Timesweep

Timesweep movie posterSomeone out there, somewhere, owns the rights to Timesweep, the 1987 magnum opus from writer/director Dan Diefenderfer (screenplay credits were shared with Larry Nordsieck and John Thonen). As of this writing, Timesweep is nowhere to be found on streaming services, outside of the nooks and crannies where someone has uploaded an old VHS transfer. For shame. This movie is right up Tubi’s alley, and I’m sure whoever owns the rights could use the extra fifty bucks. Anyway…

Timesweep tells the tale of a bunch of mild-mannered 30-something Midwesterners who find themselves trapped in an abandoned building that is hopping through time. Monsters, aliens, zombies, a crazed hermit, killer bugs, and more abound, providing the audience with a surprising amount of gore for so moribund a budget.

The building in question is an old film studio that is slated for demolition. An architecture professor, Vincent Hill (Kevin Brief), a film professor, H.G. Lewis (Frank Vrooman), and students have gathered to explore the old edifice before it’s gone forever. Joining them is a local news anchor covering the story, Angela Markell (Denise Gray), and cameraman Mike Romero (Michael Cornelison). Mike is the rebel of the movie. One can tell because he shows up two minutes late, and he’s rocking a beige jacket. Yeah, there were some wild folks in Kansas City, Missouri in the 1980s. Continue reading “Timesweep”

Empire of the Dark

Empire of the Dark movie posterAspiring auteur Steve Barkett made but two movies during his life, which is two more than most of us. The first, The Aftermath, from way back in 1982, was a passion project that took him years to complete. His followup from 1991, Empire of the Dark, saw Barkett inject the same energy and persistence he displayed in his first movie, and the same anachronistic tendencies.

He directed, he wrote, he starred, he edited, he performed his own stunts, and he, dream of dreams, cast his own son as his co-star. A filmmaker with deficiencies in storytelling ability, acting, physicality, and much else required to make a film, Barkett’s movies are a testament to his force of will. Barkett also drew influences from 1950’s sci-fi and monster flicks, and shot his films like something from the early ’70s. Makeup and latex mask effects swing from b-movie quality to off-the-rack Halloween store fare. Mannequins take bullets to the head with red corn syrupy splatter. Creature effects are a mix of amateur puppetry and stop motion, including what looks like repurposed action figures. At some point in his life, Barkett became interested in broadsword fighting, and incorporated this new skill into his movie. Whatever doubts he may have harbored while making his film, and all artists are plagued by doubts, he cast aside and plowed through. Add Barkett to one’s mental list of perseverance personified, all you aspiring filmmakers. He made shit, but it’s fun shit. Continue reading “Empire of the Dark”

976-EVIL

The 1980s remain my favorite decade for horror flicks. In general, that decade had a much lighter take on the genre than the 1970s, despite all the splatter. In the ’70s, the aim of horror auteurs was to disturb, or to inspire dread. Take the career of Wes Craven, for example. His two most provocative films of the ’70s were The Last House on the Left and The Hills Have Eyes. Both use rape as a plot device, and both rely far more on dread than fear. Then, in the ’80s, Craven launched the Nightmare on Elm Street franchise, which embraced a fun house atmosphere, embodied in antagonist Freddy Krueger. And I do mean fun house. Freddy, with his razor glove, the facial scarring, and the exaggerated sweater and hat, is a horror movie clown. Jason Voorhees, over in the Friday the 13th franchise, is a horror movie clown. Chucky, from Child’s Play, is a horror movie clown. Et cetera, et cetera. The ’80s were awash in blood, but the tone is far different than what came before. Continue reading “976-EVIL”

Absentia

Filmmaker Mike Flanagan has made quite a career for himself in horror, having now racked up an impressive filmography as a writer, director, editor, and producer. His credits include a pair of well-received Stephen King adaptations and some excellent single-season television shows. He began, like many other artists, from humble beginnings. Flanagan’s first feature-length film was Absentia, which had a budget of around $70,000, and was partially funded through a successful Kickstarter campaign.

Absentia follows sisters Tricia and Callie (Courtney Bell and Katie Parker). Life hasn’t been easy for the two. Callie, in desperate need of stability, is a recovering drug addict who has come to stay with Tricia in Glendale, California. Meanwhile, Tricia is married, but her husband, Daniel (Morgan Peter Brown), has been missing for the past seven years, and it’s time to have him declared dead in absentia so she can collect on his life insurance policy, get the creditors off her back, and move on with her life. Oh, she’s also into her third trimester, the father being Detective Mallory (Dave Levine), who has been handling her husband’s missing persons case. That is some drama. Continue reading “Absentia”

Killer Crocodile

Killer Crocodile movie posterWho doesn’t like a shitty Jaws ripoff? Honestly, plenty of people. But enough do like it that giant animal flicks have become a robust subgenre of b-horror the last couple of decades, thanks to the work of outfits such as The Asylum, and the availability of affordable CGI. Jaws ripoffs aren’t the sole province of the 21st century, though. The Italians, whose cinema has always had a mere passing relationship with copyright law, produced plenty of their own…homages…to Steven Spielberg’s blockbuster.

Bruno Mattei, Dino De Laurentiis, Sergio Martino, Enzo G. Castellari, Ovidio G. Assonitis, Raffaele Donato, Lamberto Bava, Luigi Cozzi, Dardano Sacchetti, Joe D’Amato, and more — all names familiar to fans of Italian genre films, all of whom participated in Jaws ripoffs. Add to the list Fabrizio De Angelis, who produced, directed, and wrote, with the aforementioned Dardano Sacchetti, 1989’s Killer Crocodile.

Killer Crocodile follows a small group of conservationists who are investigating contamination in a rural swamp. It’s never said what country they are in, but the movie was filmed in the Dominican Republic. Continue reading “Killer Crocodile”

Sinister

So, what is a washed up true crime writer supposed to do when it’s been years since the last bestseller, the previous two books were poorly researched and poorly received, bills keep piling up, and the wife uses the threat of leaving and taking the kids with her as a cudgel? Well, in 2025, this would never be a problem, as this film’s protagonist, Ellison Oswalt (Ethan Hawke), would already be on season three or four of his true crime podcast. But, back in the distant days of 2012, when this film was released, Ellison would have packed up his family, moved them into a house where an appalling mass murder occurred, and tried to bang out a new career and family-saving hit. That’s the premise behind Sinister, from director Scott Derrickson, and written by Derrickson and C. Robert Cargill. Continue reading “Sinister”

Blood Tracks

From 1985, right in the middle of the decade of the slasher flick, comes a joint UK/Swedish production titled Blood Tracks. Directed by Mats Helge Olsson and Derek Ford, from a screenplay by Olsson and Anna Wolf, Blood Tracks follows a small film crew, a hair rock band, and some scantily clad dancers, who all head up into some snowy mountains to shoot a music video. But, as would happen, they become stranded by an avalanche, while a crazed family of hermits hunts them down in bloody fashion. This isn’t a franchise slasher, or one of the countless American entries, but it is a prototypical example of the genre, wallowing in the conventions and tropes that have done so much to make these flicks successful. Continue reading “Blood Tracks”

Rippy, aka The Red

Once upon a time, way back in the 1980s, I had a calico cat named Rippy. She got that name because the day she was brought home, she ripped up everything in sight with her claws. She was never a contented kitty, running away twice in her short time in the household, with effect the second time. I never saw her again, but I always kept an eye out in the neighborhood for a surly stray with a mean set of claws. What does that have to do with Rippy, the Australian monster flick from 2024? Not a damn thing.

Directed by Ryan Cooman from a screenplay by Coonan and Richard Barcaricchio, Rippy tells the story of a small town in Queensland, Australia, that is being terrorized by a giant, red kangaroo. Continue reading “Rippy, aka The Red”

The Vampire Bat

The Vampire Bat movie posterThe movie business can be an unforgiving hustle. A case in point is The Vampire Bat, the 1933 release from Majestic Pictures. According to the internet, so it must be true, stars Fay Wray and Lionel Atwill had finished filming Mystery of the Wax Museum for Warner Bros., and that film had entered post-production. Majestic seized on this, signing Wray and Atwill to be in another horror flick with quick turnaround, getting a jump on Warner Bros. in both the industry trades and in theatrical release. It worked. The Vampire Bat was a winner for Majestic. It helps that it’s also a decent little horror flick.

An example of gothic horror American style, The Vampire Bat tells the story of a village in Eastern Europe that is being plagued by murders. All the victims are killed in the night, with what looks to be a minimum of struggle, and all the dead are drained of blood. Of course, there are also the telltale marks of the vampire on all the victims’ necks. The village elders are convinced that a vampire stalks the streets, but police inspector Karl Brettschneider (Melvyn Douglas) is not. Continue reading “The Vampire Bat”

Venus

Lucía (Ester Expósito) is having a bad day. A platform dancer at a shady nightclub, Lucía decides the best plan for her life is to steal a gigantic stash of ecstasy pills from the club’s gangster owners and sell it. But, on her way out the door, one of the bouncers/mob muscle, Moro (Fernando Valdivielso), catches her in the act. Lucía escapes, but not before Moro bruises up her face and stabs her in the leg. Her plan ruined, Lucía does what so many others do when in a serious jam: she leans on family.

Rocío (Ángela Cremonte), Lucía’s sister, has problems of her own. A single mother, she is raising young Alba (Inés Fernández) in a decrepit tower block named Edificio Venus that has been bleeding tenants for years. Tragedy after tragedy haunts the Venus’s past, and Rocío has had enough. One last night of pounding sounds coming from the ceiling has convinced her, unlike the protagonists of just about every horror movie ever made, that it’s time to get out of the danger early. Just as she and Alba are packed and in the corridor on their way to safety, the elevator opens and there is the bloodied and exhausted Lucía. That’s the setup for director Jaume Balagueró’s 2022 film Venus, which he wrote with Fernando Navarro. Continue reading “Venus”