October Horrorshow

October Horrorshow: Interview with the Vampire: The Vampire Chronicles

Here’s an old review I wrote for an abandoned month of Tom Cruise reviews. It slots into the Horrorshow quite well:

What a clumsy title. The title of this film is up there in clumsiness with Ballistic: Eks vs. Sever, The Hunger Games: Mockingjay – Part 1, and Lara Croft Tomb Raider: The Cradle of Life. It can’t be too much longer before Hollywood shoves out a film that has two colons in the title, right? Of course, Hollywood has nothing on the Japanese, who are absolute virtuosos at stringing together nonsense titles. The anime realm brought us The Super Dimension Fortress Macross: Do You Remember Love?, a film which showed us that J-pop is a weapon of mass destruction, and Evangelion: 1.0 You Are (Not) Alone. Not too long ago I saw a Japanese detective flick from the 1960s titled Detective Bureau 2-3: Go to Hell Bastards! It was every bit as good as it sounds. But, while I jest, potential viewers should not let the awkward title steer them away from Interview with the Vampire. Continue reading “October Horrorshow: Interview with the Vampire: The Vampire Chronicles”

October Horrorshow: Invasion from Inner Earth, aka Hell Fire, aka They

Invasion from Inner Earth movie posterOnce upon a time, in the far distant past, AD 1974, filmmaker Bill Rebane asked a simple question. “What if I made an alien invasion movie without the aliens?” I’m joking, but at some point during production, Rebane (who has graced the Horrorshow in the past) had to have noticed that all the action in his film was taking place hundreds of miles away from the plot. What we’re left with are five 20-somethings in an isolated cabin in northern Manitoba, whiling away the time by playing with a ham radio and eating beans. It turns out that it’s important for a filmmaker to place their characters near the action in a film, so that something, anything, happens to ease the pain of the audience. Who knew?

Working from a screenplay by Barbara J. Rebane, Invasion from Inner Earth (also released as Hell Fire and They — titles that make as little sense as Invasion from Inner Earth) starts off slowly, and that’s how the whole thing goes. Continue reading “October Horrorshow: Invasion from Inner Earth, aka Hell Fire, aka They”

It Came from the ’50s: It! The Terror from Beyond Space

When is a shitty movie not a shitty movie? When it’s super cheap, but also good. Such is the case with It! The Terror from Beyond Space, released in 1958.

We wrap up It Came from the ’50s with the movie that was the supposed inspiration for Alien. The story is similar. A spaceship from Earth sets down on another planet and picks up a stowaway alien with a thirst for blood. How the human spacefarers rid themselves of the alien is also similar. How the two films differ is in the small details. Continue reading “It Came from the ’50s: It! The Terror from Beyond Space”

October Horrorshow: The Pyramid

Sometimes I curse The Blair Witch Project for loosing found footage horror flicks upon the movie-watching public. And I curse Rec, as well, for its creepy night-vision climax that has been used over and over again in just about every one of these ripoffs. There is now a whole pile of these films, and it’s hard to find one that doesn’t default to the techniques and gimmicks of these two films.

The Pyramid, from 2014, saves all of its originality for setting and place, while delivering a film identical in tone to any number of horror flicks where a group of people find themselves lost underground and are being stalked by…something. In fact, this is the fourth such film to be featured in this year’s Horrorshow, after Gonjiam, Derelict, and Creep. It’s a cheap way for filmmakers to use the same darkened hallway or tunnel set in many different shots and scenes, creating the illusion of a vast maze. The only problem with this is, these films very clearly use a small set, so it’s left up to the viewer to pretend that the filmmakers aren’t trying to fool us. Continue reading “October Horrorshow: The Pyramid”

It Came from the ’50s: Return of the Fly

I’ve seen some embarrassing cash grab sequels in my many decades as an avid shitty movie fan, and this one is among the more shameful.

From writer/director Edward Bernds comes Return of the Fly, the sequel to The Fly, released in 1959. The first thing viewers of The Fly will notice is that, unlike its predecessor, Return was not shot in color. I cannot recall another sequel in film history that has gone from color in the original to black and white photography in the sequel. There are a couple examples the other way, notably The Hustler and The Color of Money. Continue reading “It Came from the ’50s: Return of the Fly”

October Horrorshow: C.H.U.D.

I’ve seen C.H.U.D., the 1984 mutant monster flick, a number of times since its release. Each time, its objective quality, in my estimation, continues to fall. Each time, whatever spark and flare the movie had when I was young fades even more, and it becomes a more disappointing watch. But that’s only because in that old memory of my first viewing from was when I young, this was a good movie. Oh, boy, was I wrong. It’s not a good movie, but, it sure is shitty. Continue reading “October Horrorshow: C.H.U.D.”

It Came from the ’50s: Plan 9 from Outer Space

This flick has quite the reputation. Search the internet for lists of the worst movies of all time, and this film will most likely be on it, and could very well be at the top. Its writer, director, and producer, Ed Wood, is a legend among shitty film fans. Not many people get a biopic made where the focus is on their ineptitude, but it happened to Ed Wood. And he earned it. But, I have disappointing news for any Ed Wood fan that happens upon this site. Plan 9 from Outer Space is not the worst movie I have ever seen. It doesn’t even crack the bottom 10.

From 1959, Plan 9 tells the story of an alien invasion of Earth. That’s the broad view, and the only part of the plot that makes sense. The details of the story are a nonsensical jumble of graveyard scenes and whatever footage Ed Wood managed to shoot of Bela Lugosi before the latter’s death in 1956. Continue reading “It Came from the ’50s: Plan 9 from Outer Space”

October Horrorshow: Belzebuth

Belzebuth, the 2017 horror flick from Mexico, stakes its claims early on. In the first scene, we see police officer Emmanuel Ritter (Joaquín Cosio) and his wife, Marina (Aurora Gil), at the hospital following the birth of their child. The two are consumed by happiness, as are all the other new parents in the maternity ward. But, not long after, a neonatal nurse starts her shift by stabbing all of the babies in the newborn nursery with a scalpel. Viewers are treated to the nurse’s increasingly bloody arm going up and down, clutching the scalpel like, well, a knife. Ritter’s baby is one of the victims. It’s a hard bit of film to watch, even though the death is one-hundred percent implied. Director Emilio Portes decided to open his film with a shock, but he was still wise enough not to show we viewers any actual dead babies. Thank goodness, really. Continue reading “October Horrorshow: Belzebuth”

It Came from the ’50s: The Manster

With a name like The Manster, it has to be shit, right?

From 1959 (but kept on a shelf until 1962), The Manster is a shitty American monster flick that looks like a joint American/Japanese production. But, it’s not. The Manster is a 100% American production that just happened to be shot in Japan, with many Japanese actors and crew. I made a point while watching this flick to go into the tubes and find out if there was a Japanese-language version of this flick shot side-by-side with the American release, à la Dracula, but there was not. That feels like something of a missed opportunity, as Japanese shitty movie fans would enjoy this piece of trash, I’m sure. Continue reading “It Came from the ’50s: The Manster”

October Horrorshow: Vampire Circus

Vampire Circus didn’t make the cut two years ago for the October Hammershow, but now I wish it had. I watched some real stinkers that month, and Vampire Circus would have been a worthy replacement.

Hammer released Vampire Circus in 1972, placing it at the tail end of Hammer’s run. The cracks in Hammer were apparent by then. The formula they had been using for over a decade was showing less and less return at the box office, so Hammer turned to gratuitous nudity and more gore to try and boost sales. It didn’t work. But, even though it seems Hammer was turning somewhat desperate, they were still capable of releasing good horror flicks. Continue reading “October Horrorshow: Vampire Circus”