Horror Flick – Page 27

October Horrorshow: Haunting on Fraternity Row

Haunting on Fraternity Row movie poster What a vile, vile movie. It could have been worse. Oh, so much worse. But, this flick still managed to plumb the depths of taste, artistry, technique, and every other highfalutin term about film one can come up with. It’s the type of film that counts on awakening the hormonal 13-year-old boy in all of us. I’m not even sure 13-year-old boys would like this trash much, though.

Haunting on Fraternity Row comes to us via writer/director Brant Sersen and fellow screenwriter Jeff Cahn. Released last year, Haunting tells the story of a massive end-of-term fraternity house blowout that turns deadly when a ghost spoils the show.

It’s the last Luau for seniors Jason (Glee alumnus Jacob Artist), Tanner (Jayson Blair), Dougie (Ashton Moio), and chapter president Grant (Cameron Moulène). This will be the last great party before they head off and become responsible adults. They plan to get drunk, stoned, wired, laid, and everything else that occupies the mind of the young fraternity member. Tanner, in particular, is a real treat. He’s a hunky meathead who is wrapping up his sixth year of college, and is looking to end the Luau with his sixth Luau threesome in a row. These are the people that occupy this film. Continue reading “October Horrorshow: Haunting on Fraternity Row”

It Came from the ’50s: Killers from Space

Killers from Space There’s something that must be gotten out of the way before getting to the review proper. This film features an early scene with an Air Force jet flying around. Its call sign is “Tar Baby 2.” Yep. Tar baby is one of those terms that the people who use it insist is not racist. But, come on. It’s a very evocative term. I bet it was evocative in 1954, when this film was released, as well. Whatever the context and whatever the time, hearing it will make a modern viewer’s head turn, and is yet another surprise look into grandpa’s casual bigotry that these old flicks provide. Anyway…

Killers from Space is producer/director W. Lee Wilder’s follow-up to the terrible Phantom from Space. At least this flick doesn’t have the FCC driving around trying to save humanity. In this flick, that responsibility falls to Peter Graves, as Dr. Douglas Martin. He’s on the aforementioned racism jet as it circles a nuclear test in Nevada. All of a sudden, the plane crashes. Martin is given up for dead, but later he comes stumbling into town in a tattered flight suit. Continue reading “It Came from the ’50s: Killers from Space”

October Horrorshow: Pieces

At first glance, Pieces, the 1982 slasher flick from shitty auteur Juan Piquer Simón, is just like every other bottom-feeding Italian film that flooded the American market in the 1980s. Except for one thing. Pieces is not an Italian flick. It’s from Spain. All the hallmarks of a Lucio Fulci or Enzo G. Castellari film are present. The cast is from all over the map. Many read their lines in their native tongue, everyone was dubbed in post, and there was a cavalier attitude towards making sure if any of it synced. The production is low rent, but there’s lots of blood, and it’s so bright one could use it to see by night. And, while it takes place in the United States, it was very clearly filmed in Europe. So, just why does this film have the appearance of cheap Italian cinema of the day? Continue reading “October Horrorshow: Pieces”

It Came from the ’50s: Robot Monster

Robot Monster, the gloriously stupid movie from screenwriter Wyott Ordung and director Phil Tucker, is legendary amongst shitty movie fans. And it’s for one single reason. This is the monster:

It’s a robot, but it doesn’t look like any robot that viewers know. Shot in a matter of days for somewhere around $16,000, there wasn’t enough time or money for the crew to come up with a decent robot costume. According to the internet, so it must be true, Tucker hired a friend of his, George Barrows, to play the robot, partly because he had a gorilla suit they could use. This has the smack of apocrypha, but it’s the type of guerilla filmmaking (heh-heh) I love. Whether this story be truth or fiction, what ended up on the screen cannot be denied. That is one of the most ridiculous movie monsters there has ever been. Continue reading “It Came from the ’50s: Robot Monster”

October Horrorshow: Entity

Entity, the 2012 horror film from writer/director/producer Steve Stone, threatens to be a found footage flick early on. Thankfully, it’s not. Back when it was made, found footage horror films seemed to come out once or twice a week. But, even though Stone only flirts with the technique, he chose to use its tropes heavily.

The film opens with security footage shot in the green tint of night vision, so familiar from its overuse in found footage horror. The shot is of a spartan room in what looks like an insane asylum. There is an iron bed with thin mattress, a sink, a bucket, and a huddled figure who won’t look at the camera. Over the course of this sequence experienced horror fans will witness trick after trick that was used to better effect in earlier films. Continue reading “October Horrorshow: Entity”

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

Today’s flick, an aliens-in-the-desert sci-fi cheapie, is about as thin as one of these 1950s flicks can get. It features barely more than three locations, and one of those is a hole in the ground. But it is notable for being the first 3D picture that Universal released, if the internet is to be believed.

From 1953, It Came from Outer Space originated as a story treatment by Ray Bradbury, which was subsequently turned into a screenplay by Harry Essex. Jack Arnold was the director. Continue reading “It Came from the ’50s: It Came from Outer Space”

October Horrorshow: The Slumber Party Massacre

One part sleaze and one part slasher flick (which probably makes it all sleaze, now that I think about it), The Slumber Party Massacre works hard to tick every box when it comes to 1980s horror. Teenagers, an enraged killer, blood, etc. Instead of filling empty spots with plot, director Amy Holden Jones went with gratuitous nudity. The teenaged boy still lurking in me was thrilled. The mature, objective reviewer in me was also thrilled. When in Rome…

Released in 1982, The Slumber Party Massacre tells everything a viewer needs to know about the plot in its title. There is a slumber party, and a killer looking to massacre everyone at it. Continue reading “October Horrorshow: The Slumber Party Massacre”

It Came from the ’50s: Phantom from Space

It is possible to make a decent movie with a miniscule budget. But it takes, at least, a decent filmmaker to do so. W. Lee Wilder, unlike his brother, Billy, was no decent filmmaker. W. Lee Wilder, if Phantom from Space is any indication, was a corpse propped up in a chair.

Released in the spring of 1953, Phantom from Space looks super cheap. There are special effects in the opening scene showing a UFO descend upon the San Fernando Valley. It’s about the least convincing effect I’ve ever seen in a movie, and this reviewer has seen a lot of bad special effects. The effects in this flick are as bad as early Bert I. Gordon flicks. The only effect that really works is a floating space helmet, but that’s getting slightly ahead of things. There is a plot that needs explaining.

The aforementioned UFO has traveled all the way from Barrow, Alaska, to Los Angeles, and disrupted radio signals along its path. Now that it’s settled down in the valley, the Federal Communications Commission (that’s right — the heroes of this film are agents from the FCC) sends out units to track it down, as it remains a source of disruption. Meanwhile, reports begin coming in of a man in a spacesuit attacking and killing people at random. Witnesses report that there was no head visible inside the spacesuit. Continue reading “It Came from the ’50s: Phantom from Space”

October Horrorshow: The Eye (2002) & The Eye (2008)

I started out this review for a single film, and not two. But, about a half hour into watching The Eye (2008), I realized I couldn’t write a review without first watching The Eye (2002, original title Gin gwai), to see what the filmmakers of the newer version stole from the original. That’s because The Eye is not so much a remake of Gin gwai as it is another version. The only changes are on the surface.

Directed by the Pang Brothers (Danny and Oxide Chun), from a screenplay by the brothers and Yuet-Jan Hui, Gin gwai tells the story of Wong Kar Mun (Angelica Lee). When Mun was a toddler, an accident left her blinded. Now, as an adult, she undergoes cornea transplant surgery to restore her sight. Only, from the moment she first opens her eyes in a Hong Kong hospital, something isn’t right. There appears to be an extra person in the room when the bandages are removed. Her sight is very blurred, so she can’t make out more than a dark figure. It presages troubles to come. Continue reading “October Horrorshow: The Eye (2002) & The Eye (2008)”

It Came from the ’50s: Invaders from Mars (1953)

What a gloriously stupid movie. Invaders from Mars, from screenwriter Richard Blake and director William Cameron Menzies, is a rather prototypical example of the films featured in this month’s Horrorshow. It’s cheap from the first frame to the last, and lacks self-awareness. What do I mean by that? The filmmakers took a look at how the bad guys were costumed — in skin-tight green fleece onesies — and decided that was acceptable. Seriously, that is what passes for aliens in this flick. But that’s not all. They also have faces painted green to match, with gigantic prosthetic noses and snow goggles. Tall men were cast in the roles, and Menzies had them run around the set like toddlers with arms held unmoving at their sides. It’s so silly that it becomes part of what makes this film memorable. Continue reading “It Came from the ’50s: Invaders from Mars (1953)”