Thriller Flick – Page 10

Double Exposure

Double Exposure movie poster From the murky realms of Hollywood anonymity comes Double Exposure, the 1982 film by writer/director William Byron Hillman. Basically a remake of an earlier Hillman film called The Photographer, Double Exposure is a psychological thriller wherein a fashion photographer, Adrian Wilde (Michael Callan), is plagued by dreams of bloody murder. Not his murder, mind. Rather, the brutal slayings of young models in his employ.

Are these dreams buried memories of his actions? Adrian doesn’t know, and neither does his shrink (Seymour Cassel). But, as bodies continue to pile up, Adrian can no longer deny that he might be a murderer.

In between, audiences are treated to the cringy relationship Adrian has with his stunt-car driving brother, B.J. (James Stacy), and some of the worst detective work ever placed on film.

Here’s what I mean by that.

Adrian and a young, eager model go to a secluded location for an ad shoot, and Adrian then kills the model. Only, he wakes up after and the audience sees it has all been a dream. But, soon after, two detectives right out of a shampoo commercial, Fontain and Buckhold (Pamela Hensley and David Young), arrive at a real murder scene that is identical to Adrian’s dream. This happens multiple times. Okay, so Adrian is killing these women while they are on a scheduled photo shoot, one that the models’ agencies would know about. And yet, cops are baffled until late in the film. That’s some shitty filmmaking. Continue reading “Double Exposure”

Primal (2019)

Primal Nicolas Cage returns to Shitty Movie Sundays with a flick that was released just this past month, although one would be hard-pressed to find a theater that’s shown it.

Primal comes to us from screenwriter Richard Leder and director Nick Powell. Cage stars as Frank Walsh, a selfish, world-weary wiseass who hunts and captures wild animals to sell to zoos.

Like in every shitty movie he’s been in, Cage overacts. He can’t seem to help himself, and that’s fine with this shitty movie fan. Often, especially in revenge flicks, Cage plays melancholy so deep its laughable. Not in this flick, though. His Frank Walsh character is just as damaged as any of the other characters he has played, but there’s no hint of a dead wife, or girlfriend, or kid — no hint he’s carrying a dark secret. In this flick, Cage is just an asshole.

The film opens with Cage bagging a white jaguar in a South American jungle. It’s the biggest get of his life. Selling it to the highest bidder means retirement. Continue reading “Primal (2019)”

Next movie poster Thank goodness for Nicolas Cage. He could have been like so many other best actor Oscar-winners and gone on to a lifetime of prestige roles and special appearances, but Cage decided to zig instead of zag. He’s a prolific worker, but a casual movie fan can be forgiven should they be unable to name anything he’s been in for the past ten years. He has fully, and without reservation it seems, given his life over to shitty movies. Just this year he has starred in a film about a former government assassin who runs a fleabag hotel in South America, another film about zoo animals running loose on a cargo ship, a neo-noir thriller, a drug wars action flick, an H.P. Lovecraft adaptation, and a second neo-noir thriller. Six movies! And not one of them has been good enough to advertise during sporting events or primetime TV. But, I bet they’re all entertaining flicks.

This review steps back in time a little bit, to the tail end of Cage’s time as an A-lister.

From 2007, Next stars Cage as Cris Johnson, a smalltime Las Vegas stage magician who happens to have a real psychic talent. Johnson is able to see two minutes into his future and make decisions based off of those visions. It’s a pretty useful talent to have in a shitty magic act, and also makes him a buttload of cash at the blackjack tables. Continue reading “Next”

It! The Terror from Beyond Space

When is a shitty movie not a shitty movie? When it’s super cheap, but also good. Such is the case with It! The Terror from Beyond Space, released in 1958.

We wrap up It Came from the ’50s with the movie that was the supposed inspiration for Alien. The story is similar. A spaceship from Earth sets down on another planet and picks up a stowaway alien with a thirst for blood. How the human spacefarers rid themselves of the alien is also similar. How the two films differ is in the small details. Continue reading “It! The Terror from Beyond Space”

Vampire Circus

Vampire Circus didn’t make the cut two years ago for the October Hammershow, but now I wish it had. I watched some real stinkers that month, and Vampire Circus would have been a worthy replacement.

Hammer released Vampire Circus in 1972, placing it at the tail end of Hammer’s run. The cracks in Hammer were apparent by then. The formula they had been using for over a decade was showing less and less return at the box office, so Hammer turned to gratuitous nudity and more gore to try and boost sales. It didn’t work. But, even though it seems Hammer was turning somewhat desperate, they were still capable of releasing good horror flicks. Continue reading “Vampire Circus”

The Tingler

Gimmicks present unique problems when it comes to film, or art, or anything. Gimmicks may be useful for an initial draw, but people tire of them. Gimmicks are also used to disguise, or make up for, a lack of funds or competence. That is why William Castle, despite throwing some interesting gimmicks into his films, is remembered for being a shitty movie director as much as an innovator.

The Tingler, from 1959, was Castle’s most ambitious foray into gimmickry. Besides producing, Castle directed, from a screenplay by Robb White. Continue reading “The Tingler”

Crawl, or Go Gators!

Before today, I never once considered what it would be like to be trapped in a basement crawlspace with ravenous alligators during a category 5 hurricane. Now, I know. It’s pretty scary.

That’s the setting for Crawl, the creature feature from earlier this year from screenwriters Michael and Shawn Rasmussen, and director Alexandre Aja.

The film follows Kaya Scoladerio as Haley, a swimmer at the University of Florida. A hurricane is bearing down on the area, but neither she, nor her sister up in Boston, have been able to get ahold of their father, Dave (Barry Pepper). There’s some family drama and token sappiness involving Haley and her father, but regardless, Haley decides to head down to the family homestead to check on the old man and make sure he’s still alive. Continue reading “Crawl, or Go Gators!”

Fiend Without a Face

Once upon a time, I would have been impressed by seeing the Janus Films and Criterion Collection logos before the start of a film. But that has been dashed by the reaction I had to The Blob. Could Fiend Without a Face be another classic film with an inflated reputation? In short, yes. But, this film doesn’t have near the same disparity between reputation and actual quality as does The Blob. It’s just a b-movie, through and through. Continue reading “Fiend Without a Face”

Impulse (1974)

A fun game to play when watching a William Shatner flick is to pretend that it’s not fiction, and that this is Shatner’s real life, post-Star Trek. This is helped by the fact that Shatner, not once, ever, was sublimated to the role. Like Al Pacino, Shatner is a larger than life actor whose personality dominated every part he played. That sounds like a bad thing, but so many of these duds Shatner were in would have been totally unwatchable without him. He singlehandedly saved many of the films he was in, including this one. His unique take on the craft of acting was truly special. Continue reading “Impulse (1974)”

Attack of the Puppet People

I am shocked by this movie. Shocked, I tell you. Bewildered. Astonished. Flabbergasted. Not because Attack of the Puppet People is a great film. Oh, no. My surprise comes from the fact that despite this being a film from Samuel Z. Arkoff’s gristmill, American International Pictures, and despite it being produced and directed by shitty movie auteur Bert I. Gordon, this film does not suck. It’s low-rent, to be sure, and there are more than a few amateurish moments scattered throughout, but this flick is at least as good as contemporary television sci-fi. Continue reading “Attack of the Puppet People”