God Told Me To

God Told Me To movie posterDetective Peter Nicholas (Tony Lo Bianco) of the NYPD has himself a bear of a case. Massacres have been happening all over the city, all carried out by different people, and all at random. There’s only one thing each of these awful events has in common: each of the perpetrators has said that God told them to do it. How is he supposed to stop that?

God Told Me To comes to us via writer, director, and producer Larry Cohen. This isn’t Cohen’s first appearance in the Horrorshow, having helmed the execrable film The Stuff . Whereas that film felt rushed, this earlier effort, from 1976, feels much more meticulous.

As much cop flick as horror, the film follows Detective Nicholas as he tries to find the common thread, other than the bizarre pronouncements from the perpetrators, that connects such disparate killings. It turns out that these killers aren’t suffering from some hallucination. There really is someone telling them to kill. Why they become so convinced that this person is God is one of the mysteries that Nicholas must solve. Continue reading “God Told Me To”

The Amazing Colossal Man

No sea beasts, dinosaurs, giant arachnids, or skyscraper-sized gorillas in today’s flick. The monster in today’s entry in the October Horrorshow Giant Monstershow is a gigantic man.

The Amazing Colossal Man is the fourth film of this year’s Horrorshow, and the third released in 1957, from ’50s b-monster auteur Bert I. Gordon. The man found a niche, and stayed there until the box office returns started to dry up. From a screenplay by Gordon and Mark Hanna (who would pen Attack of the 50 Foot Woman the following year), The Amazing Colossal Man tells the tale of the unfortunate Glenn Manning (Glenn Langan), an army officer who is exposed to a nuclear blast during a test in the Nevada desert. Continue reading “The Amazing Colossal Man”

The Black Scorpion

The Black ScorpionThe poor performers in films like this. They come to a production, ready to put in enough work to make some mortgage payments, maybe dig a pool in the backyard, and they do a decent enough job. But then they go to the premiere of the film, with not the highest of expectations (after all, it ain’t John Ford or Howard Hawks they were working with), and they find the audience howling with laughter at the monster effects. Take a moment to appreciate the plight of the bad movie actor.

The Black Scorpion, the 1957 film from director Edward Ludwig and screenwriters David Duncan and Robert Blees, opens, as so many of these monster films from the ’50s do, with stock footage. But, for once, it’s not footage of Air Force jets or Arctic wastes. This time it’s footage of volcanoes oozing lava over the land. The expository voiceover informs the viewer that a new volcano is rising out of the ground in Mexico. In little over a month it has grown to gigantic size, threatening the surrounding ranches. Continue reading “The Black Scorpion”

The Dead Pit

One would be hard-pressed to find a horror film that takes as much inspiration from the works of Dario Argento as The Dead Pit, the 1989 film from first-time director Brett Leonard.

From a screenplay by Leonard and the film’s producer, Gimel Everett, The Dead Pit stars Cheryl Lawson as Jane Doe, a patient at a mental hospital suffering from amnesia. Only she claims it isn’t amnesia at all. She says that a mysterious doctor removed her memories surgically. Her therapist, Dr. Swan (Jeremy Slate), doesn’t believe her, of course. He thinks some traumatic event in her past has welled up in the present and caused her brain to lock away her memories. Although, he of all people should listen a little more closely to her claims. Continue reading “The Dead Pit”

The Cyclops

Exactly one month after Beginning of the End was released in 1957, another epic Bert I. Gordon schlock-fest hit theaters. Both written and directed by Gordon, The Cyclops is about as worthless a film as this terrible filmmaker ever made…for half of its Spartan 65-minute running time. But then the titular cyclops finally appears onscreen, and all is forgiven. Continue reading “The Cyclops”

The House on Sorority Row

The House on Sorority RowThe 1980s were THE decade for slasher flicks. The subgenre of horror really picked up steam in the ’70s, but it was in the ’80s when it matured, like a fine wine. It also, somewhat paradoxically, got less gory. But that’s a subject for another day. For now, it’s enough to know that in 1983, someone made a slasher film called The House on Sorority Row. Oh, the possibilities.

From writer/director Mark Rosman, The House on Sorority Row tells the tale of a prank gone wrong. The Pi Theta house is about to shut its doors for summer break. The graduating sisters of the sorority want to throw one last bash before they all scatter to their adult lives. But the house mother/landlord, Mrs. Slater (Lois Kelso Hunt), isn’t having any of it. She needs the house for her own purposes, and wants the young women out.

Mrs. Slater has apparently been a domineering figure in the lives of the sorority sisters. After four years of putting up with her, the girls aren’t about to let Mrs. Slater ruin their big night. Their idea is to frighten Mrs. Slater with a gun firing blanks. How that will ensure they get to throw their party is a mystery, but it is believable that college kids didn’t think that far ahead. Continue reading “The House on Sorority Row”

Beginning of the End

The b-monster flick Beginning of the End marked the start of an epic year for filmmaker Bert I. Gordon. He directed not one, not two, but three giant monster movies in 1957. I’m impressed, but would be even more so had any one of these films looked like it took more than a week and a half to shoot.

Beginning of the End, from a screenplay by Fred Freiberger and Lester Gorn, tells the tale of a plague of giant locusts that descend on Chicago. For you readers in the American Midwest and points nearby, that’s ‘locusts’ as in real locusts, aka grasshoppers — not the colloquial locusts, aka cicadas. Either way, the bugs are about the size of city buses, with murderous appetites. Continue reading “Beginning of the End”

The House of Seven Corpses

The House of Seven Corpses movie posterBy 1974, gothic horror films were falling out of fashion. The year saw the last gasps from the major franchises of Hammer Film Productions, with the releases of Frankenstein and the Monster from Hell and The Legend of the 7 Golden Vampires. The genre had come a long way, but by the time this film, The House of the Seven Corpses, was released, seriously bloody slasher horror was making its presence felt. If a filmmaker was going to do gothic horror, it needed to have a twist.

Paul Harrison wrote (with Thomas J. Kelly) and directed The House of Seven Corpses. It stars John Ireland as filmmaker Eric Hartman. He has assembled a cast and crew to shoot a gothic horror flick at the old mansion of the Beal family (the mansion is played by the Utah Governor’s Mansion in Salt Lake City). And there’s the twist. It’s a gothic horror movie within a horror movie.

The Beals are all dead by the time Hartman begins shooting his movie, and they all died violently. There being no more Beals, the house is watched over by Edgar Price (John Carradine), a caretaker. Continue reading “The House of Seven Corpses”

The Giant Claw

The Giant ClawIn the Arctic, vigilant eyes watch the skies. America is in a mortal conflict with communism. In order to protect the free peoples of the west, early warning stations have created an impenetrable net across the Arctic. Should the commies try anything, we’ll be ready. But, it’s not spy planes or ICBMs that menace the nation in this film. A giant monster from places unknown has appeared, and is wreaking havoc. If this sounds at all familiar, that’s because the setup to The Giant Claw is basically the same as yesterday’s giant monster film, The Deadly Mantis. The only major difference is in the monster. The Deadly Mantis featured a giant praying mantis, while The Giant Claw features…well, I’ll get to that.

Released in 1957, The Giant Claw comes to us care of writers Samuel Newman and Paul Gangelin, and director Fred F. Sears. This is the ninth giant monster flick of this year’s Horrorshow, and the pattern established by The Beast from 20,000 Fathoms is getting somewhat wearying.

Something terrorizes isolated communities. Some dashing military officer or other authority figure is on hand to take charge of the situation. A scientist or doctor is also present to form wild, yet ultimately correct, hypotheses about what could be happening. Said scientist has an attractive assistant, who catches the eye of the square-jawed lead. Monster continues to attack, leading to a final confrontation in a major city in which the beast is dispatched. Make some cosmetic changes here and there, pick out some reels of stock footage that Bert I. Gordon overlooked, and one has a 1950s giant monster flick. Continue reading “The Giant Claw”