story – Featurette On The Sultan Of Sexploitation With American Grindhouse Director Elijah Drenner
• The Blue Balloon (Dir. Svig Sven) Color / 1973 / 75 mins
• The Hottest Show in Town – Excerpt From Torben Bille Film
• The Search For Torben – Featurette On Effort To Find Cast/Crew
• The Dwarf – International Version
• The Severin Controversy – Featurette on the Lasting Effects of The Sinful Dwarf
• Trailers, TV Spot, Radio Spot

Buy: Amazon.com | Amazon.co.uk

Plot:

Olaf (Torben Bille) brings women to the home he shares with his drunken mother (Clara Kelle). Once the unlucky ladies arrive, they are drugged, imprisoned, tied up and then turned into junkie-prostitutes. Olaf and ma are also landlords and it’s not long before their new tenants become suspicious about the footsteps in the attic…

Review:

It would be easy to assume that any film boasting such a grand title could never live up to its billing. Not so. The Sinful Dwarf delivers on every level, certainly several levels above the sensational Bille, perhaps the most thoroughly demented performance by any dwarf actor captured on film.

Bille was a common face on Danish television and puts his all into his performance as Olaf, sweating, gurning and frothing at the mouth throughout as he feeds his harem of girls heroin (smuggled into an unconvincing London inside children’s toys) to ensure none of them attempt to escape.

Rumoured to have married the female lead, Anne Sparrow (his nubile tenant), Bille used the film as a springboard onto other fruity material, including Agent 69 Jensen i Skorpionens tegn, starring Anna Bergman, daughter of the famed director, Ingmar and star of one of television’s most notorious racially-insulting comedies, Mind Your Language. Nothing else in his career, from children’s TV presenter to more adult material ever came close to Sinful Dwarf, though.

Despite the rather grey Copenhagen looking little like swinging London, the wooden acting, Bille’s somewhat maverick timing in delivering his lines and the fact everyone looks like they need a wash, the film is essential viewing for any fans of unusual/off-beat or exploitation cinema.

Copious amounts of nudity, sex (off-putting, not titillating), drug use, murder and a bit of singing, the nearest film you could possibly describe it to would be Blood Sucking Freaks. Even then, Ralphus is playing serious catch-up to Olaf. We must mourn that they never appeared together.

By the time you’ve fully got your head around the finale, there can be little doubt that the film not only comes from another time but almost another planet, the odd surroundings and unfamiliar cast lending a feeling of unease to what otherwise is simply top-draw filth (meant in a congratulatory sense). Sadly, Torben died aged 47 in 1993.

Daz Lawrence, Horrorpedia

Buy the Japanese poster from Amazon.com

Amazon.co.uk | Amazon.com

Return of the Fly is the first sequel to the 1958 horror film The Fly. It was released in 1959, and directed by Edward Bernds. Unlike the preceding film, Return of the Fly was shot in black and white. It was followed by a further sequel in 1965, Curse of the Fly.

Plot:

Phillipe Delambre is determined to vindicate his father by successfully completing the experiment. His uncle Francois (Vincent Price) refuses to help. Phillipe hires Alan Hines from Delambre Frere and uses his own finances, but the funds run out before the equipment is complete.

When Phillipe threatens to sell his half of Delambre Frere, Francois relents and funds the completion. After some adjustments, they use the transporter to “store” and later re-materialize test animals. Alan Hines turns out to be Ronald Holmes, an industrial spy. Ronnie tries to sell the secrets to a shadowy cohort named Max.

Before Ronnie can get away with the papers, a British agent confronts him. Ronnie knocks him out and uses the transporter to “store” the body. When rematerialized, the agent has the paws of a guinea pig that had been disintegrated earlier, and the guinea pig has human hands…

Buy: Amazon.com

“Somewhere along the line this “horror” movie morphs into a noir-esque drama rife with shady characters, tilted Stetsons, cars rolling over cliffs with bodies in the trunk—but no tough dames, sorry […] To the filmmakers’ credit, they avoid simply repeating the same plot as the original; even though there are strong similarities, there are also enough twists to make this movie enjoyable for its own sake.” David Maine, Pop Matters

” … the film was only interested in jerry-rigging things to get another guy into a giant fly mask … Watching somebody lose the battle for all the things that matter to him resonates with everyone on some level. Watching his son try not fall over because of an oversized prop fly head only makes you realize that they should have hung a flystrip up in the lab the second go around.” Monsterhunter

“The film only lasts for an hour and fifteen minutes, and yet is plodding and too lengthy for the most part. The production design is more ambitious, and the stark black-and-white imagery seems to have dated less than the original’s colour tones, but this appears to be the only thing going for Return of the Fly.” Raphael Pour-Hashemi, The Digital Fix 

“With stark black-and-white photography by Brydon Baker, director Edward L. Bernds evokes some horrifying moments in a mortuary and keeps things buzzing.” John Stanley, Creature Features

Buy: Amazon.com

” …abandons any pretence to dramatic content in favour of re-using the gimmick from the first film: the ‘happy’ ending is particularly unfortunate.” Alan Frank, The Horror Film Handbook

“Although Bernds script is overly episodic and his direction flat, the film was a commercial success…” The Aurum Film Encyclopedia: Science Fiction

“Artless and filmed on a strictly B picture budget and with a B picture script, this fly should have stayed swotted.” Films and Filming, 1959

Buy: Amazon.co.uk

Buy: Amazon.co.uk

Buy: Amazon.co.uk

Wikipedia | IMDb | AFI | Amazon.com

Image thanks: the scene of screen 13

‘Evil has been summoned… again!’

Wishmaster 2: Evil Never Dies is a 1999 American supernatural horror film written and directed by Jack Sholder (Arachnid; The Hidden; A Nightmare on Elm Street 2: Freddy’s Revenge; Alone in the Dark) based on a character created by Peter Atkins (Hellraiser sequels). It stars Andrew Divoff, Paul Johansson (Van Helsing TV series), Holly Fields (The Munsters Today) and Bokeem Woodbine.

Production designer Alfred Sole directed Communion aka Alice, Sweet Alice (1976) and slasher spoof Pandemonium (1982).

Plot:

Evil has been summoned once again when the Djinn (Andrew Divoff) is accidentally awakened by a burglar named Morgana (Fields) during a botched art robbery.

When the Djinn deliberately takes blame for the crime, he’s sent to prison where he grants wishes to pent-up prisoners in return for their souls, to ultimately structure an army to obliterate all humanity. It’s up to Morgana to save the human race…

Director Jack Sholder has commented: “That’s one that I have very mixed feelings about because there are parts of it that I really like, but I think, all in all, it’s a little dumb.

To tell you the truth, I haven’t seen it since I, uh, made it. When I was making it, I thought it was good. I thought a lot of it was kind of funny or clever. I definitely feel it has merit. From what I can gather, it’s one of those films that divides people. Some people don’t like it, others do.

And, you know, it was also a sequel to a movie that I thought wasn’t a good movie at all. It’s a movie that I did, and I don’t regret doing. You know, there’s a lot of stuff that I think is pretty good from it. You know, like the scene from the casino I thought was pretty good. Maybe it comes off as being silly.” Behind the Curtain Part II (2012).

On March 28, 2017, the film is released on Blu-ray by Vestron Video/Lionsgate as part of the Wishmaster Collection:

Buy: Amazon.com

Wishmaster Special Features:

Audio Commentaries:
Director Robert Kurtzman and screenwriter Peter Atkins
Director Robert Kurtzman and stars Andrew Divoff and Tammy Lauren
Isolated Score Selections/Audio Interview with composer Harry Manfredini

Featurettes:
“Out of the Bottle” – Interviews with director Robert Kurtzman and co-producer David Tripet
“The Magic Words” – An Interview with screenwriter Peter Atkins
“The Djinn and Alexandra” – Interviews with stars Andrew Divoff and Tammy Lauren
“Captured Visions” – An Interview with director of photography Jacques Haitkin
“Wish List” – Interviews with actors Kane Hodder and Ted Raimi
Vintage Featurette: “Making of Wishmaster”

Trailers, Spots, Galleries: Teaser & Theatrical Trailers, TV & Radio Spots, Storyboard & Still Galleries
Behind-the-Scenes Footage Compilation

Wishmaster 2

Audio Commentary with writer/director Jack Sholder
Trailer
Still Gallery

Wishmaster 3

Audio Commentary with director Chris Angel and cast members John Novak, Jason Connery, and Louisette Geiss
Vintage Featurette: “Making of Wishmaster 3: Beyond the Gates of Hell”
Trailer

Wishmaster 4

Audio Commentaries:
Director Chris Angel and cast members Michael Trucco and Jason Thompson
Director Chris Angel and actor John Novak
Featurette: “Wishmasterpiece Theatre”
Trailer

Reviews:

“With his strong voice and devilish smile, hinting at the terrible secret his character is hiding from the world, Divoff continues the fine work he did in Wishmaster, bringing to life a dangerous character and clearly having fun in the process. In his hands, what was, for the most part, a disappointing sequel is transformed into a worthwhile experience.” DVD Infatuation

“There isn’t nearly as much gore as the first, and the lead character’s investigation and nightmares about the Djinn are all essentially remakes from the original. Still, despite the Djinn’s power seeming less grand, star Andrew Divoff seems to have a much better handle on his character, and he’s fabulous as the Djinn, who doesn’t seem as much “evil” as he is just wicked.” Beyond Hollywood

“The one other thing that the first film showcased was an extraordinary display of makeup effects. The sequel only intermittently produces these – a cool effect with the Wishmaster rebirthing by emerging out of a wall, a man being squeezed through the bars of a cell – and none with the impact of the opening few minutes of Wishmaster. Worse, Jack Sholder adds silly sequences that take the film down to about the level of the average Leprechaun (1993) sequel.” Richard Scheib, Moria: The Science Fiction, Horror and Fantasy Film Review

” …Wishmaster 2 derives much of its power not from its sketchily conceived good guys but from its surprisingly effective villain. With his carefully arched eyebrows, receding hairline (not even all-powerful satanic beings are immune to the ravages of baldness), and creepy monotone speaking voice, Divoff resembles nothing so much as a lobotomized Jack Nicholson, yet his character possesses a beatific sense of calm that’s strangely unnerving.” Nathan Rabin, A.V. Club

“Wishmaster 2: Evil Never Dies has some decent moments but that’s all this film feels like – a collection of moments rather than a full blown narrative with them in. The story is bitty, the acting is pretty dire (with the exception of Divoff) and even the wishes seem to have lost their charm. It’s a fair timewaster if you were a massive fan of the original but other than that, it’s a no-brainer…” Andrew Smith, Popcorn Pictures

Cast and characters:

• Holly Fields as Morgana
• Andrew Divoff as The Djinn / Nathaniel Demerest
• Paul Johansson as Gregory
• Rhino Michaels as Butz
• James Kim as James Tiger
• Simon Kim as Simon Tiger
• Oleg Vidov as Osip
• Levan Uchaneishvili as Pushkin
• Timo Flloko as Moustafa

Filming locations:

Los Angeles, California, USA

Wikipedia | IMDb

Plot keywords:

art | robbery | supernatural | mythology | Persian | djinn | genie | evil | malevolent | wish | gore | church | priest | prison | gangs | guards | Russian mafia | lawyer | fight | shower | Syrian | drunkenness | betting | gambling | casino | flies

‘Sit, roll over, play dead’

The Pack is a 2015 Australian horror film directed by Nick Robertson from a screenplay by Evan Randall Green. Despite the title, the film is not a remake of the 1977 film of the same name and should not be mistaken for the 2010 French film with the same title. It stars Katie Moore, Anna Lise Phillips, Jack Campbell and Hamish Phillips.

On a remote farm in Southern Australia, hardened farmer Adam Wilson, discovers the last of his livestock have been mauled to death by a pack of wild dogs. His dreams of keeping the family business going are shattered, but nothing can prepare him for what will happen next.

As night falls the feral pack of dogs begin to circle the farmhouse. With a taste for fresh blood, they launch their attack, stopping at nothing to get inside the house…

Reviews:

“Because of how well the animals are presented, first-time director Nick Robertson, aided by the gorgeous cinematography of Benjamin Shirley that emphasizes the lush, engulfing wilderness, is able to deliver a rousing experience that remains grounded enough in reality to deliver tense thrills — along the lines of a home invasion flick like The Strangers.” Mark H. Harris, About Entertainment

Buy: Amazon.co.uk

The dogs are wily and fierce, but they’re aided by a remarkably stupid family — at one point the kids hide in a closet with slatted doors that even a small dog could push open. Surely the bathroom doors lock? Ultimately, these feral dogs pose no danger that couldn’t be solved by staying inside, boarding the windows and barricading the doors.” Rob Staeger, LA Weekly

“ …while Robertson throws in too many cheap jump-scares, he mostly does well by Green’s script, coaxing strong performances from the cast and making sure the viewers feel a sickly dread every time some creature is growling and scratching at the ranch-house door.” Noel Murray, Los Angeles Times

“The script is perfunctory, assuming audiences for horror will put up with any old shit and certainly the bare less-than-minimum we get here. We don’t care about the characters because we are given no reason to. The direction consists of the ‘waving the camera around frenziedly during infrequent animal attacks’ school that makes for poor suspense but massive savings on a budget…” John Llewellyn Probert, House of Mortal Cinema

Buy: Amazon.com

“Written with maximum suspense by Evan Randall Green and directed by Nick Robertson with an economical tension that does not depend on computerized special effects, it’s an effective thriller that sets out to scare the living daylights out of even the most skeptical viewer and delivers in spades.” Rex Reed, New York Observer

Cast and characters:

• Katie Moore as Sophie
• Anna Lise Phillips as Carla Wilson
• Jack Campbell as Adam Wilson
• Hamish Phillips as Henry Wilson
• Kieran Thomas McNamara as the Police Officer
• Charles Mayer as the Bank Manager

Wikipedia | IMDb | Official site

‘Please do not disturb Evelyn. She already is.’

Mountaintop Motel Massacre is a 1983 American horror film written and directed by Jim McCullough Sr. (Video Murders) from a screenplay by Jim McCullough Jr. (Creature from Black Lake). It stars Anna Chappell, Bill Thurman, and Amy Hill.

The plot concerns a psychotic elderly woman who, after being freed from incarceration, returns to the motel she ran and begins murdering the guests.

The film was originally titled Mountaintop Motel and opened in one theater in Opelousas, Los Angeles, on July 15, 1983.

It received another minimal release as Horrors of Mountaintop Motel at the Meadowbrook 6 in Jackson, Mississippi, on December 14, 1984.

In 1986, the film was picked up for a wide distribution via New World Pictures and ‘Massacre’ was added to the title (see below for more release information).

In the UK, the film is released on Blu-ray by 88 Films on 28 March, 2017.

Buy: Amazon.co.uk

Plot:

Set in 1981, Evelyn (Anna Chappell) has spent the past three in an insane asylum. Upon her return home, Evelyn brutally murders her daughter, but lies to the authorities and is not held criminally responsible.

Shortly after, Evelyn returns to the dilapidated Mountaintop Motel— a series of individual cabin suites— that she ran prior to her incarceration.

Evelyn attempts to return to business as usual and opens the motel to the public, but it isn’t long before she begins to succumb to psychotic episodes, and, during a severe rainstorm, she begins to murder the guests of the motel by way of an underground tunnel connecting each of the individual cabins…

Reviews:

“Yes, there is a lot of room for improvement and plenty of missed opportunities, but it still manages to hold interest throughout. I would have liked more occult elements, perhaps a glimpse into Evelyn’s past, but as is, it manages to include some eerie settings, some great use of tunnels, and a nice alternative to the usual knife bladed weapons.” Critical Outcast

“The story is too silly, the murders too predictable and unimaginative, the blood too phony and the acting too much on the level of a bad high school play to send so much as a shiver down anyone’s spine.” Nina Damton, The New York Times

“While it is pretty tame considering its title I still think that it is a good movie. If you go into it expecting only a few cool death scenes as opposed to a total bloodbath of a film that features death after gruesome death you will enjoy it. I think that it has a fairly original premise and that the character of Evelyn (due mainly in part to Chappell’s portrayal) is excellent.” Todd Martin, HorrorNews.net

“Surprisingly fun and creepy backwoods flick…” Brian Albright, Regional Horror Films, 1958 – 1990

Buy: Amazon.com | Amazon.co.uk | Amazon.ca

“Evelyn Chambers isn’t necessarily a great movie villain, the story can become eye-shutting, and like I said, the climax is weak. Those cheap, but lovable jump scenes are missing from Mountaintop Motel Massacre, yet the simple slasher formula keeps you interested.” Jason G., Oh, the Horror!

Previous releases:

In 1986, the film was theatrically distributed by New World Pictures, a company formerly owned by Roger Corman.

It was later released on DVD by Anchor Bay Entertainment in 2001. It was re-issued by Image Entertainment’s “Midnight Madness” series in September 2011.

Cast and characters:

• Anna Chappell as Evelyn
• Bill Thurman as Reverend Bill McWiley
• Will Mitchell as Al
• Virginia Loridans as Tanya
• Major Brock as Crewshaw
• James Bradford as Sheriff
• Amy Hill as Prissy
• Marian Jones as Mary
• Gregg Brazzel as Vernon

Filming locations:

Caddo Parish and Shreveport, Louisiana, USA

Wikipedia | IMDb | Related: Motel Hell

Info and image thanks: Retrospace | Temple of Schlock

‘Some doors, once opened can never be closed again’

We Go On is a 2016 American paranormal horror film written, edited and directed by Jesse Holland (The Crooked Man; Chilling Visions: 5 Senses of Fear; YellowBrickRoad) and Andy Mitton (The Vermont House; Chilling Visions: 5 Senses of Fear; YellowBrickRoad). It stars Clark Freeman, Annette O’Toole (It; Cat People) and John Glover (Gremlins 2).

Paralyzed by his fear of dying, Miles Grissom (Clark Freeman) is offering reward money to the first person who can show him a ghost, an angel, a demon – anything to prove to him that we go on after our deaths.

Miles narrows the responses down to three viable candidates – a scientist, a medium, and a worldly entrepreneur. And along with his protective mother, he embarks on an adventure through Los Angeles that will spiral into an unthinkable nightmare…

In the US, the film is released on Blu-ray/DVD on April 4, 2017, by Lightyear Entertainment.

Reviews:

“As with Yellowbrickroad, a sort of slasher pic minus the usual cheap thrills, We Go On provokes both admiration and some annoyance with its meandering, occasionally cryptic storytelling […] though O’Toole, creating a fully rounded, relatable character despite some implausible writing, does much to keep the proceedings psychologically grounded.” Dennis Harvey, Variety

“It’s great to see a ghost hunting film that isn’t just a bunch of film students running around an abandoned asylum. It’s a film where the character actually has motivation and purpose for the ghost hunting. Miles is a sympathetic character rather than a pitiable one which makes all the difference, you’re along for the journey, his quest into the paranormal.” Christopher Stewart, UK Horror Scene

“We Go On takes you in several directions and each one is satisfying. There is a lot of creeping horror and plenty of authentic ghost story elements to go around. I really found myself enjoying the fact that those elements were all intertwined with family bonds, love and an interesting look at the afterlife.” Trey Hillburn III, iHorror.com

Filming locations:

Los Angeles, California, USA

IMDb | Facebook

‘The first bite is the deepest!’

Curse II: The Bite is a 1989 Italian/Japanese/American horror film directed by Federico Prosperi [as Fred Godwin] (producer of Wild Beasts) from a screenplay co-written with Susan Zelouf (actress in Beyond the Door III). Ovidio G. Assonitis (Piranha II: The Spawning; Tentacles; The Visitor) was a co-executive producer.

Originally titled The Bite and released in some territories – such as the UK – with this title, the film was marketed in the United States as a tie-in with the otherwise unconnected 1987 H.P. Lovecraft adaptation, The Curse.

Two more unconnected straight-to-video ‘sequels’ followed, although they were also original productions given a retitling: Curse III: Blood Sacrifice (aka Panga, 1991) and Curse IV: The Ultimate Sacrifice (aka Catacombs, 1993).

Main cast:

Jill Schoelen (Popcorn; Cutting Class; The Stepfather), J. Eddie Peck, Jamie Farr (best known as cross-dressing Corporal Klinger in TV series M*A*S*H but also in genre entries Kolchak: The Night Stalker; Arnold; The New Scooby-Doo Movies), Savina Gersak (Sonny Boy), Marianne Muellerleile, Al Fann, Sydney Lassick (The Unseen; Alligator; Carrie), Terrence Evans, Sandra Sexton, Bruce Marchiano, Shiri Appleby, Bo Svenson (Sweet 16; Snowbeast), José García, Tiny Wells, Sommer Betsworth.

Buy: Amazon.com | Amazon.co.uk

Plot:

After a young man is bitten on the hand by a radioactive snake, his hand changes into a lethal snake head, which attacks everyone he comes into contact with. Also, his body becomes filled with snakes. Now, he must prevent himself from hurting others…

Reviews:

“The snake-barfing climax is worth the price of admission on its own. And, unlike The Curse (not to mention most late ‘80s/early ‘90s Italian horror movies), The Bite isn’t boring between its icky moments. The two leads are a likable couple that are easy to root for (right up to their Fly-inspired finale), the supporting cast is appropriately quirky, and the narrative moves quickly (despite some stiff transitions).” Gabriel Powers, DVD Active

“There’s an entire road full of snakes that Clark and Lisa have to drive over. Then there’s all the snakes that Clark starts puking out of his transformed mouth at the end of the movie. There’s even plenty of snake POV shots to amp up the snakey suspense! And the special effects are all pre-CGI so there’s lots of appropriately gooey props to marvel at.” Monster Hunter

“This retitled feature has no relation to The Curse but is much better. It’s a surprising horror/road movie set in New Mexico. Some Asian horror ideas are used, and Screaming Mad George provided the FX.” Michael J. Weldon, The Psychotronic Video Guide

Buy: Amazon.com | Amazon.co.uk | Amazon.ca

“Pros: Good performances, better than you’d expect from this type of film. Some nice shots of the Arizona landscape. Above average special effects. An excellent score. Moves at a good steady pace. Some good gore gags. An awesome, exciting, and gruesome final 10 minutes. Cons: Apart from a few good shots the direction is pretty bland.” S.G.T. King, IMDb

Filming locations:

New Mexico, USA

IMDb | Image thanks: Wrong Side of the Art!

‘School spirit has never been this dead’

Return to Horror High is a 1986 [released 9 January 1987] American comedy/horror film directed by Bill Froehlich (Freddy’s Nightmares) from a screenplay co-written with Mark Lisson (Bones), Dana Escalante and Greg H. Sims. It is not a sequel to the 1974 movie Horror High.

The film stars Lori Lethin, Brendan Hughes, Alex Rocco (Lady in White; The Entity) and Scott Jacoby (To Die For and sequel; Bad Ronald). Also appearing, in an early role, is George Clooney (From Dusk Till Dawn; Grizzly II: The Predator; Return of the Killer Tomatoes).

Buy: Amazon.com

Plot:

In 1982, the southern California town of Crippen was rocked by a series of murders at the local high school. The killer was never apprehended.

Several years later, Cosmic Pictures, headed by sleazy producer Harry Sleerik (Alex Rocco), has come to Crippen to make a movie about the murders, setting up shop in the high school.

However, it seems the killer is still there, and as crew and cast members disappear left and right, it’s up to ex-student/cop/leading man Steven Blake (Brendan Hughes) and leading lady Callie Cassidy (Lori Lethin) to investigate…

Reviews:

“Despite an incoherent spine, the film rarely bores and it’s fairly well acted in a campy way. There’s one really gruesome murder that involves a guy being nailed to a desk and dissected (Vince Edwards no less) and you have to appreciate the irony of a Biology teacher getting cut open that way. The loon has a great mask/cape disguise and there’s a decent score here too.” Luisito Joaquín González, A Slash Above

“It’s a 60 minute movie stretched to 94 minutes. There are some fun Hollywood clichés that are satirized, but how many times do we have see the trouble writer getting his work taken away from him, the pretentious arty-farty director and the greedy, titty obsessed shyster producer? We get it.” Quint, Ain’t It Cool News

“It’s poorly done, ineptly plotted and never interesting. Lethin, McCormick and Jacoby should have been better served.” The Terror Trap

“The innumerable twists and turns of the plot, combined with several shifts in time and perspective, wind up more confusing than intriguing, and most of the humor is purely (pardon the pun) sophomoric. Some of the “in” jokes about the industry in general and horror films in particular are good for a few laughs.” TV Guide

“The story is infinitely confusing, and I really don’t think it’s meant to be understandable. And not in a David Lynchian way either, in a low budget, we gotta ship a movie kind of way. The kills aren’t anything too great, and for the most part we get quick edits, sounds, shadows and our imagination to horrify us…” Matt Fuerst, Jackass Critics

“Alex Rocco has a few funny moments as a sleazy producer but this is a series of juvenile, unscary gore gags with mediocre characters.” John Stanley, Creature Features

Choice dialogue:

Josh Forbes: “Harry, there will be no exploding tit shot!”

Josh Forbes: “We are making a movie. All other life ceases to exist. There is only… the next scene!”

Cast and characters:

• Lori Lethin as Callie Cassidy/Sarah Walker/Susan
• Brendan Hughes as Steven Blake
• Alex Rocco as Harry Sleerik
• Scott Jacoby as Josh Forbes
• Richard Brestoff as Arthur Lyman Kastleman
• Andy Romano as Principal Kastleman
• Al Fann as Amos
• Pepper Martin as Chief Deyner
• Maureen McCormick as Officer Tyler
• Vince Edwards as Richard Birnbaum
• Michael Eric Kramer as Donny Porter
• George Clooney as Oliver
• Cliff Emmich as Dillon
• Panchito Gómez as Choo Choo
• Marvin J. McIntyre as Robbie Rice
• Philip McKeon as Richard Farley
• Remy O’Neill as Esther Molvania
• John Besmehn as Templeton Smithee
• Darcy DeMoss as Sheri Haines
• Will Etra as Mangles Face / Hatchet Face

Release:

UK: On 29 May 2017, the film is released on Blu-ray and DVD by 88 Films.

Buy: Amazon.co.uk

USA: The film was given a limited release theatrically by New World Pictures on 9 January 1987. It grossed $1,189,709 at the box office. The film was initially released on DVD by Anchor Bay Entertainment in 2002. Image Entertainment issued the film on DVD on September 6, 2011 and then again on February 7, 2012 as a double-bill with Return of the Killer Tomatoes, which also features George Clooney.

Wikipedia | IMDb | Image credits: Wrong Side of the Art!

‘Once this motion picture sinks its fangs into you, you’ll never be the same.’ 

Sssssss – aka Sssssnake – is a 1973 American science fiction horror film directed by Bernard L. Kowalski (Attack of the Giant Leeches; Night of the Blood Beast) from a screenplay by Hal Dresner and Daniel C. Striepeke. The unique makeup effects were created by John Chambers and Nick Marcellino.

Buy Blu-ray: Amazon.com

The film stars Strother Martin (The Brotherhood of Satan), Dirk Benedict, Heather Menzies (Piranha) and Reb Brown.

Plot:

David, a college student, is looking for a job. He is hired by Dr. Stoner as a lab assistant for his research and experiments on snakes. David also begins to fall for Stoner’s young daughter, Kristina.

However, the good doctor has secretly brewed up a serum that can transform any man into a King Cobra snake – and he plans to use it on David…

Reviews:

“If you’re one of the many thousands of people who harbor a morbid fear of snakes, you’re likely to find Sssssss getting under your skin in spite of itself. Conversely, if you’re part of the rather smaller club that considers snakes beautiful and fascinating, then there’s a good chance you’ll be too thrilled at the prospect of getting to see so many different species in action…” Scott Ashlin, 1000 Misspent Hours and Counting

Buy: Amazon.com

“With a rather silly premise which includes a totally oblivious victim/leading man, Sssssss still has enough ingredients to please B movie fans. Strother Martin gives another meaty performance as a determined nutcase who talks to his array of pet snakes, sinisterly employing them to get rid of his enemies, including a dumb bullying jock (Reb Brown) and a sleazy rival professor (Richard B. Shull).” George R. Reis, DVD Drive-In

Buy: Amazon.com

” …it’s not a bad movie, it’s a frustrating one. A mad scientist turning folks into snakes and getting revenge on those who wronged him is an awesome idea. The gradual snake-turning effects are pretty decent for the time, and I loved how Benedict started showing snake-like instincts before he physically began changing.” Brian W. Collins, Horror Movie a Day

Buy: Amazon.com | Amazon.co.uk | Amazon.ca

“What sets Sssssss apart from run-of-the mill drive-in fodder is John Chamber’s remarkable makeup.  Chambers of course is best known for his work on Planet of the Apes. In Sssssss, the prosthetic appliances and optical effects never appear shoddy. It makes the whole film work.” Monster Minions

“It’s a terribly insipid movie. The Snakeman scenes are only a few minutes of screen time and hardly the stuff of horror legend. I cannot overstate the inevitable let down you’re setting yourself up for when reviewing movies that affected you as a child. It’s best just to let these things remain what they were to you.” Kindertrauma

Buy DVD: Amazon.com | Amazon.co.uk

Wikipedia | IMDb

‘First they greet you, then they eat you.’

Blood Diner is a 1987 American comedy horror film directed by Jackie Kong (The Being) from a screenplay by actor-composer Michael Sonye (Star Slammer; Frozen Scream). Rick Burks and Carl Crew starred in this homage to Blood Feast (1963)

The film was given a limited release theatrically in the United States by Lightning Pictures in July 1987. It was released on VHS the same year by Vestron Video.

Most recently, the film was released on Blu-ray on September 27, 2016, as part of Lionsgate’s new Vestron Video Collector’s Series (which also includes Chopping Mall). The high-definition restoration was supervised by director Jackie Kong and cinematographer Jürg V. Walther.

Buy: Amazon.com

• Audio commentary with director Jackie Kong
• The Cook, The Uncle, and The Detective featurette
• Open for Business featurette
• Scoring for Sheetar featurette
• You Are What They Eat featurette
• Archival interview with project consultant Eric Caidin
• Theatrical trailer
• TV spots
• Still gallery

Plot:

Two brothers, Michael Tutman (Rick Burks) and George Tutman (Carl Crew) are brainwashed by their serial killer uncle Anwar Namtut (Drew Godderis) into completing his task of resurrecting the ancient Lumerian goddess Sheetar (Tanya Papanicolas). Their mission is given to them once they resurrect him from his grave. Anwar Namtut is from then on a brain in a mason jar that commands the brothers.

In order to complete their mission, the brothers must collect different body parts from many immoral women, stitch them together, and then call forth the goddess at a “blood buffet” with a virgin to sacrifice ready for her to eat. The brothers choose women for their “blood buffet” from those that enter into their wildly popular vegetarian restaurant. Meanwhile, two mismatched detectives (LaNette LaFrance and Roger Dauer) work together to try to track them down before more carnage can ensue…

Reviews:

“While Blood Diner is a low-budget film, it’s artful and a far cry from the bottom of the barrel work of H.G. Lewis. It is decently shot, and while some effects, like Uncle Anwar (in brain form), are cheesy, the gore and makeup is quite good and actually seems to improve in quality (except when trying to be bad) as the films builds to its insane climax.” Duane Hicks, UK Horror Scene

“Blood Diner is played for laughs, and has its tongue planted firmly in its cheek the whole way through. It’s ridiculously dumb and hilarious, and I can’t help but love it.” Nick Durham, Death & Giggles

“The horror element has to have some punch, and even though Kong throws around copious amount of blood and vomit and numerous body parts (so much so that it had to be released unrated), it never comes off as grotesque, just icky. The comedy, then, has little to work against, so it ends up feeling hysterical and anxious, as if no one has any idea what is going on.” James Kendrick, QNetwork.com

“Blood Diner is a truly fun fun film. It’s heart is firmly in the right place, usually discarded just to the left of the severed rib cage of some half naked corpse. The black humor works, the silliness is enjoyable and the gore is plentiful and satisfying.” Luke, Horror.Land

“It is funny, full of some excellent death scenes, and is just a lot of fun to watch in general. If you are in the mood for something a little different that gives a ton of nods to Herschell Gordon Lewis’ Blood Feast in a number of wacky and over the top ways then you need to check this movie out as soon as you can.” Todd Martin, HorrorNews.net

“From the cruel hilarity to the eroticized misogyny to the Hitler tributes, Blood Diner is bitterly nihilistic, even for a black comedy. It’s enough to make one wonder what exactly was in Jackie Kong’s head when she made this, the swan song of her short and otherwise undistinguished career. It seems the work of an incompetent psychotic with a movie camera and an agenda against the world. The result is fascinating, for reasons the director never intended, and disturbing…” G. Smalley, 366 Weird Movies

Buy: Amazon.com | Amazon.co.uk

“It’s totally broad, bizarre and, to be frank, not necessarily “good” by any objective standard. But who cares? There’s an incredible sense of personal vision here, right down to the Soup Nazi caricature Police Sergeant, who is constantly hollering at his detectives that the “cannibal angle” they’re taking to try and solve the kidnappings is all wrong. In reality, Blood Diner is special because it isn’t for everyone.” Jacob Knight, Birth. Movies. Death

“Tasteless sleazeball low-budgeter redeemed by its satirical humor directed at the artificialities of horror films.” John Stanley, Creature Feature

Cast and characters:

• Rick Burks as Michael Tutman
• Carl Crew as George Tutman
• LaNette LaFrance as Sheba Jackson
• Roger Dauer as Mark Shepard
• Lisa Guggenheim as Connie Stanton
• Max Morris as Chief Miller
• Roxanne Cybelle as Little Michael
• Sir Rodenheaver as Little George
• Drew Godderis as Anwar Namtut
• Tanya Papanicolas as Sheetar/Bitsy
• Michael Barton as Vitamin
• John Barton Shields as Little Jimmy Hitler
• Effie Bilbrey as Peggy
• Karen Hazelwood as Babs
• Bob Loya as Stan Saldin
• Alisa Alvarez-Wood as Aerobic Girl
• Al Davis as Blonde Dancer
• Gene Wells as Doctor, Zombie, Wrestling Fan, EMT

Wikipedia | IMDb

‘It’s a headache from Hell!’

Brain Damage is a 1987 [released 1988] American comedy horror film written and directed by Frank Henenlotter (Bad Biology; Frankenhooker; Basket Case and sequels). It stars Rick Hearst (The Vampire Diaries; Warlock III), Gordon MacDonald and Jennifer Lowry. TV horror host John Zacherley provided the voice of creature “Elmer/Aylmer”.

Street Trash (1987) director Jim Muro handled the camera and the synth score was provided by Clutch Reiser and Gus Russo. Gabe Bartalos (Leprechaun; Skinned Deep; Spookies) provided the special makeup effects.

Buy: Amazon.co.uk

On 8 May 2017, Arrow Video release the film on Blu-ray + DVD with the following features:

• Digital transfer from original film elements
• High Definition Blu-ray (1080p) and Standard Definition DVD presentations
• Original Mono audio (uncompressed PCM on the Blu-ray)
• Optional English subtitles for the deaf and hard of hearing
• Brand new audio commentary by writer-director Frank Henenlotter
• Brand new interviews with cast and crew
• Q&A with Henenlotter recorded at the 2016 Offscreen Film Festival
• Theatrical Trailer
• Reversible sleeve featuring original and newly commissioned artwork by Sara Deck
• Limited edition O-card with exclusive artwork
• Collector’s Booklet with new writing on the film
• Plus more to be announced!!!

Opening plot:

A young man, Brian, begins an unwilling symbiotic relationship with a malevolent leech-like brain-eating parasite named “Elmer/Aylmer” that secretes a highly addictive, hallucinogenic blue fluid into Brian’s brain.

In return for a steady supply of the fluid, Brian must seek out human victims for Elmer/Aylmer, so that he can devour their brains.

All the while, though, as Brian adopts a heavily secluded life in his indulgence of Elmer/Aylmer’s fluids, it begins to draw a rift in his relationship with his girlfriend Barbara and his brother…

Reviews:

” …Brain Damage is a disgusting, yet wonderfully deranged affair that will have you laughing and gagging at the same time. Blessed with a haunting synthesizer score by Clutch Reiser and Gus Russo, […] and fantastic special effects (I loved the throbbing meatballs that looked like brains), the film beautifully mixes moments of playful absurdity with ones of absolute revulsion.” House of Self Indulgence

“Now, don’t get the wrong idea – this isn’t some classy horror film. It’s still very much like his others: unknown actors, grimy New York locales, disgusting and phallic FX, kitchen-sink storytelling, etc. But it actually tells a real story (one that’s paced nicely to boot), instead of feeling like a loosely connected series of gags. Hell, there’s even a strong metaphorical slant to it…” Brian W. Collins, Horror Movie a Day

Buy: Amazon.com | Amazon.co.uk | Amazon.ca

“…Brain Damage knowingly winks at other genre titles like Altered States and even includes a very funny in-joke for Basket Case fans (look closely on the subway). While the basic narrative thread of the film will be familiar for anyone well-versed in other “horror as drug parable” titles like The Hunger, the real joy lies in Henenlotter’s curious little detours along the way.” Nathaniel Thompson, Mondo Digital

“The parasite often looks and acts like a penis and even gets confusingly pulled into sexual activity. Brian appears to enjoy his drug like an orgasm, while his neck is being penetrated from behind (ahem). There’s more male nudity than female (usually Hennenlotter balances the two) and while there are no explicitly gay characters, there are several possibles, and even a fantasy threesome.” Black Hole

“Some of the set-pieces that Frank Henenlotter manages are sensational, none more so than the sequence (censored from US prints) where Vicki Darnell kneels down to perform fellatio on Rick Herbst in an alleyway, only to have Aylmer burst out of his fly and pierce her throat to devour her brains – and then disappearing back into Herbst’s fly leaving chunks of meat all over his zipper.” Richard Scheib, Moria

“The filmmakers juggle so many balls in the air that it’s a wonder any remain aloft. The story is about addiction, promiscuity, power and commerce. It’s a veritable crazy quilt of ideas that manages to engage our attention while our heads continue to dart away from the shocking images on screen.” Leonard Klady, Los Angeles Times, May 24, 1988

Buy: Amazon.co.uk | Amazon.com

“Like Basket Case (1981), to which there is a neat reference, this gives its monster a distinct personality but doesn’t come up with enough connective tissue to go around gory set pieces.” The Aurum Film Encyclopedia: Horror

Interview:

Frank Henenlotter talks to Tris Thompson for Fangoria

Cast and characters:

• Rick Hearst as Brian
• John Zacherle as voice of Aylmer
• Jennifer Lowry as Barbara
• Theo Barnes as Morris
• Lucille Saint Peter as Martha

Filming locations:

New York City, New York, USA

Wikipedia | IMDb | Image credits: Black Hole | House of Self Indulgence

Related: Shivers aka They Came from Within

Kuroneko – 藪の中の黒猫 Yabu no Naka no Kuroneko – is a 1968 Japanese horror film directed by Kaneto Shindo. The English title translates as “Black Cat”. (The Japanese title translates as “Black cat in a [bamboo] grove”.)

A mother, Yone (Nobuko Otowa) and daughter-in-law Shige (Kiwako Taichi) – who are raped and murdered by a bad of samurai soldiers who then burn their home to the ground. In their dying moments, the women make a pact with the spirit world and are brought back to life as vengeful cat demons.

The younger of the two appears at the entrance to a bamboo grove to seduce passing samurai into accompanying her home. After plying them with sake, she then savagely murders them, tearing out their throats with her teeth as they make love.

Eventually, after several bodies are found, a local warlord decides enough is enough, and despatches his best warrior to kill the spirits. However, the samurai in question turns out to be Gintoki (Kichiemon Nakamura) the son and husband of the murdered women and so begins a conflict on both sides.

The wife cannot bring herself to kill her husband, just as he cannot kill his wife and mother – but a broken pact with the underworld sees the younger woman banished to Hell after spending seven nights with him. Alone, the older woman carries on with the killing, forcing a confrontation between the two…

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Review:

Shot in crisp, moody black and white and set in feudal, war torn Japan, this is a more overt ghost story than Onibaba. A creepy, atmospheric study love, death and duty – both the son and the mother are bound by promises made, no matter what they feel for each other – Kuroneko is pretty remarkable.

The film uses a lot of theatrical techniques, with characters appearing from shadows thanks to stage lighting and the use of kabuki style dramatics, with the ghostly characters almost gliding with silent footsteps and scenes of Otawa dancing in traditional kabuki style; yet it remains extremely cinematic.

The bamboo grove is dark, brooding and sinister and the scenes of the samurai being taken to their doom are full of dread and darkness. The seduction scenes are not as frank in terms of nudity as Onibaba, yet have a definite eroticism nevertheless, while the moments of violence and horror are suitably graphic.

The film’s final scenes, with the cat demon mother returning to reclaim her severed limb (the result of a previous battle with her son), are unsettling and moody and the conflict between mother and son sees some impressive early wire work.

Also worth a mention is Hikaru Hayashi’s remarkable score, that is astonishing. At times, it sounds remarkably similar to Jerry Goldsmith’s later Planet of the Apes soundtrack, full of discordant percussion and strange, unsettling sounds. It’s a score certain cranks up the tension and the sense of tragedy at the heart of the film.

Beautifully shot by Kiyomi Kuroda, Kuroneko proves to be very impressive. Not as startling as Onibaba, perhaps, or as haunting as Ugestu Monogatari, but nevertheless essential viewing for fans of classic Japanese horror.

David Flint, Horrorpedia

Buy: Amazon.co.uk

“One could even spend time discussing the film as an examination of class in feudal Japan. But the real pleasure of Kuroneko is watching ghosts that can gracefully do slow motion leaps in the air, backward somersaults, and lunge at the necks of their victims.” Coffee Coffee and More Coffee

Wikipedia | IMDb

‘Bloodsucker! Deadlier than Dracula!’

Blacula is a 1972 American horror film produced by American International Pictures (AIP). It was directed by William Crain and stars William Marshall in the title role.

Blacula was released to mixed reviews in the United States, but was one of the top grossing films of the year. It was followed by the sequel Scream, Blacula, Scream in 1973 and inspired a small wave of blaxploitation themed horror movies such as Blackenstein.

Plot:

In 1780, Prince Mamuwalde (William H. Marshall), the ruler of an African nation, seeks the help of Count Dracula (Charles Macaulay) in suppressing the slave trade. Dracula refuses to help and transforms Mamuwalde into a vampire and imprisons him in a sealed coffin. Mamuwalde’s wife, Luva (Vonetta McGee), is also imprisoned and dies in captivity.

In 1972, the coffin has been purchased as part of an estate by two interior decorators, Bobby McCoy (Ted Harris) and Billy Schaffer (Rick Metzler) and shipped to Los Angeles.

Bobby and Billy open the coffin and become Prince Mamuwalde’s first victims. At Bobby’s funeral, Mamuwalde encounters Tina (Vonetta McGee), who Prince Mamuwalde believes is the reincarnation of his deceased wife…

Buy: Amazon.co.uk

Review:

“If the title screams trashy exploitation, the actual films are more thoughtful. Much of this is down to William Marshall, who brings the titular character rather more gravitas than you would’ve thought possible. ‘Dignity’ is the word most often used to describe the properties of his performance, which is a word loaded with racial suggestion perhaps, but is also accurate. His Blacula is dignified.

This is a character than could – and indeed should – have been cheesy, comedic, stereotyped. Marshall, much to his credit, works hard to ensure that isn’t the case. His vampire is at once tortured, savage and romantic, able to move from urbane to monstrous in a moment, and he is one of the few vampire figures of the era to be a somewhat sympathetic character, as much victim as villain.

David Flint, Horrorpedia

Other reviews:

“…Blacula is a hip and happening horror that’s not strictly played for cheesy laughs, despite its tongue-in-cheek title. There’s a police crime thriller vibe going on (director William Craine had previously done an episode of TV’s Mod Squad), while the script relishes in taking bites out of racial prejudice and homophobia…” Peter Fuller, Kultguy’s Keep

“The placement of an old-fashioned, Bela Lugosi-type Dracula—albeit much, much sweatier—in a modern black neighborhood is a great idea, but the amateurish production leaves Marshall as stranded in the film as his Mamuwalde is stranded in the times.” Scott Tobias, The Dissolve

Buy: Amazon.com | Amazon Instant

“An enjoyable attempt to cash-in on the market for Black-orientated films in the seventies, given dignity by Marshall’s Blacula and throwing in a couple of gay vampires for good box-office measure.” Alan Frank, The Horror Film Handbook

Cast and characters:

• William Marshall – Prince Mamuwalde / Blacula
• Denise Nicholas – Michelle Williams
• Vonetta McGee – Tina Williams / Luva
• Gordon Pinsent – Lt. Jack Peters
• Thalmus Rasulala – Dr. Gordon Thomas
• Emily Yancy – Nancy
• Lance Taylor Sr. – Swenson
• Logan Field – Sergeant Barnes
• Ted Harris – Bobby McCoy
• Rick Metzler – Billy Schaffer
• Ketty Lester – Juanita Jones
• Charles Macaulay – Count Dracula
• Ji-Tu Cumbuka – Skillet
• Elisha Cook, Jr. – Sam
• Eric Brotherson – Real Estate Agent
• The Hues Corporation – Themselves

Filming locations:

Los Angeles, California, USA
Hyperion Outfall Treatment Plant, Playa del Rey, California, USA

Wikipedia | IMDb | AFI

‘Would you stay or move out if your neighborhood had ghosts?’

LaddaLand aka Ladda Land – Thai: ลัดดาแลนด์ – is a 2011 Thai horror film directed by Sophon Sakdaphisit (ThirTEEN Terrors TV series; Coming Soon; writer of 2004 Shutter) from a screenplay co-written with Sopana Chaowwiwatkul (Phobia 2). It stars Saharat Sangkapreecha, Piyathida Woramusik and Sutatta Udomsilp.

The film is based on an urban legend, believed by many locals to have taken place in Chiang Mai late last century, about a family who moves into a new house where they gradually begin to encounter paranormal events. It was very successful in Thailand where it was the number one film in the country on its opening week.

Forty-ish marketer Thee (Saharath Sangkapreecha), his wife Parn (Piyathida Woramusik), his rebellious teenage daughter Nan (Suthatta Udomsilp) and lively young son Nat (Apipich Chutiwatkajornchai) moving from Bangkok to Laddaland, an upmarket housing estate.

Convinced his new job with a company that sells dietary supplements is the answer to all his troubles, Thee ignores Parn’s legitimate concern over hefty mortgage payments; he also believes the move will lift Nan’s deep-seated resentment of him and his wife, who left the girl with her grandmother for much of her childhood.

Following the grisly murder of a Burmese housemaid and Thee’s unpleasant encounter with wife-beating next-door neighbour Somkiat (Sahajak Boonthanakit), ghosts start appearing before Nan, who is unable to convince her parents that she’s making up these supernatural incidents…

Buy DVD: Amazon.com | Amazon.co.uk

Reviews:

” …Thai horror Laddaland is hiply designed and assembled, cost-effective, functional and cozily familiar. Director Sophon Sakdaphisit (who co-wrote The Shutter and directed another clever horror Coming Soon) fuses stock genre conventions with kitchen sink drama in a credible and moving way… Maggie Lee, The Hollywood Reporter

“Like Dream Home, it presents a horror-veiled satirical take on the plight of regular folk hoping to own real estate in today’s economy, but its humanistic heart echoes Kurosawa’s depiction of overwhelming external forces dismantling the unity of an otherwise loving family. Laddaland is good enough to overcome its aggressively sentimental final act…” Teresa Nieman, Screen Anarchy

Buy Blu-ray: Amazon.com

“Keeping gore to a minimum, the pic maintains a consistent air of malevolence, and is well served by a precision-tooled soundscape that raises goosebumps with perfectly timed whooshes and ear-splitting screeches. Classy widescreen lensing by Kittiwat Semarat varies impressively from glossy magazine-like imagery of the Laddaland when Thee and family arrive, to moody pictures of interiors where menacing creatures hold sway.” Richard Kuipers, Variety

Wikipedia | IMDb