The October Horrorshow Giant Monstershow is nearing its end. The featured films have been reviewed in chronological order. After a glut of films from the 1950s, it only took another ten flicks to get us to 2006, when today’s film was released. The ’50s were the golden era for giant monsters. Hardly a week went by without a giant monster flick in the theaters, if the movies I’ve watched for this month have been any indication. Giant monsters still show up in theaters every few years, but the pace has slowed. Continue reading “Giant Monstershow: The Host (2006)”
What a gloriously stupid movie. Today’s movie is the movie I was looking forward to seeing the most for the October Horrorshow Giant Monstershow. It’s a movie of such shitty grandiosity that I was, in fact, giddy at the prospect. It’s not the easiest movie to find for viewing, either. As of this writing, none of the popular streaming services has it for rent or purchase. The only bootleg streams I could find were not in English, and even trying to find a torrent was fruitless. In the end, I had to buy a used DVD from eBay. It cost thirty-five bucks. That’s a lot of money for a shitty movie. Alas, it was worth every penny. Continue reading “Giant Monstershow: King Kong Lives”
It’s a melancholy day for the October Horrorshow Giant Monstershow, for this is the last film of the month from giant monster auteur Bert I. Gordon. His peak days as a filmmaker were in the 1950s, but while Gordon’s pace of work slowed, he never went more than a few years without directing something. In 1977, that something was Empire of the Ants, also written by Gordon, loosely adapting the H.G. Wells story of the same name. Something of a follow-up to Gordon’s Food of the Gods, Empire of the Ants tells the story of a Florida real estate pitch gone wrong. Continue reading “Giant Monstershow: Empire of the Ants”
The 1976 remake of King Kong might be peak Dino De Laurentiis. The legendary Italian producer’s films whipsaw back and forth between the grandiose, the absurd, the exploitative, and the just plain shitty. King Kong is a prime example.
Clocking in at an interminable 134 minutes, this King Kong is meant to be an epic retelling of a cinema classic. Everything about this film, directed by John Guillermin, seems meant to showcase how film has improved and grown in the forty years since the original film was released. The original King Kong was severely limited by what was possible at the time, yes, but it never felt like a failing. Nor is this film an indictment of what came before. But this film does live and die on an implied promise that it will be a better technical film than that which came before. Other than making money, there really isn’t much more reason for this film to exist. Continue reading “Giant Monstershow: King Kong (1976)”
This is an important day for the October Horrorshow Giant Monstershow. The featured auteur of this month of reviews has returned. For the seventh time this month, a review features a film by Bert I. Gordon. Yes, a filmmaker that showed mastery at failing to master the art of filmmaking is back. Today’s film, from 1976, also shows that although more than twenty years had passed since Gordon’s first movie, he stayed true to his unique abilities as a filmmaker. Continue reading “Giant Monstershow: The Food of the Gods”
The October Horrorshow Giant Monstershow continues on with a putrid mess of a movie. From 1975, The Giant Spider Invasion comes to us via screenwriters Robert Easton and Richard L. Huff (who also produced). Bill Rebane handled the directing. According to the internet, so it must be true, this stupid movie, despite its low budget and general incompetence, was a moneymaker for Huff and company. How a movie this bad, starring a disguised Volkswagen as a giant spider, ended up being profitable is beyond me. It feels something of a crime against the art of film that this movie found success. Continue reading “Giant Monstershow: The Giant Spider Invasion”
It’s the near future — just a couple of years past the present day. The human race has been devastated by an invasion of ferocious creatures. Where the creatures come from is never made clear, although space is as good a culprit as any. The creatures are sightless, but have extraordinary hearing. Among the cacophony of sounds that a planet and all its inhabitants make, the creatures are able to pick out even the slightest of sounds made by a human, and hunt them down quickly. All remaining people are forced to live a life of silence that would try even the most devoted of monks. Such is the setup to A Quiet Place, the film from director/star John Krasinski, and writers Krasinski, Bryan Woods, and Scott Beck. Continue reading “October Horrorshow: A Quiet Place”
The October Horrorshow Giant Monstershow carries on with one of the most ridiculous premises one can come across in film. Night of the Lepus, a terrifying tale of nature run amok after the arrogant interference of man, is about a plague of giant rabbits. Cute, cuddly, merciless and carnivorous rabbits. No matter how serious those involved treat this material, it’s impossible to get around the fact that the bad beasties in this flick are bunny rabbits. Continue reading “Giant Monstershow: Night of the Lepus”
What’s this? Orchestral soundtrack? Hand-illustrated title font? Technicolor? Hey, wait a minute…did this film have a respectable budget? Sacrilege!
The October Horrorshow Giant Monstershow carries on with Gorgo, Britain’s very own kaiju film. From 1961, Gorgo was directed by Eugène Lourié (making his third appearance in the Monstershow) from a screenplay by Robert L. Richards and Daniel James. Continue reading “Giant Monstershow: Gorgo”
The October Horrorshow Giant Monstershow carries on! After spending nineteen straight films in the 1950s, we have our first feature from after that defining decade of the monster flick, but all that’s changed is that today’s movie was filmed in color.
Reptilicus, from 1961, is a joint Danish-American monster flick that was filmed in two versions. One was shot in Danish, directed by Poul Bang, and that’s the version Danish audiences saw. The other version was directed by Sidney Pink, used most of the same performers, but was shot in English, for distribution in the United States. But, American International Pictures, which distributed the film in the US, didn’t like the English cut, and ordered substantial changes. The changes were enough for Pink, who was also the film’s producer and a credited screenwriter, to take AIP to court. It was a brief dispute, but an indication of divergence between the two versions of this film. I’m curious just how different the Danish version is from the English, but not curious enough to sit through this dog again, at least for now. Continue reading “Giant Monstershow: Reptilicus”