SINFUL CELLULOID

Call it Rosemary’s other baby: Black Candles aka The Sexual Rites of the Devil (1982)

2012-02-23T09:43:00.000-08:00

Every now and again I come across a film I have never heard of that blows my mind, but never like this. A lot of things get blown in José Ramón Larraz's 1982 satanic opus Black Candles. If you think you’ve seen some crazy satanic films before, I assure you, nothing beats this one!!!!

Starting off with a young sexy girl having sex with the ugliest man she could get her legs around; not long after, we are soon treated to his murder by voodoo doll! Enter, Helga Line (Vampires Night Orgy, Horror Express). Helga plays Fiona, the widow of the dead player who must now grieve for him even though she knew he was cheating on her. Now get ready cause things are about to get weird...

No worries because she’ll be OK, thanks to sister-in-law Carol (Vanessa Hidalgo) and her husband Robert (Mauro Ribera). They have come to help settle affairs but since it is a stormy night, the power is out and the estate is lit with black candles. Fiona hints at her allegiance to Satan in passing, which disturbs Carol slightly, but she shakes it off. Turns out that Carol is a little freak herself, sporting a nightie and Knee high boots, she seduces her husband the moment they are alone. Enjoying the show through a peep hole is Fiona, “playing along at home”. Yep, Fiona’s a freak, but still a normal freak, that is, until the Goat!!! Yes I said Goat, I’m not even gonna get into it. Just remember that this was a mainstream movie and no animals were harmed in the making.

The Goats special sauce is needed for the ritual and you know what they say; “chores don’t have to be unpleasant” …moving right along.

They want to induct Carol and her husband Robert into their coven or get rid of them by the Sabbath since a seat or two open up along the way. I won't say how but there is an anal invasion featuring a sword that you won't want to miss.The problem is that though Robert is extremely susceptible, (sex is an unfair carrot to dangle in front of a man), Carol is not playing the game and is getting suspicious.

Black Candles came out in 1982 long after his horror hits Vampyres (1975) and The House that Vanished (1974). He is not happy with the film, though it did quite well when it opened. Helga Line headlines the cast and looks as sexy as ever despite her Sharon Mitchell ‘do and being over 50 years old at the time of filming. What’s interesting is that it was contractually obligated to give a nod here and there to Rosemary’s Baby. Though it is similar in some respects, it can be seen as a sister film, perhaps going on at the same time as Rosemary’s New York plight.

Anyways, this is the king of all satanic cult films. It takes it further than rosemary’s baby but doesn’t slip into parody, though it does slip into sleaze (come to think of it, there’s a lot of “slipping into” in this flick). If you want something different, and have some alcohol on hand, this might be the one for you. It will touch you in places that you shouldn’t be touched, and the weird thing is, you may like it. Yep, my work here is done.

Press Release: The Prospector’s Curse 2012

2012-02-19T18:29:00.000-08:00

The Prospector’s Curse

A western-themed horror film entitled “The Prospector’s Curse” has wrapped production near the remote town of Ponty Pool, Ontario. Set during the Klondike Gold Rush of the 1890’s, the darkly comedic short is Written and Directed by Josh Heisie (‘Mail Order Bride’), Produced by Bruno Marino (‘Anything Goes’) and is currently in Post Production in Toronto, Canada.

The talent lineup for “The Prospector’s Curse” includes David Roberts (‘Curious and Unusual Deaths’), Johnny Quinn (‘Mind’s Eye: The Series’), Amanda Ives (‘I Hate Toronto: A Love Story’) and Robert Nolan (‘Worm’).

Rounding out the creative team are Director of Photography Michael Jari Davidson (‘SICK’), and Special Effects Makeup Artist Carlos Henriques (‘Red: Werewolf Hunter’) of The Butcher Shop.

Tagline

There’s blood in them there hills!

Logline

The vengeful corpse of an old prospector haunts two gold thieves as they struggle for salvation.

Synopsis

Theodore “Tubby” Ellsworth and Jack smith are two criminals on the run, lost in the untamed wilderness. When they stumble across a mutilated Prospector, dying on Indian ground, they promise to give him a Christian burial. The fugitives break their oath and steal the old man’s gold…but that night, the Prospector’s corpse returns to make them pay!

Related Web Pages

Facebook Fan Page

http://www.facebook.com/pages/The-Prospectors-Curse/141337662650150

Josh Heisie www.joshheisie.com

Bruno Marino http://www.imdb.com/name/nm3012041/

Michael Jari Davidson http://www.michaeljaridavidson.com/

Carlos Henriques http://www.thebutchershop.ca/

Dave Roberts http://www.imdb.com/name/nm3734080/

Johnny Quinn http://www.imdb.com/name/nm4144359/

Robert Nolan http://www.imdb.com/name/nm0634349/

Amanda Ives http://www.imdb.com/name/nm4424849/

Family love hurts: A Serbian Film (2010)

2012-02-05T19:34:00.000-08:00

“Something big is about to happen”

One thing about watching horror as I do is that you’ve seen it all. It’s like a drug that every time you do it, you need a bigger hit. It takes you longer and a higher dose to get that feeling back. After “Frontiers”, “Martyrs”, and “Inside” I didn’t think anyone could match that intensity again. If you’ve reached that point that nothing shocks or disturbs you anymore, brace yourself for “A Serbian Film”.

Srđan Todorović is Miloš, a retired porn super star who married and has a 6 year old son. He also has a brother named Marko (Slobodan Beštić), who covets his wife Marija (Jelena Gavrilović) and porn lifestyle. One day he is contacted by one of his former co-stars Lejla (Katarina Žutić) with an offer. A huge art porn film with an equally huge paycheck by an enigmatic director named Vukmir Vukmir. Wanting to secure his family’s future and get them out of Serbia, Miloš signs up without any knowledge of the script or intent. It starts off rough with an oral sex scene involving beating while a young girl watches. Miloš is unsettled by the children and wants to quit, he goes to see Vukmir, who proceeds to show him how revolutionary he truly is. A scene he calls “New Born Porn”.

I can’t go into any more detail without spoiling the film and quite frankly, I'm not even sure I want to write about what I saw. Pedophilia, Necrophilia, Paraphilia, Sodomy, desperation, drug induced sexual insanity, torture, betrayal, rape, the list goes on and on including acts so unspeakable that don’t even have a clinical name.

If you thought Criterion hailed classics like SALO: 120 Days of Sodom were the end all be all of disturbing films, you are gravely mistaken. This film will make you question everything you believe about the simple act of watching a film. There is no innocence in that act anymore, not with this film anyway. The act of watching it sides you with Vukmir and his mysterious client. It makes you the purchaser of their sick and depraved material, watching the most disgusting acts ever filmed for entertainment. This would be the film that Nicolas Cage should have watched in 8mm, in fact, I may just splice them together.

It sounds like I am condemning this film but in actuality, I couldn’t recommend it higher. It is a fearless piece of filmmaking about the underbelly of humanity. And though A Serbian film is presented as metaphor by writer/director Srđan Spasojević, anyone who believes this film is simply a work of sick fantasy is either naive or in denial. It transcends horror because of its reality, more so than Hostel or Human Centipede. It is a film that I will dream about for many nights to come. A film so powerfully unshakeable because it means everything it says. See “A Serbian Film”, even if you have read all about it, nothing can prepare you for the actual visuals. Will it change the boundaries of modern filmmaking? We will have to wait and see, but after almost two years, this film is still making waves all over the world. I believe there is change on the horizon. For better or for worse, in the words of Lejla: “Something big is about to happen”.

Victim of your own life: Familiar (2011)

2012-01-28T22:00:00.000-08:00

A while ago I previewed Familiar, Written/Directed by Richard Powell and Produced by Zach Green. Well after seeing the finished product, I needed a very long and hot shower. Just to wash away the ugliness. It is a powerful film that creates more dread and discomfort than most full length films playing today.

Robert Nolan is John Dodd, a man who is trapped in the hell that is his life and looking forward to soon buying a truck and hitting the road to freedom. These plans are soon sidetracked when he learns that his wife Charlotte (Astrida Auza) is pregnant. He begins to resent her even more and is soon moved to acts both evil and destructive. Is the voice in his head real and trying to save him or is he doomed no matter what he does?

Familiar creates one of the most unsettling experiences I have ever sat through. The home life of John Dodd is so real and tangible that it’s hard not to believe his pain. It reminds me of a short film called Cutting Moments (1997) by Douglas Buck, not in plot but in the examination of the breakdown of the family unit.

Richard Powell has some real talent in that he can master reality cause without that sense of truth, horror is so less horrifying. I don’t review shorts often but this is horror at its most disturbing and I urge you to check this one out.

Dreaming of a memory: American Nightmare (1983)

2012-01-28T21:11:00.000-08:00

When I was young there seemed to be a strip club or porn theater on every other block in Los Angeles. It was easy to get lost in the urban jungle so different than it is now. A time when no one was trying to be better, just find momentary happiness. It sounds bleak, but this is how I remember certain aspects of the 1970’s and early 1980’s. It was very much the world I saw when I watched 1983’s American Nightmare.

This gritty slasher starts off with a prostitute (Alexandra Paul) lying in bed naked, smoking some reefer and waiting for her john, who is in the JOHN. He comes out wearing rubber gloves and packing a straight razor. Kinky or psychotic? The girl goes with kinky and ends up dead wrong.

It turns out that the dead girl is a somebody, the daughter of a rich local business man named Hamilton Blake. So when she goes missing, people do notice. Enter her brother Eric (Lawrence S. Day), a Pop Pianist with a grudge against his father. He shows up to her apartment only to find that she is a stripper and a prostitute and has been missing for some time.

Eric teams up with her roommate, the streetwise stripper with integrity Louise (Lora Staley) to find her. Along the way he meets Louise’s friends, a group of strippers and outcasts and also uncovers painful truths about his family. Everybody is looking for this girl including the police led by sinister as always Michael Ironside. I really can’t go more into it because it’s pretty cut and dry.

American Nightmare is a dark film. It deals with incest, prostitution, and a section of society that’s painful day to day existence rivals Troma’s 1983 film American Nightmares AKA Combat Shock pound for pound. Every scene is dirty and /or soulless. Every character is sleep walking through a nightmare.

Made in Canada for $200,000, this film is basically an Italian Giallo made by French Canadians about American Sleaze. It represents a time in America that I remember well. A time when the city after dark was a cesspool of sexual activities and every one you saw seemed to be burdened by their own meager existence. This film would capture America so perfectly with nothing but cheap cameras and attitude. It’s as much a commentary on sexual attitudes of that time as much as it’s a sleazy exploitation slasher. What's really strange is it reminds me of my youth, of simpler times (at least for me). It’s a film that is all but forgotten now, but like the era itself, it deserves a second look.

Gimme a K.I.L.L.: Catholic Cheerleaders for Satan (2011)

2012-01-20T23:47:00.000-08:00

Early last year my girlfriend (now wife) was surfing the web and came across a trailer that she screamed had my name written all over it! After hearing the title, I ran over and took a seat and prepared to be enthralled, I was.

First of all, let me start by saying that I do not have a cheerleader fetish proper, but a Satanic Cheerleader seems to do it for me, don’t know why. Hell, I even own 1977’s Satan’s Cheerleaders. OK, so what’s the deal with this film? I’ll explain.

First off, the films was conceived as a film within a film and was rolled out as a series of reels in 2011. 3-6 minutes at a time, it left you waiting at the edge of your seat like a good episode of 24.

We open up on a guy looking out the window with a gun, obviously he’s just killed someone as he is covered in blood and attempts to wash it off in the restroom.

Hard cut to white on black titles: “Somewhere in 1978”

We meet sassy naughty cheerleaders Jana (Laura Leone Hancock), Roxy (Keri Horton), Kristi (Janessa O’Hearn), and Jenn (Jennifer Wright) as they prepare for a cheerleading retreat.

More white on black titles inform us that there are several portals to hell in the world and one is located in the woods where the girls are driving to. Once there they run into a group of guys lead by our killer from the beginning who are out to bury the body. They all are a little off anyway. Well Jana gets sick from swallowing a ton of hot dogs Yeah, weird, but the girls seem to take it in stride. She runs into the bushes to puke a low and behold, she pukes right on our killer Mike’s shoes. When asked what they were doing, Mike tells them that their friend committed suicide out here and they came to get the body. The girls don’t really care and invite them to have some beers with them. Jana says she’ll be there in a minute, presumably to finish puking her guts out, at least that’s what I thought. WRONG! I just didn’t see this coming. Jana, our lovely hot dog eating supposed vegetarian walks over to the body and digs her fingers into its brain and eats it. She eats the dead guy’s brain! WOW! I didn’t expect it at all so yeah, I was shocked.

While the girls start mounting the guys, Roxy goes to check on Jana only to find her passed out on top of the body, her mouth covered in brain blood. You know what that means; it’s time for a cannibalistic lesbian interlude. YES! Is it the evil portal located in the woods making the girls act this way or are they just freaks? And what do Mike and his crew of losers have in store for them? This is the warped little journey of Catholic Cheerleaders for Satan.

I LOVE this film on so many levels! The best part of it is that it never degrades into parody. So many indie films do that and it drives me nuts! This film plays it straight and has fun at the same time. That is a hard juggling act and Director Vince D’Amato pulls it off nicely. Dito for the cast of cheerleaders, the look and feel like they stepped out of the 1970’s especially Keri Horton as Roxy, who resembles a young Ellen Sandweiss of Evil Dead fame. So in short, if you’re in the mood for something retro that has some style, Catholic Cheerleaders For Satan is your ticket!

A Duel to remember: Rage (2010)

2012-01-14T23:26:00.000-08:00

Every now and again you come across an independent horror movie that really does sustain tension and most importantly, doesn’t end up going for laughs. If that is what you’re looking for then you are in for a treat and its name is “Rage”.

Rage is a tip off to Duel, Steven Spielberg’s 1971 debut film where Dennis Weaver plays a commuter terrorized by an unseen driver in a semi-truck. Rage director Christopher Witherspoon swaps out the truck for a motorcycle to great effect, upping the challenge and changing expectations.

Rick Crawford plays Dennis Twist (a great twist on Dennis Weaver), an everyday guy with an everyday life. One day he heads out into town to run some errands, leaving his lovely wife Crystal (Audrey Walker) at home, even though it’s his only day off. Soon we learn why, he’s actually going to meet his mistress, Dana (Anna Lodej) and break it off with her. While parking, he cuts off a Biker (Christopher Witherspoon) for a parking space. Never a good idea since you never know who you’re dealing with. Anyway, during the painful break up (painful for her, not him) we learn that she has an ex-con boyfriend that is not too happy about him being around in the first place, all the more reason to bolt. He says his goodbyes and heads out to his car only to be confronted by the Biker who keys his car in a drive by maneuver involving a large black combat knife. Thus begins the real game, is it Steven, Dana’s ex-con ex, or somebody far more dangerous?

Rage sets many theories into play from the obvious to the metaphysical and all are valid depending on your own point of view. Another thing the film does well is to keep us in the driver’s seat, holding our expectations, then switching gears and bring the action home, keep the tone but raising the intensity. We see so many knock off film every year but very few true homages that not only pay respect to the original film but bring their own standard of excellence to the table, Rage is trip worth taking.

Can you see what I see?: Eyeball (1975)

2012-01-10T13:13:00.000-08:00

Giallos are a great diversion. During their heyday, I believe there was nothing better, a crime or mystery thriller with sex and horror thrown into the mix. My favorite Giallo is Murder Mansion (1971), but Eyeball has a charm all its own! What a great title and poster. A red cloaked killer stealing the eyeballs of their victims on a euro tour. Yep, that’s fun.

We join a group of Americans on a euro tour in Spain. We get the usual group of deviants which include a sleazy husband Mark (John Richardson) hooking up with his secretary, Paulette (Martine Brochard), a priest (Georges Rigaud of Horror Express), and the requisite lesbian couple (Mirta Miller and Ines Pellegrini) among others.

Mark is in love with Paulette. His wife has been ill for some time and all they do is fight. Paulette doesn’t want to be the “other woman” (who does?), and is a little stand offish with Paul when he shows up in Spain to see her. This doesn’t go unnoticed by others in the group as they are all from Burlington. The secret is out!

After the group is detained by the murder of one of the models, Paul calls the hospital where his wife Alma (Marta May), is supposed to be only to find that she never checked in. Paul switches into stalker mode, determined to find his wife and we soon learn that it’s not to dump her. It turns out that Alma, was found at the scene of an earlier crime with blade and eyeball in hand. Yes, I know, too easy.

As tourists and townies are knocked off, it is clean that the killer may be among them as the red parka worn by the killer matches the ones handed out to the tour group. It’s all not quite what it seems and that’s one of the great things about Giallo films. Everyone and anyone is a suspect and for good reason. Everyone is a little shiesty.

Umberto Lenzi crafted a thriller that is more style over substance but in this case I feel it works due to the subject matter. The killer’s M.O. is enticing, and we follow the plot for what it’s worth, after all, these are the most unlikable people in Spain. One of the tricks that Lenzi uses in this film is the tour motif. The scenery is always changing; keeping us interested visually in this crazy story. It’s a slasher before it’s time and a fun mystery that may keep you guessing. Check out Eyeball if you get the chance.

Eyeball is currently playing on our American Horrors Network. Just $1.95 a month, cheaper than a bloody dagger!

https://www.filmon.com/tv/channel/393/?glicised

Island of the living dead: Children Shouldn’t Play With Dead Things (1972)

2012-01-09T16:11:00.000-08:00

“Get out of the grave, Alan. Get out of the grave and let an artist show you how to call a curse down on Satan!”

You know those films that you have heard about forever but never had the chance to see? Those films that you built up in your mind as being the end all be all of that type of film solely because a magazine article said some nice things about it. Well for me, that film was “CSPWDT”. I had seen so many lurid pics and its reputation was so good, that when I walked into the Tower Records on Ventura Blvd., I about had an orgasm finding a newly released VHS on the shelf. I forget what I was doing that day, but I blew it off to go home and watch this film.

Children begins with an unknown figure exhuming a corpse on a foggy night. I am aware that this usually only happens in horror films but it does set the mood. Before he can finish, the caretaker approaches him, since, well, he’s digging up a body! Damn it! That doesn’t fair too well for our careless Caretaker who is jumped by a second top hatted figure in a vampire cape and fangs. Once he is out of commission, the two body snatchers remove the corpse and one takes its place in the grave. The other fills the whole, effectively burying his partner alive. Yeah, it starts off weird.

Anyways, soon we are introduced to our actual protags, an actor’s troupe and their tyrannical and diluted director Alan (Alan Ormsby). Also along for the ride is Alan’s current squeeze, Anya (Anya Ormsby), his ex-chickie, Val (Valerie Mamches, Jeffery (Jeffery Gillen), his yes man, and the “good” couple, Paul (Paul Cronin) and Terry (Jane Daly). Yes Jane breaks the mold by actually not using her own name as her character’s name (and also seems to be the only one still acting today).

Alan wants to take the group to the next level by trying some extreme theater exorcises. The Island once housed a resort, but having fallen on hard times, it’s now used as a potter’s field by the mainland city, burying criminals and various rift rafts. Alan promises them a night of fright and wants to raise the dead. He pulls out a robe and large ancient looking book (everyone has a large ancient book in movies and it makes me feel that my vast library is inadequate for not containing one). Ok, done with my digression, back to our story.

Alan proceeds to cast his spell to raise the dead, as the others watch in disbelief and then nothing happens. This angers Alan, as he looks foolish to the rest of the group and is definitely not used to it. To add insult to injury, Val, the mother hen of the group, and his ex-girlfriend, all but kicks him out of the grave and performs her own spell which is eerily powerful sounding before slipping into a Jewish yenta shtick and causing even more laughter than before. It seems that Allan sucks on all counts. He orders the body taken back to the cabin where they will be staying since he’s gonna have his fun one way or another. The problem is that Val’s spell did work and the dead are beginning to rise and they want revenge for Orville’s mistreating.

CSPWDT is the brain child of Alan Ormsby and Bob Clark, the duo behind the ultimate teen sex comedy of its day, Porky’s. Often cited these days as another spin on Night of the Living Dead, I fail to see this and feel the movie stands well on its own merits. Alan handles all the make-up effects in the film and the zombies are some of my favorites. I also love the setts and lighting in this film, they stand out to me as truly creepy and real, especially the room that Orville and Alan share there “moments”.

Alan only acted in this film, though he can be seen in 1974’s Death Dream and Deranged (via photo under a bald wig. He has supposedly stated that he hated the way he looks on camera and that is the main reason he stopped appearing in films. The rest of the cast is actually pretty good since they come off as real weirdoes who would go along with this crazy shit as opposed to “super cool” people that wouldn’t be caught dead on this Island.

Did the whole experience live up to my self-created hype? Yes it did. It features good make up, a creepy and effective grave rising sequence (one of the keys to any zombie film), and decent gore effects (we're not even gonna get into the weird same sex necrophilia). I was glad when I finally saw this and it made my day. Not that it’s great, but it was satisfying and still is today.

Things that go bump and grind in the night: Vampyres (1974)

2012-01-03T16:55:00.000-08:00

I remember when the Lost Boys came out in 1986; there were all these video store vampire reissues. Everyone was trying to cash in on vampire mania, just like today. One box that caught my attention was Vampyres with the small tag line in familiar font that read: They’re “lost Girls”. OK, I thought, what the hell, let’s check it out. I took the video home and settled in for some horror antics, not a film to watch with the family.

Vampyres starts off with a bang, in every sense of the word as two women are making love in the bedroom of a large mansion (again, yes, all women were bi-sexual on film, in the seventies). Suddenly, an unknown assailant opens fire on them, killing them both. See, a bang I tell you. This appears to be the origin of the vampire couple, who now haunt the castle and feed on the blood of many a male victim.

Actually, it is a story really about how five separate lives (and unlives) converge to a very unpleasant end. Besides our two living dead beauties, we have Ted (Murray Brown), a passing motorist who falls victim to our lesbian vampire couple and likes it so much, the guy just won’t leave, or die. Plus a young couple named John and Harriet (Brian Deacon and Sally Faulkner) who set up camp in the wooded area near the castle so they can relax. Harriet is a painter and a little on edge, John wants to fish and really doesn’t care about much else. Harriet spies our two cloaked beauties wandering the grounds at night, but John doesn’t really care, he thinks she is overreacting, that’s never good.

Vampyres really has no equal in the gothic horror arena. The nature of Fran (Marianne Morris) and Miriam (Anulka) is never explained, but it seems they are most likely ghost who need to feed on living blood to stay material. Also there is the sexuality, usually found in many 1970’s films as just sleaze to keep you interested (not that I mind). In this film it is a central theme, making the sex much more interesting and dangerous. And there is a lot of sex in this film, but it has meaning other than the sake of showing naked flesh, it’s what binds the girl’s relationship together and ultimately may be tearing them apart.

Director Jose Larraz turns things on its ear in Vampyres. It all at once discards the gothic traditions and enforces the esthetics to create a vampire that truly is original in behavior. The characters may not be as fleshed out as one would like but he more than makes up for this with mounds of atmosphere and eeriness. Harry Waxman’s cinematography lurks through the gothic landscape creating a feeling of uneasiness that is enhanced by composer James Clarke’s score. The primary location, the gothic mansion, is in actuality Oakley Court, famous for several Hammer films and as Dr. Frank N Furter’s castle in The Rocky Horror Picture Show (1975).

Vampyres may be the best lesbian vampire film ever made, out doing Hammer’s entire Karnstein Trilogy of films with one blow. Many people feel that there are a lot of plot holes and inconsistencies but watch it again with a different and open mindset, I think you will be surprised. Not to say that it doesn’t have its flaws, but the plot is presented secondary to the visual nightmare. Like a (un)living painting that penetrates your primal senses. Thanks to the VHS box, I never watched the Lost Boys the same way again. Every time I reach for it, I put this film on instead.

The best haunted hotel in town: The Innkeepers (2011)

2012-01-02T14:22:00.000-08:00

Ti West is one of best horror directors working today, from the interesting and innovative “The Roost”, the criminally underrated and mishandled “Cabin Fever 2”, to the blast from the past film “House of theDevil”, he has shown that not only is his heart in the right place, so is his talent. Well, I have been not so patiently waiting for the Innkeepers and have been rewarded for my loyalty.

In Ti West’s new film, The Innkeepers, we meet Claire (Sara Paxton) and Luke (Pat Healy), who are running the soon to be closed “Yankee Pedlar”. Luke has a paranormal website that he believes will take him into the big-time…eventually, and Sara is more than happy to help.

Ghost hunting will take uninterrupted hotel investigation, so they volunteer to look after the hotels final guests for the long weekend. The guests themselves have their own assorted ghosts and demons, which include a jilted wife (Alison Bartlett) and her son (as Jake Schlueter), a sad elderly gentleman (George Riddle) staying in his former honeymoon suite, and a former famous actress turned healer, or psychic if you will (Kelly McGillis).

The days are pretty uneventful, spent lazing around the hotel lobby and toying with the annoying jilted wife and her son. Claire dives deep into the hotel mythology and zeros in on Madeline O'Malley, a bride to be who was stood up and committed suicide in the hotel and whose body was hid in the basement. As Claire opens herself up, she begins to experience things and becomes caught up in a mission to free O'Malley’s soul. When they go down to the basement after a drunken binge, Luke’s website fame seems destined to become a reality, though maybe not in the way he thinks.

If you are a fan of Ti West, then you’re familiar with his “Slow burn” approach to film making. He spends time with the characters, letting you get to know them so that when the inevitable happens, it actually is horrific. The problem with most horror, and this is no revelation, is that the characters are only introduced so there is someone to kill. Claire and Luke are not just symptoms of the stories need, they are the story and we follow them into the darkness with dread.

Sara Paxton reeks of little girl lost, destined for a forgettable life in a forgettable town. I may not understand the Sara Paxton infatuation (She looks like Anton Yelchin in drag), but she is perfect for this role. I don’t remember ever seeing Pat Healy, though he was on 24, so I must have. He is fantastic as Luke, the aspiring paranormal website creator whose laptop history consist of his site and a slew of porn. He’s an honest and real character that I could have known in my life and that’s the kind of character that I like to watch.

Every character serves a purpose, and though their screen time is spare, they make an impact. The old man who comes to stay in his honeymoon suite of year’s pasts reeks of sadness and though we know what he’s there to do, it’s the how that is horrifying. Arising as the unofficial third of the group, Kelly McGillis’s Leanne Rease-Jones warns Claire of the dangers of the hotel but her psychic ability draws her into the fold repeatedly.

This is the kind of ghost story we need, creepy and effective without the use of a video camera reality. In fact, Luke makes a statement at the beginning of the film that his video camera is broken. That was a cool way of the director letting us know that there will be no found footage in this film. This is good old fashion ghost story that simply rocks. If you truly love horror, don’t pass this one by.

The Devil inside us: A Candle for the Devil (1973)

2011-12-24T21:14:00.000-08:00

The 70’s were a hedonistic time and self-indulgent time. There were more films about Satanism during the entire decade than there were about GOD, just an interesting fact. This isn’t an American phenomenon either, across the pond in Europe and Spain; they were doing their own dirty work. One of the best was ‘A Candle for the Devil”.

Two sisters, Veronica and Marta, who run a small Spanish Inn, and are slowly going mad! Religion and sexual frustration are two of the biggest breaking points for any person and this film shows us why. Veronica deals with her needs by sleeping with a younger man, though she remains dressed during these shenanigans, but Marta has a different and more interesting method. Marta likes to watch young men naked then punishing herself to a sexual climax by running through the thorn bushes, each laceration pushing her forwards sexual climax. I know, I’m liking that too.

Anyways, back to our story. A young girl comes to town with some girlfriends and they flaunt their sleazetastic selves around the Inn like mad, including topless sunbathing on the roof. Well, Marta, who is uptight anyway, isn’t having any of that. She heads up to drag the girl down if necessary, except during the confrontation the girl falls through one of the religious themed windows and dies. Psycho Marta takes it as a sign and decides to rid the town of all immoral visitors. Soon, Laura (Judy Geeson), sister of the dead girl, May (Loreta Tovar), arrives to find her sister missing and decides to investigate, not just her sisters disappearance, but the strange meat being served for dinner…

A Candle for the Devil was directed by Eugenio Martín, the man who brought us "Horror Express". I would have liked to see him do more horror since he was a skilled director, but you can’t always get what you want. One thing we do get is plenty of 70’s style madness. This film touches on most of the popular early 70’s plot points including religious psychosis, cannibalism, and loose sexuality. Yep, they just don’t make them like they used to.

This is a deranged kind of film, more Psycho than creature feature obviously, but a serious addition to any fright library. “A Candle for the Devil” is also known as “It Happened at Nightmare Inn” No matter the title, you should find this motel of the macabre. Check in and check it out.

You can catch this rarity playing on The American Horrors Network:

https://www.filmon.com/tv/channel/393/?glicised

IT’S A DANZIG CHRISTMAS AT AMERICAN HORRORS!

2011-12-23T23:00:00.000-08:00

LOS ANGELES, CA- American Horrors CEO and The Garbage Man writer/director, Hart D. Fisher, is once again teaming up with dark rock legend Glenn Danzig to burn your senses.

“Glenn Danzig has been a major influence on my work and what I do.” Said Mr. Fisher. “To be able to bring music videos like Sadistikal, Serpentia (by Shadow of the Vampire director Elias Merhige) & the alternate cut of Until You Call On The Dark to American Horrors audiences, man, that’s what it’s all about for us.”

This is not the first time that the pair have worked together, having previously collaborated on Danzig’s adult horror comic line Verotik which caused major controversy during the 1990’s comic boom, as well as edited Danzig’s music video for “On A Wicked Night” and the color version for Gorgeous Frankenstein’s self-titled debut video.

“Both Hart and Glenn are artists dedicated to bringing you everything you can handle and more.” says Sinful Celluloid creator Christopher M. Jimenez “These videos have never seen network airplay and they’re just the tip of the iceberg.”

There’s no rest for the wicked, even during the holidays, as American Horrors continues to add bone chilling content to its rotation. In addition to exclusive Danzig videos, you can see envelope pushing shorts like Dave Reda's The Horror of Our Love, Peter Podgursky's The Night Caller”, and Rory Abel’s Apathy Breeds Contempt as well as rarely seen classics from the American Horrors vaults.

American Horrors is the best new uncut 24 hour horror channel in the world that recently launched on FilmOn. American Horrors joins industry brand names such as BBC News, Universal Sports and more as part of FilmOn’s basic line up of channels that are available to subscribers for a $14.95 monthly fee (you can purchase American Horrors on its own for as little as $1.95 a month). FilmOn allows viewers to stream live TV on their Mac or PC computers, iPads/tablets, smart phones & mobile devices (iPhone, Android, Blackberry etc., etc.) and has just recently launched the world’s first AP breaking 24 hour news channel.

For more information or questions please contact the American Horrors offices at (323) 474-6963 or email at pr@americanhorrors.com or submissions@americanhorrors.com or check us out on the web at www.americanhorrors.com.

Link to FilmOn Commercial: http://youtu.be/kqdUMievqvw

American Horrors Online Teaser: American Horrors Online Teaser - YouTube

About American Horrors:

Headed by The Scariest Man in America, Hart D. Fisher, American Horrors is a multi-faceted genre specific horror entertainment company that will be launching it’s new 24 hour horror TV channel on the FilmOn platform. Mr. Fisher is the writer director of the feature film, The Garbage Man, and the author of Poems for the Dead, Still Dead and the much maligned Jeffrey Dahmer biography comic books. Mr. Fisher has been featured on Larry King Live, CNN Headline News, Entertainment Tonight, within the pages of Time Magazine, People Magazine, The A to Z Guide to Serial Killers and most recently as a guest of the SXSW Film Festival.

Love bites: Count Dracula’s Great Love (1974)

2011-12-22T22:47:00.000-08:00

One of the things I love about these films is that they start off with a normal banal trip that detours into bloody terror. I think vampires are perfect for this kind of story. They are the most charming of monsters, but their charm is based on a singular desire, fulfilling their needs. One man who was great at portraying this was Paul Naschy, though he was famous for portraying immortal werewolf Waldemar Daninsky, he conveyed many motives often associated with the vampire. He did, however, play the king of vampires in 1974’s Count Dracula’s Great Love.

The film opens with a coach pulling up to the “Klinik de Cargos”, a sanitarium that has long closed. It is in the process of being reopened by a Dr. Marlow and they are delivering some items for him. Once inside, the workers decide to rob the place of any valuables that might be left over from the previous owner. Way to go guys. In their excitement, they damage the crate only to find a coffin inside containing a female fanged corpse and she’s not happy. After some throat ripping and axe handling, the asylum is safe once again to commit murder and bloodletting.

After a moody and slow motion title sequence, the flick kicks in proper with a coach passing through town containing a man and three requisite hotties, Imre (Vic Winner), Senta (Rosanna Yanni), Marlene (Ingrid Garbo), Karen (Haydée Politoff), and Elke (Mirta Miller). Imre is playing story teller, schooling the girls on Bram Stoker’s novel and then the local sanitarium which they are passing by. Actually, they were passing by until they lost a wheel and had to stop. Good thing there’s that sanitarium nearby. With the coach driver incapacitated, they head over to see if their fortunes will change. Hell yeah they will.

Enter the man, the myth, the legend, Paul Naschy as Dr. Marlow. He lives alone in the sanitarium and is only happy to help. He has a supply coach that is coming in a few days and invites them to stay. And they do stay, stay naked, stay in his bed, stay loose, yes there’s all kinds of staying going on. What do you expect? Dr. Marlow is really Dracula ya know.

But I digress, anyways, soon the girls start snooping around and find a book that details Dracula’s needs (yes, I said needs). Dracula is constantly reincarnated and there is a series of circumstances that need to take place for this to happen. Since there is a virgin in the equation, Marlow sets his sights on Karen, the only girl that doesn’t party hardcore.

Yes it’s a vampire orgy to end all vampire orgies. Acting, sets, and music are all top notch, in fact the only thing they skimp on in this film is the clothing. Heh heh. Directed by Javier Aguirre, as per any film of this era, there is a definite Hammer vibe, but really, how can there not be?

Paul Naschy, the coolest man in Spain, takes on the role of Dracula and brings something new to the often played role. Granted, he’s no Bela Lugosi or Christopher Lee, but I feel that with the proper script, he could have been. His costars are a who’s who of the euro horror community and that adds to the fun. Who you may ask? Well let’s see…

Sexy Rosanna Yanni from “Fangs of the Living Dead” and “Frankenstein’s Bloody Terror”, Mirta Miller of “Eyeball” and “Vengeance of the Zombies”, and Ingrid Garbo from “Murder Mansion”. Yes it’s a packed house or castle if you will. The sets by Jose Luis Galicia have an eerie loneliness that sets the mood nicely and gives the film an undercurrent of dread and Composer Carmelo Bernaola creates a sexy and shocking score as he did in Horror Rises from the Tomb.

This movie presents the most convoluted Dracula mythos ever. With a plot that involves reincarnation, virgin sacrifice, and Dracula’s evil daughter Rodna(!), this film is one to watch. There are some detractors for this film who feel that any deviation from the traditional myths is a travesty. The joy of these characters is that they can constantly be reinvented and tweaked. Paul Naschy always tried to bring something different to his interpretations of classic monsters (he almost played them all), and this film is no exception. So sit back, grab some red wine and enjoy the show. And for reasons that should be obvious, don’t watch it alone…

"Familiar" sets to drag you into new territory!

2011-12-22T20:49:00.000-08:00

Producer Zach Green and Writer-Director Richard Powell are set to unleash "Familiar" unto the world. The plot is a pretty closely guarded secret at this point, but here is a taste:

Through a series of tragic events a middle aged man grows to suspect the negative impulses plaguing his mind may not be his own.

Though I usually concentrate on older films, there is a lot of great horror set to burn your eyes and "Familiar" is poised to lead the pack.If you haven't already, check out their first two shorts; "Worm" and "Consumption" and strap yourself in for "Familiar", it's anything but!

Life, death, and the pursuit of art: The Garbage Man (1993)

2011-12-21T20:49:00.000-08:00

Does art imitate life or does life imitate art? One of the most burning questions an artist will ask themselves in the course of their life time. A question that may never be more upsetting or confusing than it was, is, and may always be for Director Hart D. Fisher and his film debut, The Garbage Man. Though I don’t normally do this, I believe that this films personal history warrants an explanation.

In 1993, Hart Fisher was one of the most hated men in America. He was an outlaw independent publisher whose product line included a series of comics based on Milwaukee cannibalistic serial killer Jeffery Dahmer. This caused an outrage in the black Chicago community that eventually bled across the U.S.

Having run his course with the Dahmer stories, Hart decided it was time to make the leap to film. His subject was a black serial killer, something that had never been explored before and a part of the serial killer mythos that is hotly debated even today. As Fisher’s cameras rolled on the feature, any doubt felt by those involved in the project would soon disappear. Fisher’s girlfriend, Michelle was sexually assaulted and murdered during the filming by a young black man. The film became reality and vice versa, so what ended up on screen is a lonely, dehumanizing experience about a flawed man and very human monster.

Garbage Man open’s up with some serious imagery. A woman tied up and beat repeatedly, her screams distorted and haunting. Sometimes a “punch in the gut” has to come from a punch in the gut. The interesting thing is that the film’s opening is not a true representation of the film to come. It is not an exercise in mindless violence but a tragic character study that does not show the protagonist in a sympathetic light, but also does not make light of the circumstances that created him.

Tom lives an unremarkable life. By day he’s a garbage man, riding along with his equally miserable driver discussing the finer points of his white trash existence. His nights are filled with constant torture. He is plagued by memories of an abusive childhood, and takes out his frustrations on anyone who happens across his path at the wrong time. He will become whoever he needs to and use that acquired trust to tear the world apart much as his world was at a tender age. It doesn’t seek to justify Tom’s actions, only give you a glimpse inside a mind struggling to understand its own existence. It isn’t a film for everyone, but it is a film worth seeing if you can watch it with an open mind.

The film took years to complete post production and was finished against a barrage of doubt. Many felt Hart was attempting to relive an unrelenting nightmare while other saw an opportunist exploiting his personal tragedy as he had exploited theirs. It was neither of those things, it simply a moment in time where the lines blurred.

The garbage man is trying to fill a void in his life, but no matter what he does, the whole remains large and open. Every act is an attempt to elevate the pain. That is one of the fundamental truths of The Garbage Man and Hart D. Fisher himself, people don’t do things to be evil, they do them because they believe they’re right.

You can see The Garbage Man, premiering Christmas Day on Hart Fisher’s American Horrors Network available at FILMON.COM:

https://www.filmon.com/tv/channel/393/?glicised

Joyride without a crew: Dead hooker in a trunk (2009)

2011-12-18T00:49:00.000-08:00

“It must suck to be in the trunk”

I come across a lot of films, some good, most bad, and every once in a while, a true gem, a movie that you can’t conceive of your collection without owning. When I first heard about twisted twins productions and “Dead Hooker in a Trunk”, I was, of course curious. What I got was better than I thought a title like that would deliver.

The film opens with an introduction to our little archetypical girl gang at a dive club juxtaposed with the murder of a blonde girl in a red dress. The Badass (Sylvia Soska), the hot, rough around the edges decision maker, the Geek, (Jen Soska) her too good for her own good twin sister, and the Junkie, a vocalist and sorta the bane of the group. After a night of partying, the geek asks her sister to pick up her friend, Goody two shoes from his youth group on their way to score some drugs for the Junkie. It seems like just another day in a mundane existence except for one thing, there’s a dead body in the trunk! This sets the four off on a mission to dump the body and find out why it’s there in the first place. With several interested parties eyeing their every move, it’s only a matter of time before something bad happens. This film is an exploitation fanatic’s dream feast with all the fixings, Including, but not limited to eye gauging, pseudo amputation by chainsaw and Semi truck, electrical tape eye patching, rag doll limb attachment and a cowboy pimp!

Written, produced and directed by twin sisters Sylvia and Jen Soska, Dead Hooker in a Trunk plays like a memory from my bad boy punker days. No, I never found a dead body in the trunk, hooker or otherwise, it just feels authentic and real. They remind me of people I knew. Not just personality wise, but the way they lived as well. That is the first hurdle to overcome, a personal connection with the viewer. These girls are interesting and the dialogue is fun. They even go through a catharsis, both personally and as a group. The film’s characters are named after archetypes but are anything but one dimensional. Though the situation is way out there, the journey each character takes is grounded by real emotion. Another trap that filmmakers fall into early in their careers is that males can do the violence but have trouble writing dialogue and emotion, where females have problems with the opposite. Let me tell you, these girls got it down. Their tough as nails attitude never feels fake or forced like some other actresses in much bigger productions.

It is often referred to as “good for a no-budget film” Whatever that means. I hate that phrase! I feel statements like that devalue a film. Is a perfect film? No, it has its flaws as many do. What it is though is honest in its intentions and love for the genre that is hard to pull off with true sincerity. Sylvia and Jen kept a copy of Robert Rodriguez’s book “Rebel without a crew” on hand at all times and it pays off. They don’t come off as armatures or weekend filmmakers. There is a polish not often found in a debut film and that says something about these two, especially since they did it alone. What people should be saying is it’s an excellent first feature and where will they take us next? See this film. It’s a great party movie to be watched with pizza, beer and a shot. I’ve got mine!

Horrorific sex maniacs : Frankenstein’s Castle of Freaks (1974)

2011-12-15T23:12:00.000-08:00

Frankenstein movies are kinda hit and miss aren’t they. The story itself has been done so many times with varying success that it really doesn’t affect us anymore. Personally, I think the best films outside of the Universal and Hammer sets were the ones produced in the 1970’s. They were weird, sexy and most of all, took the man in different directions. How can you beat a title like Frankenstein’s Castle of Freaks”?

Elvira, everybody’s favorite breastalicious horror host, is responsible for introducing me to this strange Italian freak show which features Necrophilia, muddy skinny dipping, rape and of course, man-made monsters! The film opens with that crazy “Count” Frankenstein (Rossano Brazzi) rescuing the body of a Neanderthal from the local villagers! Don’t ask, just go with it. What a nice guy. Oh, wait, scratch that. What he actually wants to do is experiment on him like he does everything else. Frankenstein actually has a menagerie of creatures in his castle which include an odd hunchback (Frankenstein ‘80 alum Xiro Papas), a steroid monster named Igor (Gordon Mitchell), a necrophiliac dwarf (Michael Dunn), and a nasty servant named Hans (Alan Collins).

Well our little necrophile, Genz left his tiny footprints at the cemetery while grave robbing as one does. The local police make their way over much to Frankenstein’s chagrin! So the Dwarf is out, but that’s OK, he likes to fuck dead girls and that’s creepy anyway! Just in time too, since Frankenstein’s daughter Maria (Simonetta Vitelli) has come home and brought a friend, the super hot Krista (Christiane Rucker). Turns out Krista likes older nerds and she’s down to ease her new friends loneliness. YAY! Frankenstein’s Castle of Freaks indeed! But the love fest doesn’t last as Frankenstein’s monster gets a gander at Krista as well and decides he wants to hit that too. As if this madness is not enough madness for you, the Dwarf has met a Neanderthal too and he’s still upset about being ousted!

I couldn’t have dreamt up this film if I was on acid! The stranger thing is that it’s filled with a decent cast. Rossano Brazzi of “The Itallian Job” and “The Final Conflict”, Christiane Rucker from “The Torture Chamber of Dr. Sadism”, and Edmund Purdom from “Pieces” and “Don’t Open Till Christmas”, among others. Hell, it even has Xiro Papas, who played the monster itself in Frankenstein ’80, another drugged out freak fest!

So as weird as this film is, why should you watch? If you have seen every retread of this story then why not let it take you somewhere new. If you have a kinky side then it may be the perfect late night flick with your partner and a couple (or more) beers. This film will take you places, that’s for sure. Like I said in the beginning, you can’t pass on a title like this.

Zombies are from Egypt: Dawn of the Mummy (1981)

2011-12-14T02:09:00.000-08:00

The poor Mummy, always neglected. I was reading today that the mummy doesn’t even count as a zombie. The Mummy wasn’t even invited to Universal’s Monster mashes of the 40’s, they settled instead on a “hunchback”! REALLY? If you read my previous Mummy centric post “The Aquaman of Horror” you see that Mummies have offered a lot to horror over the years but still no respect! He’s dead right? He has risen and seeks to destroy the living right? If you ask me, the mummy is just a zombie with a better social position.

If you’re still on the fence about the cloth ones then I recommend you watch “Dawn of the Mummy”. Now those of you that are familiar with this film are probably rolling your eyes and saying WOW, why would you recommend this film of all Mummy films? Quite simply, it’s one of the few to try something different.

Sure, it opens with your standard Mummy prologue. Local Egyptian badass Safirman is being mummified and cursed because, well because he’s a badass, that’s why. So the curse is of the standard “steal his riches, he will rise and kill” variety. He is laid to rest with his slaves and that is that. Pretty standard mummy lore, but then it switches gears.

Cut to modern times, circa 1981. First of all, you get points for a mummy movie not set in the past. Enter Rick and his crew, treasure hunters, or scum, depending on how you look at it. They are about to unearth Safirman’s tomb, with the help of local sell-out Egyptian guide Careeb.

As Rick and his pals are robbing…er… I mean excavating the tomb; they are disturbed by Business man Bill and his harem of models. They want to shoot there and Rick just can’t say no. While looking around the tomb, the girls come across our mummy Safirman and decide this is the prop they were looking for! Rick cuts their cables, forcing them to quit, but not before one of the models, Jenny, reaches in a jar and grabs a juicy heart out. She screams and gets rid of it, but the damage is done.

The mummy action takes some time to really get going as they do everything but set up shop inside the tomb. I will tell you this though, when it hits, it hits with a vengeance. The rise of Safirman’s servants is inspired and pretty cool, sort of a zombie’s rise from the grave with an Egyptian twist. And they don’t just want to kill the defilers, they want to kill everybody! Hell, I’m in.

Now I’m not going to lie and say this is a good movie; it’s really not. It’s another Italian riff on the Romero zombie film, even the title is a play on Romero’s Living Dead sequel. I do like it however because it attempts to do something with a mummy other than look for his lost love and obey the commands of others. This seems to be where the problem is. People don’t like change; they would rather have a mummy movie that is the same as every other mummy movie so they can complain, instead of one that tries something new with the genre. If you are looking for a mummy film with some bite, this may be the film for you. It’s not perfect, but it has some excellent scenes you can walk away with, a small reminder that the mummy has something to bring to the party.

Closed for repairs: Hollywood’s dream factory shuts down

2011-12-12T11:27:00.000-08:00

I don’t mean to go on a tirade about remakes but…WTF?

I have been reading about remake after remake this week and seriously, American Psycho? That film was done just about as well as you could do it considering the book. The only real direction to go in is to make it as bloody and horrific as hell but that wouldn’t even scratch the surface of how nauseating that book is.

Why bother? Why do it? Every year we come across 3 to 5 excellent horror films that deserve a theatrical release and don’t get one. We are not out of ideas, so what gives? I’m not opposed to remakes; they take nothing away from the original film. My problem is remaking a film that is only 5 to 10 years old. Do we need another Grudge or Ring? We don’t even want another sequel.

Maybe that’s it. Hollywood has run out of sequel ideas so why not start over since every film has at least 2 or 3 unfilmed versions to work off of and the term “reboot” is acceptable right now. Whatever the reason, I’m sure it’s not going to get any better. Thanks Hollywood, we know you’ve run out of dreams, have you run out of nightmares too?

Two Dead Are Better Than One: Nightmare Castle (1965)

2011-12-11T20:11:00.001-08:00

Black and White film plays better when it’s grey outside. I don’t know what it is. Late night counts as well and I find myself often reaching for a Gothic classic around midnight. Last night was no exception since I was home and it seemed the right night for Nightmare Castle.

Barbara Steele plays Muriel, who taunts her Husband Dr. Stephen Arrowsmith (Paul Muller), in his laboratory before he is set to leave town. He is apparently away often and she expresses her displeasure with the situation. As he walks out he entrusts his groundskeeper David (Rik Battaglia) to care for her and care for her he does. Since her husband is never home, Muriel has been making due with the super manly hired help. The elderly maid Solange sees them as they go out to the green house. Well her husband Stephen was waiting for this and returns to bash them in the head before chaining them up and torturing them.

It appears that this whole marriage is over money. Muriel has it and Stephen wants it. She attempts to buy time by telling him that he is no longer the beneficiary of her estate but that she has in fact signed everything over to her mentally unbalanced sister. This stops him momentarily but he’s not done yet. Hatching a plan with the maid, he ties Muriel to the bed and fondles her while her lover watches. Gaining some satisfaction in that, he precedes with the nights main attractions including acid torture, electrocution and cremation.

Sometime later he returns with a new wife, Muriel’s blonde sister Jenny (also Barbara Steele), much to the chagrin of Solange, who is now the young and super-hot Helga Line. The Dr. has been doing some blood experiments that reversed her age and keep her young. I’ll say this; “mad” scientists tend to get results. Dr. Stephen works his mojo and continues his life at the swingingest castle in Italy. Soon Jenny starts having dreams where she exchanges places with her dead sister, each day pushing her closer to the breaking point. Is she going crazy or is Muriel’s ghost taking over her body?

Nightmare Castle delivers on the atmosphere thanks to Director Mark Caiano and Cinematographer Enzo Barboni, who works the doom and gloom element with great skill. You can’t help but feel a little of what Jenny is feeling. By the way, if those feelings of creepiness seem familiar, it may be because the castle used for filming is the same location as Barbara’s taboo breaking: “The Horrible Dr. Hichcock”

Barbara Steele is excellent as usual in the duo roles of sisters Muriel and Jenny. This film showcases her unique beauty as both blonde and brunette, adding a new dimension to her famously captivating eyes. Helga Line, not being one to be shut out of the sex appeal category, conveys so with her eyes and body language, having to perform most of her scenes in a conservative black outfit.

Paul Muller is absolutely hate able as greedy scientist Stephen Arrowsmith. In fact, he reminds me of Dr. Hichcock. Barbara’s characters seem to always marry weasels don’t they?

Lawrence Clift as true love interest, Dr. Dereck Joyce is thwarted by Arrowsmith at every attempt but still manages to come off as a hero. That takes skill (or luck).

The film, like most of Barbara’s euro horror opuses, is more stage play than film, a small cast and limited sets that make the most of atmosphere and the promise of impending doom.

It may not be Mario Bava, but Nightmare Castle is worthy of its actors talents and one more reason that we love this kind of film.

Freight Train of Fright: Horror Express (1972)

2011-12-09T23:28:00.001-08:00

I remember watching channel 5 when I was young waiting for whatever cool movie they were going to show that night. They played allot of horror so I would just sit down and watch. One movie they played often was Horror Express!

Filmed under the title: Panic on the Trans-Siberian Express, Horror Express opens with Christopher Lee as Prof. Sir Alexander Saxton, discovering “The Missing Link” and preparing to board the Trans-Siberian train bound for Europe. While arguing with the station manager, he runs into an old acquaintance, Dr. Wells (Peter Cushing), who unlike Saxton, seems genuinely happy to see him. You get a real sense that Dr. Wells is a slightly arrogant fellow and that Prof. Saxton cannot stand him. There is little time spent on their relationship but as usual, these two bring their "A" game, and everything is said with body language. Saxton is very secretive about his discovery and this only feeds Well's curiosity.

The deaths start before the train even leaves the station as a would be thief who had taken an interest in the Professor’s discovery is found lying on the floor near it, his eyes open and completely white. The body sparks much interest in Saxton’s crate including Father Pujardov (Alberto de Mendoza). He is employed by a Count and Countess who have an interesting idea of a marriage indeed. The Countess Irina Petrovski (Silvia Tortosa), seems rather infatuated with the good Prof. Saxton and its fun to watch the outcome of that. Father Pujardov has issues with their lifestyle but has greater issues with being unemployed.

As a bonus, we get Helga Line as alluring thief Natasha, and of course, Telly Savalas as Captain Kazan, who desperately needed his own film!

The film plays like with the “and then there were none” formula well and come on, how many movies do we get set aboard a moving train? The Link escapes and kills several passengers before being taken out. There's just one loose end, the creature can inhabit anyone's body and its up to Peter and Chris to find it before its too late. Yep, its a bloody mess that leads to an interesting sci-fi tinged climax.

From producer Bernard Gordon, writer of “Earth vs. the Flying Saucers” and “The Day of the Triffids”, before being blacklisted, and excellent Spanish director Eugenio Martin (A Candle for the Devil), this film plays like a lost Hammer Gothic version of “The Thing”.

I have fond memories of this film and watch it often. It reminds me of a time when life was simpler, sitting on the couch in the living room, watching TV with my grandparents. Those days are gone but the movie is still here for a trip down memory lane.

One more Danse in the dark: Web of the Spider (1971)

2011-12-06T10:40:00.001-08:00

It’s rare to have a film maker remake his own film, only a few have even tried. I love 1964’s “Danse Macabre” starring Barbara Steele so I’ve always been curious about this remake known by many names including "Dracula's Castle of Blood?!" Well, with a bottle of Patron and an ice cold Rollin Rock, I sat down to enjoy this second trip to Blackwood Manor.

Setting it apart right off the bat, is a lengthy prologue of Edgar Allan Poe wandering a dark crypt. Deranged madman (the actor, not the character) Klaus Kinski, torch in hand, escaping possible ghosts and demons. Soon we find that Poe is recounting the story in a tavern to a mesmerized crowd. His rants are observed by reporter Alan Foster, who has been following him for some time. He joins Poe’s table with Lord Blackwood. While discussing Poe’s work and debating the statement that Poe’s work is indeed fact, Lord Blackwood wagers Alan that he cannot spend one whole night in Blackwood Manor because it is haunted. Alan accepts and takes the long coach ride to the deserted mansion.

Exploring the mansion, he comes across a painting of a beautiful brunette who catches his attention. He can’t seem to take his eyes off her for long, that is, until he meets Elizabeth Blackwood. She appears behind him as what he sees at first as a painting, but soon he sees that she is flesh. She quickly makes her move but before she can seal the deal, she is interrupted by Julia, the woman in the painting. With the major players in place, the passion play commences, each woman fighting for Alan’s love and perhaps their own souls.

Remaking Danse Macabre aka Castle of Blood has its pros and cons. Let’s start with the sets. The original set pieces were heavily influenced by the Universal horrors of the 30’s and 40’s, most notably Castle Dracula and the Old Dark House; this film’s sets are the love children of Hammer and Roger Corman. The story in either form is somber in tone and better served by black and white photography.

Though Barbara Steele is sorely missed here, Michèle Mercier (Black Sabbath) brings her own sex appeal and desperation to the role of Elizabeth. She is a woman that definitely needs to be saved, whether it’s possible or not.

Karin Field as Julia is a definite step up. Not that there was anything wrong with Margarete Robsahm performance the first time around, but she came off a little more spoiled and devious, whereas Karin’s Julia is more sympathetic so we are allowed to make up our own minds about her.

Anthony Franciosa as Alan Foster doesn’t quite blend with the period for me. His haircut makes screams 70’s and reminds me of James Caan. Oh well.

The biggest addition is Klaus Kinski as Poe. Though not in the film much, he is a commanding presence which is a blessing and a curse since he plays Poe as a crazed and sinister drunk, Interesting.

Another interesting note is though many of the films scenes are identical and performed by talented actresses, there is a lack of sexuality. I guess it comes down to the golden rule, "some people have it, some people don't"

Web of the Spider is definitely worth a look if you can get your hands on it. It’s a film that really deserves to be judged on an individual bases. It will never replace Danse Macabre, not for fans of Director Antonio Margheriti nor most viewers, but unlike most remakes today, it certainly has its merits.

Everything old is new again: Evil Dead 2 25th Anniversary Disc

2011-12-04T12:56:00.001-08:00

I have a lot of Evil Dead on my shelf. Eight versions of the original film, four versions of the second and I’ve lost count on how many Army of Darkness discs I have. I always say “Never again” and then buckle when a new version comes out.

Well I was home playing Dead Island when my girl sent me a pic with the caption “Don’t have this right?” I saw the skull staring back at me with a big 25 on the cover. Here we go again. She brought it home and the world stopped for that crazy cabin in the woods. Evil Dead 2 is kind of a touchstone for me. It’s probably the first film that truly solidified my love of horror and everything that goes with it.

The story is simple. It opens up with a Cliff Notes version of the first film. The bare essentials if you will, then kicks it into high gear. Ash, our hero from the first film, survives to be tormented for another day. The evil forces have trapped him in the woods and he has nowhere to run. However, the owners of the cabin have a daughter and she is on her way there with a colleague to meet up with them, or so she thinks. The cabin is like a cinematic manifestation of the roach motel, people can always check in, but no one checks out!

So with a simple story of five little Indians and several previous releases, why bother with this one? Well quite simply, if you only buy one Evil Dead 2 dvd this is it! Much like the huge Evil Dead package a few years ago, this seems designed to sate you for years to come.

The picture is a brand new transfer and nicer than the first release which was my first blue ray experience. Lionsgate threw some money into this and it is obvious right off the bat. In addition to enhancing the picture, they finished some visual effects that needed touching up, especially in the high definition era. Same goes for the audio; we get a new DTS 5.1 mix which will destroy you home theater room. I love it.

So yeah, yeah, new picture, new sound. What else ya got? Let us move on to the goodies because they are worth the price of admission alone!

First up is Swallowed Souls: The Making of Evil Dead II. This is a seven part documentary on the making of the film and features everyone who ever meant anything to the franchise (you know what I mean). The entire cast and most of the main crew is present to share stories of the ordeal that would become the sequel to the ultimate experience in grueling horror. The guys look dignified and the girls look great. It is a great 90 minute trip down memory lane with new stories seldom shared.

Next up is The Road to Wadesboro: Revisiting the Shooting Location of Evil Dead II. A short piece on the locations used. The school is practically abandoned and the cabin is nothing but a shell really. Hell, I’d still stay in it tough.

Then we have Cabin Fever, which is about a half hour of Greg Nicotero’s personal footage from the shoot. One of the reasons I started making films is because I saw these people having so much fun on old VHS documentaries like “This is Horror”.

As if that wasn’t enough, they carted over the previous material as well. The Gore, The Merrier, a cool but casual behind the scenes feature, and Behind the Screams, which is a more effects oriented look at the making of the film which is narrated by Tom Sullivan.

And finally we have Artifacts of the Dead, an extensive still gallery of photos and marketing material. All of that is topped off with the trailer and TV spots.

In fact, the only thing missing on this package is Sam Raimi himself who has shied away from the camera in his later years. He is missed, but his presence and love can be felt throughout.

So if you weren’t sure that you wanted another version of Evil Dead II or you thought you were going to be sucked by a set of new extras totaling 10 minutes or so, rest assured, this package is complete and for $10 it’s the only Evil Dead II you need on your shelf (until the next one).

Dario Argento needs some head: Trauma (1993)

2011-12-03T12:05:00.001-08:00

It’s time to talk Argento. The strange and creepy Italian man with the beautifully strange and creepy daughter. I feared him and fell in love with her. One of my favorites is Trauma. I rented it from a local video store and popped some corn one evening. I was in the mood for something different and this was the ticket.

Trauma is a different kind of film. Asia Argento plays Aura, a young girl who is suffering from anorexia and has been in and out of hospitals for some time now. She escapes the hospital again and meets a guy named David (Christopher Rydell) that seems like he wants to help her. She steals his wallet (one way to ensure a second date) and heads off on her merry way. She doesn’t get far before she is stopped outside and returned home much to the dismay of her mother. Her father seems passive and her mother is a psychic who holds séances in her home.

On one such rainy night Aura comes home to find mom at it again only something is different. Mom (Piper Laurie) is channeling a victim of the head hunter. A man who has been decapitating his victim’s in and around town. After an incident, Aura’s parents’ runs out into the rain and disappear into the wooded park surrounding the property. Aura gives chase, only to find her parents headless on the ground and the killer holding their heads. The head hunter decapitations are alittle more high tech than we are used to seeing, using a mechanical garrote device for his kills.

Aura returns to see David and asks for help. He takes her home to retrieve some clothes and look for answers. This launches them into a seek and destroy mission against the killer. David is of course falling in love with her as they run for their lives, which is interesting because she is underage, at least in America. The bodies keep piling up and one thing becomes clear, they are all in the medical profession.The pace is a little slow at times but the second half has some thrills and a great twist.

This film has a great cast that’s doing great work. As usual, Asia is good and believable as the troubled teen searching for her parent’s killer. She has never had a problem conveying a rough around the edges exterior even at an early age. Christopher Rydell as David, our Good Samaritan hero, is likeable in a role that could easily be a Scott Speedman type role (And I hate those).

Piper Laurie has always intrigued me, well at least since Twin Peaks, and she does a fantastic Italian accent. She may not have a lot of screen time but she owns the film in the scenes she appears. James Russo and Fredrick Forest are also good and lend a sense of class to this gory thriller.

I’ve heard a lot of talk about how bad the dialogue and acting are and the truth is, neither is bad, just adequate. I again think that the hype rose expectations beyond what the movie would have been otherwise. As a prime example, after Leonardo Dicaprio won his first Oscar for “What’s Eating Gilbert Grape”, he did “Titanic” and caught some heat because he “didn’t have any Oscar worthy scenes”. It wasn’t that type of character nor was it meant to be.

No, Trauma wasn’t well received at the time but I believe it suffered from too much hype on something that a lot of Americans don’t understand…the Giallo. It is a fine thriller and one of the last times a master was in charge of an American horror film. Argento is one of the best and though I am aware that he has been playing variations on a theme for years, so do many others, Hitchcock, Scorsese, the list goes on. It’s not laziness, it’s his style. This Argento film really is a film best decided by personal taste and the hope that yours is in tune with his.