Reserved for impending spooky goodness.
What follows is the list of 31 films I will be watching this October. ("*" indicates first time viewing) I tried to keep it about 50/50 between films I'm revisiting and films I'm seeing for the first time. There are some modern classics, some trash, a few more current selections, some domestic and some European films. The bulk of the films are from the 70's and 80's but there will be some older and newer films mixed in for good measure. All in all, it should be a good Halloween season. If time permits I'll start a little early with some favorites I want to revisit.
The Warm-Up
Resident Evil (Sony) : I hadn't revisited this movie in a number of years, but now that I've finally picked up the purported last film of the series in 3D, it seems about time to go through the lot of them from start to finish. It's great fun watching Milla Jovovich, Michelle Rodriguez and James Purefoy running around and killing zombies. The action scenes are well-done and the jump scares are few, the only real weak link is that the CGI, while excellent at the time now looks a bit dated.
The Tomb of Ligeia (Shout) : A particularly sumptuous and effective Vincent Price film and the last of Corman's Poe cycle. Notable for extensive use of location shooting rather tan being largely studio-bound, ToL feels like a much more expensive movie as a result. This one has atmosphere to spare and suitably bleak conclusion. It may just be one of my favorite Price films.
The Last Man on Earth (Shout) : This one has a great set-up with Price being positioned as the last human survivor of a global plague. Flashbacks fill in the blanks regarding Price, his family, and mankind, and likewise explain that the plague's victims turn into vampire-like creatures, although most would contend they seem more reminiscent of zombies. The exterior shots of the deserted cityscape are creepy and the interiors are largely claustrophobic. Together they combine to prevent the viewer from ever really feeling at ease and worrying that trouble is just waiting to burst in from offscreen at any moment. Squishy pseudo-science aside, one thought kept plaguing me while I was watching: why doesn't he just move out of town and then all of his problems would be gone? But then I guess we wouldn't have much of a movie.
The Abominable Dr. Phibes (Shout): This is probably the last Vincent Price movie I'll watch until after Halloween, and it's a real beaut. Phibes is out for revenge on those he holds responsible for the death of his wife. And since he's apparently a wealthy genius, each kill requires an elaborate plot. Weird and wonderful, creepy and whimsical, this film has aged very well. Price does an excellent job in his roll and is surrounded by a very capable supporting cast fantastic sets. The Shout disc looks and sounds fantastic.
OCTOBER VIEWING
10/01 -
Count Dracula's Great Love* : I had to start things off with something that had "Dracula" or "vampire" in the title, and this was it. Moody and atmospheric, this is a unique vampire flick about Dracula looking for the love of a virgin, trying to save his daughter, and tormenting a bunch of hapless travelers who come looking to him for shelter and aid. The whole thing doesn't make a ton of sense to me and I'm still trying to wrap my head around the ending - maybe a second viewing is in order in order to get all of the details squared away. But what it lacks in coherence, it more than makes up for in Paul Naschy goodness and all of the things that go along with that. An unusual start to the season to be certain. The Vinegar Syndrome disc is terrific and up to their usual standards.
10/02 -
Cannibal Ferox* : I went into this one with high expectations, what with all the warnings and "banned in 31 countries" business. There was also a lot of discussion about the animal scenes and I was a bit worried about those. In the end, it was much more hullabaloo than it was hiding behind the couch. The cannibal scenes were few and far between and frankly more than a little outperformed by any of a number of zombie movies (and TV series). Growing up on a farm and having watched my fair share of "Wild Kingdom" even the animal scenes were not that off-putting. Would they be in today's movies? No. Did I lose my lunch? Nope. In nutshell, a academic type and her pals cross paths and join up with a drugged-out loser in the jungle while researching whether or not cannibals really exist. Bad things happen. Insert odd moral. Roll credits. The film itself looks great - even the two added scenes for which there isn't an English soundtrack, and I can't wait to dig into all the extras. But they will have to wait until after Halloween.
10/03 -
Slave of the Cannibal God : The second of three Italian cannibal flicks I'm going to dig through, Slave of the Cannibal God is a strange little film. What starts out as a rescue mission Andress undertakes to find her missing husband, it rapidly turns into a test of survival as they get abandoned by the bulk of their group and kicked out of the village of some friendly natives after a brief romantic liaison ends up in a villager's death. The location shots offer a great deal of beauty and add to the production value of the affair. Likewise, the presence of Stacy Keach and Ursula Andress serve to elevate the film above the rest of the cannibal films. The animal scenes are happily few and far between, but do add more menace to the proceedings. To me, what perhaps is the most jarring, is overly cheerful traveling music that accompanies one of party being mauled by an alligator, precedes another falling down a waterfall to his death, a python attack, etc., etc. It undermines the atmosphere, whereas a more dark and sinister score would have put the audience on the edge of their seats. With what I've got here, I was content to just merrily munch my popcorn while happily tapping my toes waiting for the next tragedy to befall our heroes. Code Red's blu-ray looks and sounds great, but this Bananaman intro stuff needs to stop.
10/04 -
Fangs of the Living Dead*
: I'm not sure how this film stayed off my radar for so long, but I am thankful for Scream's blu-ray release as it finally brought it to my attention. Directed by Amando de Ossorio (
The Lorerley's Grasp & Night of the Sorcerers - also from Scream), this film has the look and feel of a Hammer film in virtually every aspect, from the script to the sets and costumes. That's probably why I was so instantly hooked. In the film, Anita Ekberg (
Killer Nun & Boccaccio '70) leaves her jet setting lifestyle and fiance after finding out she inherited an old castle. Predictably, things do not go well. While the film has the opportunity to veer into some more lurid territory, the film never really strays very far from PG/PG-13 territory, and for a vampire film there is surprisingly little blood. This disc is definitely worth tracking down.
10/05 -
The Vampire Lovers : Peter Cushing, Ingrid Pitt, Madeline Smith, Kate O'Mara. With a cast like this, you know you're in for something special. This film may not be part of Christopher Lee's Dracula series or Cushing's Frankenstein cycle, but it is one of the very best that Hammer has to offer. There is atmosphere to spare in this one, which is sinister and seductive in turns, but is always compelling. While Pitt would show up again in other horror outings such as
Countess Dracula, The House That Dripped Blood, and the undeniable classic
The Wicker Man (1973), her role in
The Vampire Lovers is, in my opinion, the role that made her a horror icon.
10/06 -
Countess Dracula -
: Hot on the heels of
The Vampire Lovers came
Countess Dracula, a modified retelling of the legend of Countess Bathory. Bathory, so legend has it, believed that she could maintain her youthful appearance by bathing in the blood of virgins. She terrorized the local villages and after amassing a significant body count, she was supposedly walled up while still alive in her own castle. While the film doesn't follow that legend to the letter, it does present Pitt as a countess who discovers that blood actually restores her youthful good looks. Without revealing too much, I don't think it would be a surprise to most viewers to know that things don't end well. This is a true star turn for Ingrid Pitt who gets to show her dramatic skills in her dual role as the elderly scheming Countess and her carefree, amorous younger self. Watching her in this film underscores how underutilized her talents were for the bulk of her career. Pitt definitely deserved more and larger roles than what she was given. She would much later reprise her role as Countess Bathory on Cradle of Filth's
Cruelty and the Beast album - one of the band's best. Synapse's disc is quite good, with a largely wonderful image and great sound. Extras are a little light, but considering the strength of the film that is somewhat forgivable.
10/06 -
Killer's Moon*
- We start off with a busload of innocent girls on some sort of class trip. We know they are innocent because of the songs they sing in five part harmony while riding on the bus. We cut to a group of criminally insane folks. They've been getting some sort of dream therapy where they are instructed to act out all of their violent urges in dreams. They escape. They think they're dreaming. Meanwhile, not surprisingly, the bus breaks down in the middle of nowhere. They girls take refuge in hotel that that's closed for renovation and is practically deserted. Turns out the bad guys are heading there, too. The whole thing plays out pretty much by the numbers from there. A solid enough film, this one is not nearly as bloody or nasty as the "Certificate X" intro would lead viewers to believe - at least by today's standards. Redemption's treatment of the film is pretty good for those looking for something off the beaten path on dark October night.
10/07 -
Bloodbath of Bathory*
: Produced for, or at least in association with Czech TV,
Bloodbath of Bathory takes a very different approach to the Bathory story. Right from the start, the voice over informs the viewer of the need to examine the truth behind the legend, and so this has the feel of a more historical retelling of Bathory's life, rather than being focused on the more colorful exploits brought to life in
Countess Dracula. We observe her being set up in an arranged marriage at a very young age, getting married young, castle life, village life, the abuses of her husband and those around him, and the near constant religiously-based warfare in and around the region. The miniseries also suggests that there weren't actually any bathtubs filled with blood and that ultimately, she was the victim of the political machinations of those who wanted her land and treasure since she was an unmarried widow who was refusing the advances of her primary suitor to the chagrin of the other noblemen. In short, she's painted as tragic figure who did nothing wrong; she was just a strong, independent woman about whom lies became legend and then morphed into "truth". Much like early American midwives were condemned as witches by the powerful males in their communities. But what's up with the monks on rollerskates? OK, so this one isn't total history, I guess. Overall, it's a great way to spend 140 minutes. Anna Friel does a great job as the Countess, and film fans will be happy to see that the legendary Franco Nero shows up in a small role. The German Intergroove disc provides a great picture that's full of detail, and the English audio track captures dialogue and warfare with equal ease.
10/08 -
Caltiki*
- Honestly, were it not for Mario Bava's name on the cover, I would not have given this movie a second look. A late 1950's horror film that doesn't came from Hammer or feature an iconic monster or monster type would not normally pull me in. And how unfortunate that would have been. Caltiki has a lot going for it: a great (if somewhat standard) set up, a solid cast, characters you can root for, characters you just know aren't going to make it, great atmosphere, a brisk pace and a decent monster. I'm going to give this one a second viewing as soon as we get past Halloween.
10/09 -
Happy Birthday to Me*
- This was the most fun with an old slasher that I've had in quite some time. the Canadians provided quite a roster of victims for our slasher, and some pretty unique ways of getting the job done. Aside from the mayhem, it was interesting to watch Melissa Sue Anderson's character unravel during the course of the film. Maybe it was due to the lateness of the hour and the tiredness of my brain, but this one kept me guessing right up until the end. And even though this one wasn't as gory as some other entries in the genre, at the end of the day, that's all a good slasher movie really needs to do. No spoilers from me. If you haven't seen this one, give it a spin. Indicator's disc is top-notch as usual.
10/10 -
The Void*
-
Dagon really put me in the mood for more Lovecraftian films, so this one jumped to the top of the list as I hadn't seen it before. The setting, a hospital that's shutting down to relocate, it suitably creepy. It feels pretty remote, it's surrounded by trees, and inside, it's virtually deserted. Only a skeleton crew remains and the hallways are lined with random boxes, beds, etc. The practical creature effects are fantastic, and there is an ample amount of gore. The mute cultists provide a sense of dread and ensure that the small band of characters are trapped and forced to endure what's coming rather than just being able to flee. The whole thing is clearly a pretty low-budget affair, but it make the most of it's small cast and creates a very memorable and genuinely unsettling film.
10/11 -
The Dunwich Horror*
Sandra Dee and Ed Begley are the big name stars in this Lovecraftian affair. Our main villain, Wilbur, is keen to bring back the Elder Gods. To that end, he shows up at a university looking to study the Necronomicon. Professor Armitage, understanding the importance of the book, declines. And even though he's giving off the strongest "I'm a serial killer" vibe in the whole universe, Sandra Dee readily offers to give Wilbur a ride back home after he misses his bus. Yes, evil's initial play is, "Help, I've missed my bus". She stays with him at his house indefinitely after that and doesn't at all seem off put by every increasingly creepy thing and event she witnesses. On a tour of the grounds of his home, they come across a deserted temple. Though he claims not to know anything about it, Wilbur proceeds to tell her everything about it, describing the dark ritual performed there in exacting detail. Does Sandra Dee run? Nope. The Professor and a friend come looking for her, but they can't dislodge her from out villains grasp. Things go south from there. In spite of the lapses in logic, however, it's hard to resist a movie where at a pivotal moment our hero exclaims, "I've got to get to the library!".
10/12 -
The Murders in Rue Morgue*
: This one wasn't originally on my list, but it was on the same disc as the above film, and since I hadn't seen seen it yet it seemed like a good idea to get that taken care of. It's the play within the play that gives this one its only real nod to Poe; a small troupe of actors are putting on a performance of the titular show in a theater on Rue Morgue. In fact, their little play must be the French
Mousetrap, as we learn through flashbacks that they've been doing that show for decades - since the female lead was a small girl and possibly before her birth. Not part of the Poe cycle, and Price is nowhere to be seen, this one puts Jason Robards in the lead role with Herbert Lom providing a serviceable villain. Lom's costume is inspired by, if not outright stolen from, the Phantom of the Opera, and the whole production quickly turns into more of a murder mystery/revenge thing very quickly. Everything ties up nicely at the end, if a little obviously, and it does have some genuinely creepy moments - one of which is purely unintentional and could have sent the film in a completely different direction had it been on purpose.
10/13 -
Re-Animator : This was my first time seeing the Integral Cut on Disc 2 of this fantastic set from Arrow. I'd seen the "normal" version so many times, it's was weird seeing a different cut of it. Not "George Lucas Destroyed my Childhood" different, but different. I will have to watch it a few more times to really know how I feel about it, but I'm glad the Arrow set gives us the choice. One thing, however, remains constant across both versions. Every time I see this movie, I marvel at the work by both Combs and Crampton; both are so perfect and irreplaceable in their roles. There is plenty to laugh about, plenty to wince at, and just enough goo and gore. I've always wanted to to do a double feature with this film and
Evil Dead, and maybe a triple bill with
Shaun of the Dead but I haven't yet found the time. Maybe next month.
10/14 -
The Limehouse Golem : Inspired by some historical events and boasting some historical figures in the cast of characters, this tale sees a serial killer stalking the streets of London well before Jack the Ripper would hold the city in terror. A capable cast, great costumes and all-too-real sets elevate the production to something on par with some of the best period dramas. The script is adequate but in my estimation the mystery isn't quite up to snuff. I wasn't too far into the movie before I had the identity of the fictional killer sussed out. However, it was still fun watching it all play out.
10/15 -
Cat People* (1942)
: While I have seen the 80's remake with Natassja Kinski and Malcom McDowell a number of times, I had not yet seen the original. While some of the plot beats are the same or very similar, there are enough differences to provide a few surprises along the way. Simone Simon does a terrific job in the lead and is at once vulnerable and dangerous. If this film is defined by any one thing it would be the cinematography and it's use of light and shadow. The black and white presentation enhances and amplifies this to great effect and produces an atmosphere unlike anything else I've seen.
10/16 -
Eyeball*
: With giallo elements, slasher elements and more suspects than you can swing a knife at, Eyeball is a little slow-moving at times but is never fails to hold one's interest. The cast is excellent and the locations are beautiful and unique, helping to set this one apart from a pretty crowded field. 88 Films' disc is generally pretty good, and although I haven't seen any other releases to make an adequate comparison, I have to believe that the color grading on some of the skin tones is a bit off at certain times...either that or the elderly cop needed to get to a dermatologist the day after shooting wrapped. Not as gory as it could have been, but an excellent watch nonetheless.
10/17 -
House of Dark Shadows*
: I had seen quite a bit of the TV series back in the day, But I had never had the opportunity to see this film before. Rather than keeping the vampires trapped in the past like the bulk of Hammer's output, here we have a centuries old vampire in then modern-day America. Here Barnabas Collins is looking for love and pinning his hopes on a serum that should make him mortal - allowing him to step out of the darkness and have what he has been denied for his existence up to this point. The whole thing feels much more polished and refined than the series, and while it may be a bit odd and quirky at times, it is a worthwhile addition to any vampire film library. No real prior knowledge of the show is required to enjoy this one. And while it is sufficiently bloody at times, the back of the case reassures us it's rated "GP".
10/18 -
Ghoulies : Long on mumbo-jumbo and short on mayhem,
Ghoulies is all about one misguided fellows attempt to channel and master dark forces for his own profit. mastering these forces is his family legacy, or so he thinks. And if you're conjuring evil to do your bidding, why not conjure a bunch of slimy little ankle-biters rather than something, you know, really scary? That's always been a puzzle to me. Who ultimately pays the price? Well, he does in the end, as do a lot of his friends - some of whom one actually happy to see go. In the end, it feels more like a cult movie and less like a monster movie. Sometimes creepy, sometimes funny, but never frightening in any capacity,
Ghoulies isn't a family film, but it is a pretty fun watch.
10/18 -
Ghoulies II*
: It all starts out with a carnival attraction called Satan's Den, run by a lovable old drunk magician. Enter a Yuppie tool who thinks it would be better to close it down and replace it with female mud wrestling. Within the first reel of the film, the Ghoulies get summoned and chaos ensures. There's mayhem, irritating teens, inappropriate humor, substance abuse, and lots and lots of little puppets running around all over the place. The monsters are the same, the name's the same, but they feel totally different: the first had a serious tone with some humor thrown in, but this one goes for the funny bone 100% of the time, even when goes for the throat. As a result, it's a bit of an odd double feature in my book, but it's a great film for a late hour.
10/19 -
Ghosthouse*
: Where to start? The mystery that starts because a guy is a HAM radio operator. He lives in a swanky Boston apartment, but he drives a ridiculously awful junky pick-up truck. A weird message leads to an abandoned house where other kids and the locals exclusively speak in the clunkiest chunks of exposition instead of proper dialogue. One young lady is even subjected to the horror of feathers and balloon animals blowing around a room, made all the more hilarious due to the fact that she screams like like it's razor blades and acid instead. The acting is shaky, the gore is on the light side, the score sounds like it was created by a 13-year-old who was just killing time on an old Casio keyboard, and the whole thing doesn't make much sense. It gets one
for a couple of funny moments and another
for the feather/balloon animal scene; hands down the dumbest moment I have ever witnessed in a horror movie.
10/20 -
Witchery*
: Linda Blair and David Hasselhof take top billing in this one, though they are certainly not given the lion's share of the work here. It's more of an ensemble cast sort of affair, with each character, or group of characters, given their moment to shine...or die. Our group of potential victims end up at this abandoned house on an island for a variety of different reasons. Some of the locals contend a witch used to live there. But as soon as they arrive odd things start to happen. Since the boat left, they're stuck on the island and it's too dangerous for anyone from the mainland to come and get them, though this is never really adequately explained in word or deed (i.e. hurricane, huge rainstorm, meteors, etc.). Anyway, folks keep dying in creative ways and Blair has less and less to do as the movie progresses. Everyone in the house does a pretty solid job in the acting department, everyone outside the house is almost embarrassingly bad. One
each of the 'Hof and Blair, and one
for the great gruesome and gory moments.
10/21 -
The House Where Evil Dwells*
: These Scream double features are kinda cool. For a reasonable price, they get me to watch some films that I wouldn't otherwise watch and that likely aren't "big" enough to warrant a stand-alone release. So it is with this film. When a family moves to Japan for the dad's work, a friend who is a realtor gets them to buy a house that's purported to haunted because it's super cheap. Back in the day, it seems, a samurai returned home to only to catch his unfaithful wife in the act. He kills her and her lover before killing himself. Now, as ghosts, all three work together to get the new inhabitants to reenact their sins and violent deaths. Can they resist these supernatural influences? If you've seen enough of these movies, you already know the answer. The tagline promises a "nightmare of lust and revenge". Well, it's not really very lusty and all of the revengey stuff waits for the films closing frames. Susan George and Doug McClure do well in their roles, but a bit more ghostly mayhem and possession would have been most welcome. But the whole thing just goes to reinforce the notion that if somebody offers you a great deal on a house that's supposed to be haunted, you say, "No!".
10/22 -
Jack the Ripper*
: Ripper films are tricky. They usually fall on one end of the spectrum or the other with very little middle ground. This effort, happily falls on the good end of the spectrum. The cast is great and there is a suitable atmosphere of dread surrounding the proceedings. In my opinion, this films makes only two mistakes: first, it cleans up the back stories of the victims - they are no longer gin-soaked prostitutes, and second (and most dangerously) it attempts to solve the mystery to give the story a tidy ending. Just don't watch the US cut with hokey voice-over intro.
10/23 -
Brides of Dracula : Somehow I could not get through Halloween without some Peter Cushing. Here we have a blonde (non-Christopher Lee) Dracula, errantly set free by a vapid lodger, who wastes no time in attacking some local women to start his harem of vampire brides. But when he goes after the girl who set him free, who just happens to be someone whom Cushing cares about, VanHelsing really springs into action. It's a double shot of Hammer goodness, featuring a crazy cure for a vampire bite and proof that even the shadow of the cross can be dangerous.
10/25 -
The Phantom of the Opera : A great deal of time is spent giving some very understandable if rather mundane motivation for our phantom in this decidedly different take on the classic tale. Herbert Lom performs admirably, and
Doctor Who's Patrick Troughton shows up briefly, if only to die. Making the film more timely, we've got a very Weinsteinesque opera writer who is more interested in forcing potential leading ladies into his bed rather than getting top talent on the stage. This one is certainly up to Hammer's usual production standards and is an entertaining watch in and of itself. However, in terms of the story, it is virtually impossible to beat Lon Chaney's work from 1925.
10/26 -
The Horrible Dr. Hitchcock : Barbara Steele made a career out of marrying the wrong guy, looking like a previous wife, and running for her life while her mind unraveled. While this film doesn't have all three of those elements, it's got two of them. As soon as the first wife dies at the hands of her husband in a test gone wrong and then he shows up with a new wife, we know exactly where this film is headed. That said, it's a very enjoyable ride finding out exactly how it gets there and waiting to find out who lives, who dies, and how. Steele is the perfect actress for this role as no one in this era could so convincingly portray the slow descent into madness and simultaneously evoking sympathy as she could. It wouldn't be Halloween with her.
10/27 -
The Awful Dr. Orlof*
: Jess Franco is a seriously prolific director, and this gem from 1962 is a relatively traditional gothic thriller/horror outing set in an unidentified year in the horse and buggy era. Taking influence from Jack the Ripper and Frankenstein, Howard Vernon is the titular doctor who does what he does to try and restore his daughter's former beauty after she was disfigured in a fire. This effort has a very modest body count, is light on gore and is absent many of the "trademarks" for which Franco's work is known (and too often criticized). It was fantastic to finally see a film from so early in Franco's career, and it was entertaining to keep track of various anachronisms in the production, from dialogue referring to robots to costume elements, and many things in between.
10/28 -
The Diabolical Dr. Z*
:Here’s another early film from Franco, which like the previous one brings with it some traditional Franco hallmarks. This one has Franco taking on a decent-sized role in the film, references a Dr. Orlof, and has us watching an audience watching an interpretive dance routine, among others. Oh, and Howard Vernon shows up here as well. This one is all about using mind control in an elaborate revenge plot with crazy science and investigators making incredible and unbelievable leaps of logic. The climax of the film features a very unintended bit of hilariousness that leaves the viewer thinking, “Only Jess.”
10/29 -
Kiss of the Vampire : Another early Hammer Vampire effort, this one is absent the dynamic duo of Cushing and Lee, but it does not fail to serve up plenty of chills along the way. It starts out the way many of these films do with a couple of newlyweds running out of gas in the exact wrong spot. Kindly locals help them out, but evil inserts itself into things and our couple's happiness doesn't last long. It's interesting to see some recycled actors and sets, and Hammer once again puts a slightly different spin on the vampire tale.
10/30 -
Bride of Re-Animator : The green stuff comes out in the first minute of the film, promising an immediate payoff on wall-to-wall mayhem, but then this film does the unexpected: it exhibits self control. The viewer has to wait for things to go wrong and for the gore and goo to flow like rain. Combs does his usual quirky and fantastic job in his role as Herbert West, and the franchise would not be what it is without him. Arrow's work on the unrated cut is admirable, and the film is a delight to watch.
10/31 -
Hellraiser : As it is one of my favorites, I had to save this film for last. I still remember the first time I saw this movie it scared the devil out of me. The story, the creepy old house, the rotten uncle, and our young damsel in distress all combined for an effective and memorable horror film. But when Pinhead arrived on the scene, the film, in my estimation, immediately jumped to iconic status. We've had plenty of horror villains up to that point, but Pinhead was something unlike any other. To this day it remains as the most effective transition of Barker's work to the big screen.
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