Bloody Flick – Page 10

Lo spettacolo dell'orrore italiano: A Bay of Blood, aka Ecologia del delitto, aka Twitch of the Death Nerve, or, The Real Estate Market is Cutthroat

Mario Bava was one of the greats of horror cinema. Not just Italian horror, but horror in general. Horror junkies the world over celebrate his more famous films as essential to the genre. Like with all artists, it wasn’t all smooth sailing. By the 1970s critics had begun to fall out of love with Bava, and that shows with the negative reaction to A Bay of Blood upon its release in 1971.

Contemporary critics and fans were hard on A Bay of Blood, as Bava had moved on from atmospheric gothic horror and into exploitation. Funny enough, though, this film proved to be as much an influence on later horror films as any other movie he had made. Viewers with more than a passing knowledge of American slasher flicks will see some of that subgenre’s genesis in A Bay of Blood. As such, it’s a film that garnered a much better reputation before the decade was out. Continue reading “Lo spettacolo dell'orrore italiano: A Bay of Blood, aka Ecologia del delitto, aka Twitch of the Death Nerve, or, The Real Estate Market is Cutthroat”

October Horrorshow: Inseminoid, aka Horrorplanet

A common theme one will find on the internet about Inseminoid is that it rips off Alien. Sure, it does. Lots of movies have. And Alien ripped off It! The Terror from Beyond Space. That shouldn’t stop one from considering the film on its own merits. It succeeds and fails all on its own, with no credit or responsibility laid at the feet of Ridley Scott or Dan O’Bannon. The similarities to Alien are many, but with a budget of £1 million versus Alien’s $11 million, there were going to be some cuts made.

Inseminoid was directed by Norman J. Warren, from a script by Nick and Gloria Maley. On a far away planet, scientists studying ruins of an alien civilization are attacked by a monster. One of them, Sandy (Judy Geeson), is inseminated by the alien, and will soon give birth to twin monstrosities. In this, Inseminoid tracks closest to Alien. The much lower budget meant that much of the atmosphere that defined Alien was not possible in this flick. The budget also affected the alien costume, which is very subpar. Warren and company made the right decision to not feature the monster that much. As a result, most of the terrorizing in this flick is done by Sandy and not the monster. Continue reading “October Horrorshow: Inseminoid, aka Horrorplanet”

Lo spettacolo dell'orrore italiano: Night Killer, aka Non aprite quella porta 3

Night Killer movie poster Sometimes, one can tell the objective quality of an Italian horror flick by looking at its title upon release in the old country. Night Killer, from 1990, is a case in point. It was released in Italy with the title Non aprite quella porta 3, which translates as Do Not Open That Door 3, implying that this is the third in a series. The first film to use Do Not Open That Door in Italian theaters was The Texas Chain Saw Massacre. Night Killer is not related to Tobe Hooper’s classic in any way, but producer Franco Gaudenzi hitched his wagon to Hooper’s regardless. If there is one thing I’ve learned from watching all these Italian horror flicks for the Horrorshow, it’s that trademark law must be different in Rome.

Written by Claudio Fragasso with an uncredited assist by Rossella Drudi, Night Killer is one of the more scatterbrained, nonsensical, and poorly acted horror flicks many viewers will come across. The quality of the acting I can lay at the feet of Fragasso, who also directed. When every performance, from leads to those with single lines of dialogue, is either over-the-top or feels like a first take, that’s the director’s fault. The storytelling foibles of this flick I can blame on Gaudenzi, who took Fragasso’s psychological horror flick and had Bruno Mattei add a bunch of gory kills in reshoots. These kill scenes are scattered throughout the film like disruptive guerilla attacks on the film’s pacing, doing little more than making things confusing for the viewer. As gore shots, they aren’t that convincing, either. Continue reading “Lo spettacolo dell'orrore italiano: Night Killer, aka Non aprite quella porta 3″

October Horrorshow: Creepozoids

David DeCoteau might be the most prolific b-movie director of all time. As of this posting, he has 161 non-porn directing credits on his IMDb page. During his career he has treated film production as a volume business. Art? What’s that? Budget? If you can make a movie for less, we’ll match it! TV movies? Direct-to-video movies? Horror? Sci-fi? Comedy? Hallmark movies? DeCoteau will direct it. He can’t direct every movie that’s released in a year, but he can sure as hell try.

The second feature of DeCoteau’s career, Creepozoids was commission work from Charles Band’s Empire Pictures, the predecessor of his long-running house of schlock, Full Moon Features. The film was written by DeCoteau and Dave Eisenstark. Continue reading “October Horrorshow: Creepozoids”

Lo spettacolo dell'orrore italiano: Beyond the Darkness, aka Buio Omega

Holy jumpin’ Jehoshaphat! Whatever one’s expectations going into Beyond the Darkness, one of Joe D’Amato’s flicks from 1979, they will be exceeded. I went into this film knowing only so much as what was provided in a small blurb, and was left either speechless or exclaiming in shock, depending on what depravity D’Amato and company were putting on screen. This is that kind of movie, folks. Allow me to spoil some of it for you.

Working from a screenplay by Ottavio Fabbri, D’Amato constructed a film that is light on character development, light on exposition, light on plot, even. The purpose of the film is to shock — visually, sensually, what have you. It does that, but not in a way that is purely exploitative. There is some not-so-shallow stuff going on. That’s impressive for D’Amato, who could usually be depended upon to provide as much depth as linoleum tile. Maybe this was by accident, or maybe I’m reading too much into a film that’s just meant to be experienced, rather than scrutinized. Continue reading “Lo spettacolo dell'orrore italiano: Beyond the Darkness, aka Buio Omega”

October Horrorshow: Rana: The Legend of Shadow Lake, aka Croaked: Frog Monster from Hell

Rana: The Legend of Shadow Lake movie poster Way back during the Giant Monstershow in 2018, I wrote of Bill Rebane’s Giant Spider Invasion, “Great films have been made with bad film stock, cheap lenses, and muddled sound. This ain’t one of them.” Not too long afterwards, I saw a restored print of the movie, and was reminded that often there is a big difference between a VHS transfer formatted for CRT televisions, and what was new when it actually hit theaters. The difference between the restored print and what Mike and the bots screened on MST3K is night and day. Still, restoring it was only polishing a turd.

I bring this up because this evening’s film is Rana: The Legend of Shadow Lake, also from Wisconsin-based auteur Bill Rebane. Like The Giant Spider Invasion print that I watched in 2018, this print looks and sounds like garbage. The picture is mud and the sound is AM radio-quality. Specs for the film are sparse on the internet, but I suspect this film has been treated with the same lack of archival care as Rebane’s earlier film. At some point, someone is going to make the bad decision to restore this film, as well. Until then, the poor quality print only adds to this film’s shitty bona fides. That, and because it was distributed by Troma. Continue reading “October Horrorshow: Rana: The Legend of Shadow Lake, aka Croaked: Frog Monster from Hell”

Lo spettacolo dell'orrore italiano: Jungle Holocaust, aka Ultimo mondo cannibale, aka Last Cannibal World

Three years before he made Cannibal Holocaust, filmmaker Ruggero Deodato gave viewers Ultimo mondo cannibale, released in the States as Jungle Holocaust. Many of the lessons Deodato learned making this film, he would later apply to his more notorious followup, including real animal slaughter. According to Joe Bob Briggs, so it must be true, the reason Deodato, and others, featured animal killings in their films was that it somehow increased box office in South and Southeast Asia. Who knows if that is true, as I imagine box office figures from 1977 Bangladesh or Kuala Lumpur are hard to come by. What I do know is that, if it is true, it undermines any artistic argument for including animal killings in a movie. Anyway… Continue reading “Lo spettacolo dell'orrore italiano: Jungle Holocaust, aka Ultimo mondo cannibale, aka Last Cannibal World”

October Horrorshow: Slime City Massacre

I couldn’t let October go by and let Zombie Island Massacre be the final film from the Troma stable featured in this year’s Horrorshow. Their catalogue, both the films they produce and the ones they distribute, are hit or miss for fans of b-movies. Zombie Island Massacre is well-liked enough that Joe Bob Briggs hosted it on his show way back in the 1990s, but I didn’t see the appeal. Consider this a makeup post.

Slime City Massacre, from 2010, is a project from low-budget auteur Gregory Lamberson, and is a sequel to his debut feature from 1988, Slime City.

An introduction, and a couple of flashbacks here and there, take place in 1959. There, a cult leader named Zachary (Craig Sabin) has gathered a flock. In anticipation of the end of the world or something, Zachary uses black magic to transfer the souls of he and his believers into jars of fluorescent goo. He also whips up a batch of cursed hooch that, when combined with eating the slime, will transfer the stored souls into the poor victim who imbibed. Continue reading “October Horrorshow: Slime City Massacre”

Lo spettacolo dell'orrore italiano: Cannibal Apocalypse, aka Cannibals in the Streets, aka Apocalypse domani

The 1970’s and ’80s saw a lot of self-reflection here in the States about the Vietnam War. Not only did we lose, the war was a crime against humanity, resulting in the deaths of millions. We never should have gone into Vietnam, but there has never been much of a mea culpa in popular culture outside of cinema. Even there, every Platoon was rebutted by a Missing in Action.

The Vietnam War is a subject rich for allegory. Cannibal Apocalypse, had it been made by an American filmmaker, might have been one of those films. It comes close. Alas, it’s an Italian horror flick, and writer/director Antonio Margheriti (with the prolific Dardano Sacchetti sharing writing credits) was not interested in an introspective feature on American guilt. It is interesting how close it comes, though, intentionally or not. Continue reading “Lo spettacolo dell'orrore italiano: Cannibal Apocalypse, aka Cannibals in the Streets, aka Apocalypse domani”

October Horrorshow: Mountaintop Motel Massacre

It’s clear by now to regular readers that Missile Test is a big fan of regional cinema. It’s hard to overstate the stranglehold that large media companies have over the artistic content of the country. Sometimes the consolidation of media becomes so egregious that even the federal government gets involved to stop it. Not nearly enough to make an actual difference, but that’s a story for another day, perhaps after Disney makes a bid for DC or Image. Anyway…

Mountaintop Motel Massacre is regional cinema from Louisiana. Directed by Jim McCullough Sr., from a screenplay by Jim McCullough Jr., Mountaintop Motel Massacre filmed in the fall of 1982, or the spring of 1983, depending on the source. It then showed in some theaters in the south under the title Mountaintop Motel, before being picked up for distribution by Roger Corman and New World Pictures. They insisted on reshoots, including a new ending, ‘Massacre’ was attached to the end of the title, and the rest is history. Continue reading “October Horrorshow: Mountaintop Motel Massacre”