There’s not a lot of plot to Death Warmed Up, the 1984 horror flick from writer Michael Heath and director David Blyth. There are hints of plot here and there, but any cohesion or sense is tossed away in service of spectacle. That’s not inherently a bad thing. Story, while necessary for most films, would just have gotten in the way of this flick’s many, many, blood-spurting wounds.
A New Zealand production, Death Warmed Up follows Michael Tucker (Michael Hurst). In the film’s intro, we see Michael come under the influence of the evil Dr. Archer Howell (Gary Day), who is conducting experiments into human resurrection and mind control. After injecting Michael with his serum, Howell sends Michael to kill Michael’s parents. Michael’s father is a professional rival who threatens Howell’s experiments. After the deed is done, Michael spends the next seven years in a psychiatric hospital. The main part of the film picks up after his release. Continue reading “October Horrorshow: Death Warmed Up”
Blood, gore, low production values, a little gratuitous nudity, and charm out the wazoo. That’s Nightbeast, the 1982 sci-fi/horror flick from b-movie filmmaker Don Dohler. It’s a simple film with a simple idea: an alien passing by Earth runs into a stray asteroid and crashes in rural Maryland. It’s an angry beast, and it wastes no time slaughtering the locals with its laser gun.
Trying to stop the massacre are the cops and the good citizens of Perry Hall, led by Sheriff Cinder (Tom Griffith). That’s all the plot one really needs to know. There’s very little setup to this flick, and very little character development. That’s a good thing, as Dohler didn’t round up the best talent for his opus. Besides Griffith, there’s Karin Kardian as Deputy Lisa Kent, Jamie Zemarel as local Jamie Lambert, and Don Leifert as local tough guy and murderer Drago (it’s a subplot). None of these performers, or the others listed in the credits, had much work outside of Don Dohler films, and none of them seemed like professionals. But, their lack of acting chops only adds to the appeal. Continue reading “October Horrorshow: Nightbeast”
Pacemaker Pictures, the English-language distributors of Terror-Creatures from the Grave, the 1965 Italian gothic horror flick, sure went all in on the title. Perhaps they had a shortlist and couldn’t decide between Terror from the Grave and Creatures from the Grave so, like some parents, decided to burden their charge with a hyphenated name. It’s a mouthful, but has loads of kitsch to it.
Directed by Massimo Pupillo, from a screenplay by Romano Migliorini and Roberto Natale, Terror-Creatures is plays like a pageant in honor of horror cinema. Shot in stark black and white by Carlo Di Palma, the film relies heavily on early horror film styles and storytelling, while combining it with contemporary trends in Italian cinema. There’s the dark and stormy night, overlayered with endless theremin music, combined with dramatic closeups and the multinational cast mouthing their lines in different languages. It’s like watching an old Universal horror film, and everyone is poorly dubbed. Unfortunately, that dubbing can be somewhat distracting, but Pupillo and company nevertheless made a decent horror film. Continue reading “October Horrorshow: Terror-Creatures from the Grave”
Dr. Phillip Rothman (Terry Londeree) has a problem. The electronics company backing his neurological research isn’t happy with its pace, so they’re pulling his funding. The research involves showing flashing images to people to stimulate certain areas of the brain. The idea is that the company will incorporate the fruits of this research into its videogames, to give players a mental kick while playing, or possibly to get them hooked on it. The whys of the research are less important than the fact the experiments are turning Rothman’s student test subjects into murderous lunatics.
From way back in 1991, Brain Twisters is a horror/sci-fi cheapie from writer/director Jerry Sangiuliano. Potential viewers won’t find much in his IMDb page, and that’s common for just about everyone involved in this dog. This was Londeree’s first credit, and he wasn’t in another feature film until 2004. The only member of the cast who went on to have a career is Farrah Forke, who plays Laurie Stevens, one of Rothman’s students and work-study assistants. But, just because most of the people involved in a flick are rookies, doesn’t mean it will be bad. A general lack of talent and competence is enough. Continue reading “October Horrorshow: Brain Twisters”
Sometimes when watching a film, a viewer can tell that the whole project barely held together. We viewers tend to hold that film is an artistic struggle carried out by a single individual. The director has a vision and a story they want to share. This is called the auteur theory of film, and is the main reason we heap praise on directors, at the expense of everyone else involved in a production. Less acknowledged is the reality that film is a business. As anyone who ever worked in an office can tell you, folks are just hanging on by their fingernails, hoping against hope that no one notices how much of the job is just faking it until it gets done. Here is director Norman J. Warren on his 1978 film, Terror:
[A] search for a story [in Terror] is in vain…There is no real storyline and very little, if any, logic. We had the money for a low-budget film, but no script and no idea of what film we wanted to make…we made a list of all the scenes we’d like to see in a horror film. We handed the list to writer David McGillivray, who incorporated the ideas into a ‘sort of story.’
That’s an excellent description of this film. There is a plot, involving an ancient curse set upon the Garrick family by a witch, but the plot is just a means to get from one death scene to another. It’s those scenes, fleshed out and very atmospheric, where this film truly lives. Continue reading “October Horrorshow: Terror (1978)”
There are giants in the history of shitty cinema. Roger Corman, Bert I. Gordon, Herschell Gordon Lewis, Lloyd Kaufman, Ray Dennis Steckler, amongst many others. Then there are filmmakers like Andy Milligan. Milligan was a worker, with dozens of films in his oeuvre. But he sure did make some trash. Most shitty filmmakers would make something like Guru, the Mad Monk, and then have to call it quits. Having a film this bad in one’s CV is kryptonite to investors, but Milligan managed to make shitty films for another two decades after Guru’s release. That’s dedication. Continue reading “October Horrorshow: Guru, the Mad Monk”
The Wretched, the 2019 horror film from writing/directing team Brett and Drew T. Pierce (billed as The Pierce Brothers), is something of an aesthetic throwback to the horror films of the late 1990s and early 2000s, with a little Fright Night thrown into the mix. It relies heavily on the “you have to believe me!” trope, but that’s okay. It’s a great trick horror filmmakers use to make an audience root for the main characters. We see the same things the protagonists see, so it’s frustrating to us, as much as the characters, when authority figures in the movie fail to do anything about the scary stuff and save the town. Continue reading “October Horrorshow: The Wretched”
Rick Turner (Robert Alda), is, by all appearances, in a happy relationship with Donna Trent (Ariadne Welter). The two of them are clean-cut, 1950s wholesome, and engaged to be married. But, a mysterious, beautiful woman has been appearing to Rick in his dreams. One day, as he and Donna are walking about, Rick sees a doll in the display window of a dollmaker’s shop that has an uncanny resemblance to the woman in his dreams. He goes inside, and sets in motion a tale of evil and death.
Such is the setup to The Devil’s Hand, a kitschy 1961 horror flick from writer Jo Heims and director William J. Hole, Jr. By kitschy, I mean that this film has the look and feel of Ed Wood. I don’t mean a film directed by Ed Wood. I mean the Tim Burton biopic. I have no idea what exact sources Burton found for inspiration. Perhaps this flick was on the list. Continue reading “October Horrorshow: The Devil’s Hand”
For a country that swings a heavy censorship stick, Australian filmmakers have produced some bloody horror flicks. The country that produced Wolf Creek, Wyrmwood, Boar, and others, also has a sanctimonious ‘classification’ board whose sole purpose is to make sure Aussies never read or see anything that might bother them too much. It’s okay to have rape and drugs and murder in media, but there’s a mysterious line that media must not cross, or it gets banned. That’s not to say that imaginary delineation doesn’t exist here in the US, what with the MPAA and other groups who have taken it upon themselves to censor on the behalf of everyone, but even by America’s puritan standards, Australia’s censorship is a little much. So, I think it’s refreshing when an Aussie horror flick comes along that features a face being peeled off by an axe, or arms yanked from their sockets. Give me liberty and give me death, the bloodier the better. Continue reading “October Horrorshow: The Furies (2019)”
I love finding an old movie that, as of seeing it, doesn’t have a Wikipedia page. Any movie that can’t be bothered with by Wikipedia’s legion of unpaid of workers has to be shit. Terrified, the last feature from longtime director Lew Landers, is a shitty movie. It’s also quite violent for its day, and, were it not for epic cheapness and laziness with the production, might have been a halfway decent flick.
From 1963, Terrified comes from the pen of Richard Bernstein, who began his screenwriting career with From Hell It Came. That movie was spectacular cheese about a killer tree. Nothing so original in this flick. There doesn’t seem to have been a budget for a foam rubber monster, so in this film, the baddie is just a guy in an ill-fitting suit and homemade stocking mask. Continue reading “October Horrorshow: Terrified”