Occult Flick – Page 2

Night of the Beast, aka Lukas’ Child

Night of the Beast, titled Lukas’ Child in some releases, has no business being as watchable as it is. Conceived by producer and star Robert Alden May, Night of the Beast has little in the way of production value, no gore, and only a few drops of blood. But, what it does have is a monster, and lots of breasts.

Written and directed by Troma stable member Eric Louzil, Beast follows May as Lukas Armand, an aging former freakshow owner from Florida who has moved to Hollywood and founded a devil-worshiping cult.

The cult, under Lukas’s direction, has lured every would-be buxom actress in Hollywood through its doors under the promise of a role in a horror movie. But, it’s a trick. Lukas really needs these young ladies to feed his insatiable son — a demonic, leather-winged monstrosity (played by John Theilade in a rubber suit). Is the son really deformed, or is he an actual demon? The script is never clear on that, but Lukas is capable of some supernatural shenanigans, so the cult is legit. Continue reading “Night of the Beast, aka Lukas’ Child”

The Screaming

Cheap, irreverent, gory, and gloriously stupid. If there are four descriptors essential to a successful SOV horror flick, those are it. Prolific shitty movie writer/director/producer Jeff Leroy’s 2000 flick, The Screaming, has all of those, in decent proportion. Although, I don’t think it would have hurt matters any to have a bit more gratuitous nudity. But, that’s a personal preference.

The Screaming stars Vinnie Bilancio (who also has a producer and production design credit) as Bob Martin, a Marlboro enthusiast and graduate student in anthropology at an unnamed southern California university (the university was played by CSU, Long Beach). Like many graduate students, Bob is flat broke, and thus has to take the cheapest off-campus housing he can find. In this case, it’s a single room in the back of a house owned by blonde bombshell Crystal (Wendi Winburn). Continue reading “The Screaming”

The Beyond, aka 7 Doors of Death, aka E tu vivrai nel terrore! L’aldilà

This one’s for the gore hounds. This flick is for those who like melting faces, popped eyeballs, severed tongues, crucifixion, putrefaction, red blood, yellow ooze, brown goo, and don’t mind one bit that the plot has all the narrative consistency of getting blackout drunk. But, that’s okay. If an Italian horror flick had a plot one could follow, would it still be an Italian horror flick?

From legendary director Lucio Fulci, who also has a screenwriting credit, comes The Beyond, originally released in the States, slightly butchered, as 7 Doors of Death. Continue reading “The Beyond, aka 7 Doors of Death, aka E tu vivrai nel terrore! L’aldilà”

The Cellar (2022)

There’s nothing quite like a creepy old house for atmosphere. Even better when it’s a stately pile — a relic of the gilded age whose halls were once filled with scurrying servants and aloof aristocracy. They were the engines of their own destruction, but what pleasant ruins they have left behind.

The scene of The Cellar, from writer/director Brendan Muldowney, isn’t on the scale of a Victorian-era English country home from Henry James, or the mansion from The Changeling, but it is a house with ceilings high enough for a game of pickup basketball, and wood molding everywhere. At some time in the last century, a house like this — one built with care and craftsmanship — became a place that has a sense of unease about it. Perhaps we’ve gotten too used to the plain boxes that accompanied the post-WW2 population explosion. Or, perhaps, we see a once-grand residence on its downward slope and the weight of years and events that happened there is too much to consider. So much life passed through there, and so long ago, that an old house is a reminder of death. No matter. I’d live in a place like this film’s Fetherston House in a heartbeat (interiors and exteriors were shot at a house in Roscommon, Ireland). Continue reading “The Cellar (2022)”

Night’s End

It’s tough watching a movie lose it in the final act. Whereas a film that shows little promise at the start, but then builds and builds to something special at the end, is always a pleasant surprise, a film that stumbles to the finish after a strong start can’t help but be a disappointment. Much hard work, good acting, and fine storytelling is, if not wasted by a poor ending, at least squandered somewhat. I can’t say that Jennifer Reeder and company should have just packed it all in if this was the best ending they could come up with, but I would like to see what they could have done given another chance, and maybe a couple extra bucks in the effects budget. Continue reading “Night’s End”

Hellraiser IV: Bloodline

It’s Hellraiser…in SPAAAAACE!. Sort of. Unlike the other franchises that have sent their killer antagonists into the future, Hellraiser IV: Bloodline, the 1996 entry in the Hellraiser series, only takes place partially out in the black. Most of the film takes place either in 18^th century France, or contemporary New York City. It would be disappointing, as I was looking forward to watching Hellraiser turn into an Alien ripoff, but this is one ambitious shitty movie, so not all was lost.

Bloodline had a checkered path to the silver screen. There were many creative disputes, crew dismissals, and general miserableness. To add to the troubles, after the film was delivered to Miramax, reshoots were demanded, and the film’s director, Kevin Yagher, quit. When the film was finally released, Yagher didn’t want his name on it, so the film’s credited director is Alan Smithee, that wonderful DGA pseudonym for directors who went out for a pack of cigarettes and never came home. Continue reading “Hellraiser IV: Bloodline”

Children of the Corn V: Fields of Terror

Children of the Corn V: Fields of Terror movie poster Like the previous Children of the Corn flick, this fifth entry in the series, subtitled Fields of Terror, features a future star in the cast, in Eva Mendes. But, that’s not all. There’s also a lesser Arquette and a Zappa progeny. The best part is, all this is wrapped up in a package more in tune with the ley lines of shitty cinema — more aware that bad movies survive on spectacle, and less on good intentions.

From 1998, Fields of Terror, like its previous two predecessors, was released direct-to-video. Ethan Wiley handled both screenwriting and directing duties for this one. The film sees the return of the He Who Walks Behind the Rows child cult, which was jettisoned for the fourth film.

A group of teens (none played by anyone under the age of 21) is road tripping through rural Nebraska with the ashes of one of their friends. Don’t think about this part of the plot too much.

Along the way, two of the group are murdered in grisly fashion by the cult, and the others are left stuck in the small town.

Strangely, the cult in this film is led by an adult, Luke (David Carradine), with assistance by creepy kid Ezeekial (Adam Wylie). The cult has claimed the cornfields surrounding the town, and woe be to anyone who wanders in uninvited. Continue reading “Children of the Corn V: Fields of Terror”

Children of the Corn IV: The Gathering

Children of the Corn IV: The Gathering DVD box One thing we love here at Missile Test is spotting a former A-list star slumming it in a low-rent shitty movie. There’s nothing mean-spirited about it. We like low-rent shitty movies quite a lot, so we feel blessed when the inevitable career turn occurs, and former Oscar-winners and contenders are forced to make due in productions of lesser means and artistic intent. But, what we like even more is when a low-rent shitty movie features a future A-lister — a performer who has yet to prove they have the talent to take them out of the muck. Rookie performers such as these often do the best job in the film, and raise its overall watchability, without having too much of a negative effect on its shittiness. Preserving that je ne sais quoi is important for the shitty movie fan.

These little road stops on the way to stardom end up being places where we can return and enjoy in mirth the dues these stars had to pay. Again, that’s not mean-spirited. Everyone had to start somewhere, and I have yet to see a shitty film with a future star who mailed it in. Continue reading “Children of the Corn IV: The Gathering”

Children of the Corn III: Urban Harvest

There wasn’t much hope here at Missile Test for Children of the Corn III: Urban Harvest. While we did enjoy the previous film in the series, barely, Urban Harvest marks a transition for the franchise, as the films moved from theatrical releases to productions made specifically for the home video market. As any shitty movie veteran can tell you, they don’t send Oscar contenders direct to video. Director James D.R. Hickox seemed to know this (thank goodness), so what viewers lose in quality, Hickox makes up for in gore. Continue reading “Children of the Corn III: Urban Harvest”

Children of the Corn II: The Final Sacrifice

Children of the Corn II: The Final Sacrifice movie poster It was a bold decision by the producers of the second Children of the Corn movie to place the word “Final” in the subtitle. Most horror series defer that kind of certitude until the fourth movie, at least. Perhaps they never envisioned that their property would ramble on as a direct-to-video franchise, and this flick was supposed to be a one-shot deal. After all, Children of the Corn II: The Final Sacrifice was released in 1992, eight years after the first film. That pace is a little sluggish if one is looking to spawn a franchise of shitty horror movies. Anyway…

Final Sacrifice, despite that wide gap in release dates, takes place in the aftermath of the first film. Apparently, after the protagonists of that film made good their escape from the small town of Gatlin, Nebraska, they did the right thing and called the cops. Authorities swarming over Gatlin is how this film opens. With the baddies of the first film, Isaac and Malachai, done away with, everyone thinks that the evil influence they had on the children of Gatlin is gone, as well. The remaining children are taken into the homes of adults in nearby Hemingford, while they await permanent placement with surviving relatives, should any be found. Continue reading “Children of the Corn II: The Final Sacrifice”