More Writers in Peril!

More Writers in Peril

by Kristin Battestella

Once again it's time to ditch pen and paper as these vintage novelists, retro reporters, and contemporary screenwriters face murder, ghosts, aliens, and writer's block. You know, the usual.

Black Butterfly – This 2017 thriller opens with handcuffed to the chair foreshadowing before vintage typewriters and booze for bearded, graying, and stressed screenwriter Antonio Banderas (The Mask of Zorro). The picnics and missing women are a little piecemeal to start with a driving montage because of course, but the pleasing greenery, misty dew, aerial photography, and log cabin pans build the Denver outskirts, no reception isolation. This for sale but messy bachelor pad is in need of repair, our writer can't pay his tab at the country store, angry phone calls from his agent want him to go along with script changes or else, and Paul spends more time hunting – procrastinating since his wife left him in this secluded writing retreat. The fifteen year age difference between our leading man and lady is cliché, but lunch with realtor Piper Perabo (Coyote Ugly) strikes out before radio reports of murdered women and unexpected road rage. Instead, Paul offers mysterious drifter Jonathan Rhys Meyers (The Tudors) a hot shower for his act of kindness, lulling the viewer into a casual tour of the home amid older jadedness versus young cynicism quiet burn chats. Our guest cooks, cleans, and makes repairs for free, but saws, axes, and guns suggest an ominous – Jack swims in the cold pond, his tattoos are part of the plot, and Meyers is always at his best in such ambiguous, half-crazed roles. The camera moves with the cast rather than creating an unneeded, false hectic, but the outdoors are traded for increasingly congested interiors with filming through railings, windows, and doors questioning who is on which side of the threats, slaps, or paranoia. We're suspicious but this handyman is actually helpful in telling Paul to pour out the bottle and write – a well cast irony with Meyers' past addiction problems adding to the meta instead of trite twenty-somethings battling unrealistic frights. This frank play within a play addresses how dismissed writers often are with only the title kept as their story changes into cinematic veneer, winking but not underestimating the audience as our drifter suggests Paul's write their story with the regrets, embellishments, and surprises needed of course. Was their meeting pre-planned or are these hostage threats merely script fodder? Where does what's suppose to be on the page and the secrets we see diverge? It's just a story and nothing happens unless the writer says so, right? The ending is what you make it, isn't it? Natural sounds, blank laptop screen glows, gunshots, and failed escapes play into the jokes on film fakery – the ease in hot wiring a car, the time people have to plead for their lives, inconvenient deliverymen arrivals, or a girl hurting her ankle on the run. That broken glass to cut those binds is certainly convenient, and the pieces keep us guessing with attacks behind closed doors, screams we thought we heard, and gunshots we thought we saw. The upfront twists don't pull the rug out from under the audience yet we're invested in the game being played. It's sad that this impressive cast and its winking frights need a dozen different film by who, production of, in association with titles at the beginning because such small thrillers are so financially strapped when they are often better than mainstream releases. Some things here may be obvious to shout at the television viewers, but that overkill is part of the dark satire, keeping this an entertaining thriller on the art of deception and that onscreen hiding in plain sight we love so much.

The Nesting – A mystery writer moves into the spooky mansion of her titular novel with cluttered bookcases, a typewriter, and tea on the balcony but this 1981 psychological slow burn lays on the fearful staircases, distorted city streets, paranoia, and agoraphobia. Up close camerawork and out of body overlays reflect tense therapy and warped dreams as relaxation cassettes don't help against visions of glam parties, saucy soldiers, boas, long stem cigarettes, shattering beads, sweet jazz, and gunshots. Are the familiar mirrors, candlesticks, verandas, perfumes, and visions just deja vu or something more? Phantoms bangs, noisy pipes, no phone, and electricity in only one room add to the stunning architecture alongside ominous orange lights, great silhouettes, and maybe maybe not outside looking in windows. There are vintage station wagons and roadside perils, too. You gotta roll up the car window faster, girl! Storms, flashlights, old fashioned lamps, and four poster beds make the patina tangible as objects dreamed of are found thanks to attic footsteps, dangerous spires, superb rooftop suspense, and fatal twists. Morbid birds, quality shocks, and lighthearted jokes alleviate the simmering mood with a cranky handyman and kooky grandpa John Carradine (Bluebeard), and there's nudity of course – a lady has to feel herself up in front of the bureau you know! Unfortunately, Robin Groves' (Silver Bullet) therapist thinks ghosts and any quantum physics versus paranormal debates are a bunch of hooey. Is this hysteria or an interconnected phenomena? Although the phantom whooshing, stereotypical town creeps, and fiery ghost fake outs can be laughable amid evident brothel history and old people who were there scoops; the rough assaults, bloody surprises, and lakeside terrors invoke wicked ghostly responses. This won't be anything new for old school horror viewers, but the now doubled nostalgia accents the eerie mystery atmosphere. The ghostly ladies of ill repute are out for revenge, and all kinds of shady pieces in this sleepy inlet puzzle are brought to light. Lengthy chases lead to creepy farm buildings, pitchforks, sickles, and impressive gore with freaky spectral revelations coming full circle for a violent finish.

Could Be Better

A Kind of Murder – Fedoras, typewriters, newspapers, and record players invoke a seemingly classy mid century time for writer Patrick Wilson (The Conjuring) and his realtor wife Jessica Biel (The Sinner) in this 2016 Patricia Highsmith adaptation further accented with retro skyscrapers, vintage travel, neon lighting, and a sweet mod house. Unfortunately, there's talk of murders on the radio, the bookstore sells nefarious brown bag magazines, and back alley stairs lead to segregated jazz clubs. Cigarettes, swanky melodies, and husky mellow voices fittingly contrast the pearls, white gloves, pillbox hats, and concern about fancy shoes getting wet in the snow for an interesting mix of the changing times. Our would be novelist is feeling the new sixties with his mod turtlenecks and wanting to do it in every room in the house – but his cold, porcelain doll fifties wife won't see a therapist and belittles his stories in favor of his real architect job and Frank Lloyd Wright references. The Mrs. wears pink and white like a little girl, and Biel looks out of place in the fifties dress up, which may be intentional thanks to the character's diva fakery with a giant bun, false eyelashes, and making bitchy jealous accusations out of nothing in a rocky four year marriage. The colorful lighting, bright snow, and interior patinas are well done schemes reflecting each mood, but the choice reds to signify anything saucy or scandalous are a little too obvious. The tale also intercuts between an obsessive, Dragnet dry detective making us too aware we are watching a picture emulating a specific cinematic era and the more interesting writer using the wife killer crime in the news for inspiration. Is he fantasizing about how to kill his wife or just writing a story? Sleeping on the couch, suicide attempts, and divorce threats lead to guilt tripping traps, suspicious deaths, juicy alibis, lying phone calls, and too many did he or didn't he coincidences. Whom do we trust in this murder or suicide shady? Although the audience might enjoy figuring out how these crimes don't add up, the uneven pace plays it's hand by revealing the suspense and drawing out boring casework. The “they know that we know that they know that we know” yadda yadda loses viewer interest as our would be writer cum murder suspect chills with his martinis, lying to cover up his illicit and giving a different story every time he tells it. He'll act weird but won't get a lawyer because that would mean he has something to hide, and the cat and mouse drags on until everyone is chasing their tails. Just because he wanted his wife dead does that mean he killed her? Or if he walked away from helping her is her death his fault? The plodding speculation underestimates the audience, and the who killed their wives and why details, blackmail confrontations, and questions about whether it is proof or doubt that seals the deal build to a showdown that runs out of time. This has a fine noir mood complete with well filmed silhouettes in dark alleys and a Hitchcockian double chase finale raising tension. However, the mystery remains run of the mill despite the period flair, and the ending doesn't quite give viewers the finish needed.

An Unfortunate Skip

The Dark – Reporter Cathy Lee Crosby (Wonder Woman before Lynda Carter was even Wonder Woman) kind of sort of teams up with a psychic and a detective to solve some serial killer mutilations in this 1979 alien mishmash with a hokey opening scroll warning of animal defense mechanisms and extraterrestrial chameleons. Passe music, laser eye beams, and poor voice effects add a slow to get going old TV movie feeling while that titular near black screen makes it often impossible to see the back alley attacks. The gay jokes are lame, the case exposition's wooden, and a white bearded old boss jumps out shouting “Boo!” just to get his kicks by scaring our lady reporter. Old lights, green hues, and colorful skylines going dark build better ominous as a young girl is said to be beheaded in the creepy morgue as family gags over the unseen victim. Retro video designs, projectors, and forensic evidence accent elevator scares, flashlights, and zombie or vampire conjecture – but wow, fifteen cents for the newspaper and needing to put another quarter in the payphone before the operator interrupts! The streets and pool halls look even seedier because of the low budget Los Angeles realism, but white cops less interested in black crime with the jive and epitaphs to match their “38 caliber justice” is unfortunately not dated. One obnoxious ass asks if color can be told by the alien blood samples, and cranky cops disbelieve the medium even when they have nothing else. Today audiences are so accustomed to investigative dramas that this law enforcement seems particularly stupid – although a captain more worried about family pressure, public panic, and avoiding media scandal remains all too common. Wise people counter that obscuring such freedom of the press is wasting time while the killer strikes again, but the tacked on alien connection ruins any would be statements. Everyone is so dry and too much time is spent away from Cathy Lee when she should be our viewpoint anchor. Choppy editing doesn't know where it is going between attacks, culminating in a logistically nonsensical shootout. The fantastic clues and psychic visions are underutilized, and the drama is better when the spooky, journalism, and law come to a head. This had potential – I kept waiting for this ninety minutes to get going – but there's not enough science fiction, horror, or procedural actually happening.

Thriller: Season 2

Though Flawed, Thriller's Second Season Remains Frightful

By Kristin Battestella

In 1961, Boris Karloff returned as host for Year Two of the spooky and suspenseful anthology series Thriller. With 30 episodes a season, the mixed focus on scares and scandal runs thin at times. However, several thrilling and frightful gems –with a few from Big K himself – keep this season entertaining.

Disc One of Thriller's Second Year opens with an ill wife, an easy to suspect a husband, and pretty younger sister in “What Beckoning Ghost?” Directed by Ida Lupino (The Hitch-Hiker), the suspense, coffins, premonitions, wills, and funerary wreaths escalate the gaslighting versus supernatural possibilities. Smart shadow placement and quality editing on the toppers combine for a nice mix of both scary and crime – a positive blend in the identity crisis that will continually hampered Thriller. Also directed by Lupino and adapted by Charles Beaumont (The Twilight Zone), “Guillotine” sets the French flavor with slicing practice, dark prisons, and jingling shackles. The delicious intro from Karloff, crimes of passion, simmering pace, and seduction anchor the sinister poisons versus ticking clock executions. Although the plot boils down to a straightforward crime, the unique period piece tone and final twists make up the difference, and “The Premature Burial” ups Thriller in full on, macabre Poe fashion. Boris himself is involved with this dreary Victorian tale, its elaborate tombs, questionable deaths, and catalepsy – and this episode aired before the release of the 1962 Roger Corman film adaptation. The larger than usual cast, great costumes, and fancy sets add to the deceit, unfaithfulness, and obsession while the black and white accents the morbid fail safes, bells, turnabouts, and demented performances. More statues and fortune tellers highlight “The Weird Tailor,” written by Robert Bloch (Psycho) and also later adapted in the 1972 Amicus anthology film Asylum. The deadly sorcery mistakes here can't be amended, but the special eponymous request leads to marital dysfunction, one unusual sewing dummy, and fine social drama amid the occult intensity.

Elizabeth Montgomery (Bewitched), Tom Poston (Newhart), and John Carradine (Bluebeard) start off Disc Two with the lighthearted, perfect for Halloween farce “Masquerade.” From a writer on a honeymoon and a stormy night breakdown to ominous music, the Psycho house setting the scene, and rumors of vampires afoot – even Karloff's introduction is unabashedly in on the spooky winks, tongue in cheek tone, and self aware repartee. Maybe the vampire cliches are too hammy for some viewers expecting true scares, but fortunately, the haunted house kooky and maze like bizarre contribute to a delightful kicker! “The Last of the Sommervilles” – again directed and also written by that oft Thriller gal Ida Lupino – has hastily buried bodies as garden fertilizer as well as Karloff once again making a slick appearance alongside Martita Hunt (Anastasia). This greedy family has plenty of crazy aunts and hidden relations with inheritance double crosses and Victorian irony. The actual murder how tos are a little loose, but sinister bathtub suggestions and fine interplay raise the suspense. Intense silhouettes, a bemusing score, card game puns, and old ladies with binoculars make the crimes in “A Third for Pinochle” all seem so quaint in this quid pro quo social etiquette meets hatchets tale. The belittling frumpy wives and unassuming killer neighbors ala The 'Burbs is perhaps too similar to Season One's “A Good Imagination” also starring Edward Andrews (Sixteen Candles), however, there's enough whimsy to accent the hi-jinks while thunderstorms, slamming windows, a spooky castle, dungeon cobwebs, and great costumes up the scares in “The Closed Cabinet.” The medieval riddles sound like nonsensical hyperbole, but the 1880 flair, disbelieving lineage, and a superb black and white mood add to the ghostly beckoning, gothic dressings, and ye olde medieval harmonies.

For Disc Three of this Second Season, Thriller finally caught on with the need for more in on the game Karloff and serves up two tales both featuring Boris in different roles for “Dialogues with Death.” Morgue slabs, afterlife questions, skeptical reporters mocking the idea of asking the departed who killed them – and that's the first half before more American Gothic swamps, flooded mausoleums, and catalepsy. Thriller can seems redundant or as if its running out of content with too many family scares in a row, especially so if every episode had been this kind of multi-plot variety, but writer Richard Matheson (The Twilight Zone) picks up the slack with a crazy uncle and his unusual internment requests in “The Return of Andrew Bentley.” The shrill sounds effects are terrible, indeed, however, familiars, necromancy, and occult warnings on tampering with the perimeters of death add to the moody marital discord. Wow, Jo Van Fleet (Wild River) looks so beautiful and evil alongside pup Bruce Dern (The 'Burbs) and the again suspicious John Carradine in “The Remarkable Mrs. Hawk.” The quaint farm, cute piglets, weird whimsy, and county fair gentility belies the ruthless thieves and deadly rural. This toes the too goofy line, but there are some fun chess battles had here. More creepy voices, shadows, nightmares, and a noose start “An Attractive Family” before Leo G. Carroll (Spellbound) and Robert Long (The Big Valley) duel over crafty but thwarted spousal accidents that keep the audience guessing to the end.

“Waxworks” leads Disc Four with uncomfortably realistic designs and what you think you see tricks setting the mood for another Robert Bloch tale. The cops are trite, however French flavor adds to the Old World atmosphere, double take scares, unexpected violence, and noir style – making for another pleasing combination of the crime and paranormal parents on Thriller. Ursula Andress (Dr. No) looks divine for “La Strega,” making the viewer care for the peasantry even if the Italian setting is slightly stereotypical and somewhat Spanish thanks to Ramon Novarro (Mata Hari) and Alejandro Rey (The Flying Nun). Once again director Ida Lupino builds an Old Country and foreign horror feeling with witches, familiars, and a dangerous mix of beauty, curses, and superstitions. Operatic orchestration accents the romantic tragedy and inevitable pursuits that can't be outrun while creepy crones ascend toward the camera with their dread uninterrupted. More screams, black cats, and solitary perils elevate the standard premise, understandable fears, and expected suspicions in “The Storm.” Pesky cabbies and unheeded warnings escalate toward frightful power outages, deadly downpours, animal knee jerks, natural scares, and a fine topper. “A Wig for Miss Devore” begins with past executions and fatal beauties before film within a film aging starlets and movie magic deceptions featuring John Fiedler (The Bob Newhart Show). It's interesting to have seemingly contemporary talk of parts for 25 year old fresh red heads only and a 38 year old has been who was finished at 32 – a swift social commentary on desperate charms and Hollywood extremes. Thriller is on point when the crimes are supernatural, period set, or elevated with more cultural dimension as in “The Hollow Watcher.” Backwoods murder and Irish mail order brides lead nosy but fearful townsfolk, local legends, and phantom vengeance with scandalous touches and schemes compensating for anything that may appear comical now. Besides, scarecrows are already disturbing enough, right? The series peaks here with what may be the single best disc in the complete Thriller collection.

Karloff's final in character appearance in “The Incredible Doktor Markesan” leads Disc Five with excellent slow, stilted moves and a sunken, deathly veneer. Suspicious medical university secrets, a kitchen with food so old its turned to dust, and inquisitive nephew Dick York (Bewitched) accent the no trespassing signs, old newspapers, and eerie meetings. Terrifically terrifying makeup and music ala The Gentleman from Buffy highlight this mix of murder and science, going for the scares as Thriller should have done all along. “Flowers of Evil” brings yet more ghoulishness with skeletal props and Victorian flavor. How does one come into the business of procuring bad luck bones to sell, anyway? coughmurdercough. Though overlong in some spots, budding forensics, cadavers, and dissection keep the gruesome mood afloat. Robert Bloch pens the western set “Til Death Do Us Part” with a fortune hunting undertaker in a town where the dead body business isn't what it's cracked up to be. The comedic music is overdone, but the unique setting, murderous intentions, and eloping in a horse drawn Hearst are much more fun when played for the macabre bigamy gone bad. “The Bride Who Died Twice” has torture, creepy Mexican generals, and unwilling marital alliances with a wonderfully different setting, epic music, and lovely costumes accenting the star crossed lovers and corruption from director Ida Lupino. Despite the horrors of revolution, fine cinematic flair, and all around period delightful, ironically this strictly dramatic hour doesn't seem like it belongs on Thriller. Fortunately, Mary Tyler Moore sings Cole Porter in “Man of Mystery,” setting a swanky, urbane feeling for this whodunit full of playboys, money, secrets, and escalating obsessions, and Ida Lupino bows out her Thriller directing on Disc Six with sulfuric acid, animal trophies, timid librarians, iron fisted new bosses, and play within a play winks for the dual femmes in “The Lethal Ladies.”

Since it took so long for Thriller to get its full on horror, it's tempting to give several pedestrian episodes a free pass. As the spelling suggests, “God Grante that She Lye Stille” serves up ye olde burning at the stake declarations before more familiar moonlight curses almost pull off all the horror stops. Unfortunately, the odd, interchangeable combination of witches and vampires doesn't quite fire on all cylinders. The room to room opening and closing doors in “Letter to a Lover” feel like an old Scooby Doo montage, complete with repetitive, nondescript country manor suspicions, subservient minorities, subterfuge, and murder. Someone even nearly says, “And I would have gotten away with it if it weren't for you kids!” “Portrait without a Face” has a neat premise, but John Newland (One Step Beyond) starts with a hammy Vincent Price imitation before one annoying, cackling old lady and a slow double talk investigation that can't fill up the 50 minute runtime. “Cousin Tundifer” repeats the Edward Andrews humor and comical music, missing the teleportation and topsy turvy time irony and opportunity on laughter and yet another nephew trying to get rich while “Kill My Love” also rinse repeats murder, adultery, and gas leaks. Young George Kennedy (Dallas) can't save the obvious and disposable Burke and Hare plots of “The Innocent Bystanders,” and as to the crooks and cops of “The Specialists”...yawn. For such a short run, Thriller over relies on too many of the same witches, suspicious couples, amoral families, murderers, and profiteers, and in retrospect, the series seems reluctant to fully embrace its built in horror mantle. I suppose mystery and adultery of the week were simply cheaper to film than weekly macabre. That doesn't mean that the suspense and crime episodes aren't entertaining – Thriller provides a little something for everyone across the spectrum from witty to scary and everything in between. Through today's lense, however, Thriller appears to play it safe more often than it should.

Thankfully, mid century furs, pearls, old technology, fedoras, cool cars, and classy interiors add charm alongside somewhat simplistic but atmospheric and fitting ghost effects – which were probably pretty elaborate for a time when $3, a cup of coffee, or 20 cents a mile paid the cab driver and real operators connected the phone line. Thunder, lightning, fire, mirrors, and black and white ambiance accent the 17^th century through Victorian times. Again, it probably wasn't cost prohibitive to always be period set, but more mood and effort seems to grace the historical pieces, and those well dressed interiors and gothic feelings carry Thriller regardless of the time period onscreen. The series may not be as immediately recognizable as The Twilight Zone or The Outer Limits, however, Thriller does have a universally spooky atmosphere. Part of that may be Karloff's lure, but he's still having a good time doing the introductions, even occasionally getting into it with more spunk on the weaker episodes – popping in amid the sets more like Serling this season and quoting Shakespeare in the cemetery! Although the soft voices and sometimes bombastic sounds on this Complete Thriller series set are still obnoxious, more fine Jerry Goldsmith scores add ambiance and can be isolated on select episodes alongside commentaries and other treats.

This second season lags across the middle discs, and a shorter season with more Karloff would have been so sweet, but I'm happy Thriller righted itself this year with a more scary focus. I'd love to see the earlier Karloff series The Veil for comparison, but unfortunately, those sets appear incomplete, elusive, and unavailable on Netflix. Today, a show like Thriller would have been continuously tweaked into its short ruin with all half horror horrors reaching for stunt casting guests and anything and everything shocking in a desperate grab for ratings. Overall, Thriller's attempt at a suspenseful and scary middle ground is uneven and divisive, leaving audiences to skip around the scary or pick and choose the scandal. However, I'm glad the series didn't cater to the lowest audience with cheap horror, and thus, Thriller remains sophisticated fun be it murder or macabre.

Bela, Boris, Lon, and John

Bela and Boris and Lon and John

By Kristin Battestella

Well it’s no Bob & Carol & Ted & Alice. However, what horror fan doesn’t want a night in with any of these terrifically terrifying gents? 

Gallery of Horrors – It’s known by numerous titles and there are certainly better anthologies, but host John Carradine classes up “The Witch’s Clock,” the first tale in this 1967 amalgam. Colorful mists and ominous music over the opening credits set the mood along with old décor, cobwebs, and typewriters, but the low budget production shows in the hasty editing, rushed plots, and cliché spooky double talk. This hokey scripting and telling instead of showing doesn’t help the mostly wooden second tier cast either, and the period “King Vampire” story serves up commonplace crime theories instead of capitalizing on its small town suspicion and hysteria. “Monster Raid” also goes for a nonsensical over the top narration instead of its intriguing mad scientist experiments, but Lon Chaney Jr. gets his Dr. Frankenstein on in “Spark of Life.” Despite heavy possibilities, fun performances, and an intriguing one room laboratory setting, this leg moves entirely too fast. I’d love to have seen Our Man Creighton tackle this in his prime! The fifth and final “Alucard” tale has better scripting and delivery, and the twist makes up for any confusing action. The film as a whole isn’t bad – in fact, it can be fun to spot the reused backgrounds and footage from the Corman/Poe cycle films in some sort of mash up drinking game. However, the video is dark and tough to see at times with some innate flaws, and the fast, harmless fun feels designed for juveniles or short attention spans. Maybe that wasn’t the intention at the time, but the none too scary, moody, and atmospheric fun is perfect for a kid’s sleepover or family movie night. 

House of Frankenstein – Before House of Dracula (already reviewed here), sad wolfy Lon Chaney Jr., slick wannabe mad scientist Boris Karloff, and seductive vamp John Carradine ganged up for this 1944 70 minutes along with Universal horror company hunchback J. Carrol Naish, carnival showman George Zucco, and inspector Lionel Atwill. Yes, there are loose connections to the titular tellings – a brother who was supposedly an assistant in the monster raising – and even more timeline questions and canon fodder from Frankenstein meets the Wolfman. However, great lightning, storms, prison escapes, macabre atmosphere, shadows, and fun plot twists keep up the intensity. All these monsters somehow afoot on the continent! Though hokey at times today, the moody sets, contemporary dressings, carriage chases, ice caverns, and neat effects for Dracula’s resurrection, trick rings, and bats must have been wartime wild to see. The whiff of romances and young couples are dated as well, and Anne Gwynne (The Black Cat) is more fun under Dracula’s brief spell. Some of this monster action feels like mini vignettes moving from one spooky segment to the next rather than concurrent interwoven plots, but everyone has his scene of ominous and there’s plenty of conflict for this Universal monster road trip. Longtime fans can wing it with the rally fun, but younger audiences interested in classic horror might find this to be a bemusing starter piece, too. 

The Human Monster –A poor print, primitive video release, and woeful audio mar this 1939 75 minutes also called The Dark Eyes of London. It’s tough to tell what’s happening at times, and the usual cop colloquialisms litter the plodding pace along with unnecessary transitions featuring people walking to and fro or telephoning up for tea. Fortunately, Bela Lugosi is looking suave in a pre-war stylish suit and belying his nefarious doctoring swindles. His switcharoo subtlety between a generous façade and the slick power of suggestion is disturbingly entertaining. Though the creepy organ music and destitute conditions add to the eerie portrayal of the blind, there’s isn’t a lot of macabre or enough Bela onscreen – most of the focus is on the generic cops and their one step behind antics or the amiss humor. Screaming damsels in straight jackets and the shootout finale, however, make up for some of the obvious crimes. And did I mention the fashion nostalgia and spinning newspaper montage? Today’s audiences won’t find this one that scary and a proper restoration would do wonders, but Lugosi fans can enjoy this fun in a marathon with other lesser known Bela treats.

The Old Dark House – Bride of Frankenstein director James Whale opens this 1932 70 minutes with a bemusing Karloff disclaimer insisting that this is the same versatile actor from Frankenstein before serving up Oscar nominee Gloria Stuart (Titanic), winners Melvin Douglas (Hud) and Charles Laughton (The Private Life of Henry VIII), and more over the top character archetypes and cliché family crazy. Yes, Douglas’ playboy hero is too flippant to start, the of the time delivery is a bit much, and some of the song and dance mannerisms, humor, and Jazz Age attitudes won’t be appreciated by today’s viewers. I wouldn’t call this a black comedy per se either, but the self-aware wit is wonderfully conscious of the contrived circumstances, each one thing after another situation, and every suspense increasing psychotic family member. That lovely roadster and more vintage style anchor the firelight, shadowy reflections, and dark framing – this is a well-filmed picture with no hokey stunts or action speed. Thunder, lightning, rumbling mudslides, and a creepy Welsh manor match the off kilter camerawork, shock moments, and near brow beating harshness of the titular owners. There are only a few sets, but the stage-like atmosphere builds its mood through character reveals. While it may be tough to hear or understand without subtitles, interesting personal dialogue, awkward interwar conversations, and religious arguments add intellectual substance to the family secrets and romantic tiffs. Expected Whale suggestions and a whiff of scandalous pre-code lingerie add some juicy, too – not to mention our simpleton but drunk, touchy, and menacing butler Karloff! Despite a somewhat quick resolution and a few innate flaws in this once lost film, the surprisingly fun but creepy old age make up, unexpected twists, and horror smarts hold up delightfully for today’s gothic thriller audiences. 

And Two Documentaries!

Karloff: The Gentle Monster – This 2006 38 minute documentary is not the hour long Biography episode of the same name but rather a lovely little retrospective found on the Frankenstein blu-ray releases. Although the beginning briefly mentions Karloff’s pre-Universal film appearances, the focus here is with the subtle, silent sympathy of Karloff’s monstrous characters and his long lasting horror appeal. From Frankenstein to later stage work beyond horror such as Arsenic and Old Lace, film scholars and historians discuss early comparisons to Lon Chaney, difficulties with horror make up’s infancy, and more scary film glory with classics such as The Mummy and The Black Cat. Attention is given to Karloff’s quiet success as a character actor thanks to his physicality and ability to be both frightening and sensual at the same time along with his spooky television series and his tireless work across mediums and generations. This is the voice of How the Grinch Stole Christmas, people! It’s also interesting to see movie buffs theorizing on the over reaching and decreasing quality of the studio’s Frankenstein series, beating it into the ground as the franchises, sequels, and remakes do today. Boris fans and horror lovers can eat up the clips and nostalgia here, for sure.

Lugosi: The Dark Prince – Like Karloff, Bela Lugosi’s early life and acting career before Dracula go unnoticed in this 36 minute documentary accompanying the 1931 Dracula blu-ray video. Interviews with genre directors Joe Dante, Jimmy Sangster, and other film scholars and authors instead spend the majority of time here on Lugosi’s quintessential appearance in the budding horror cinema and discuss how his phonetic learning of lines accentuated his hypnotic, handsome, somewhat scandalous and always sensual acting style. This masterful paranormal charisma of course unfortunately typecast him, but clips and analysis on Murders in the Rue Morgue, White Zombie, Son of Frankenstein, and The Raven will be a treat for those interested in the irony of Lugosi’s long lasting iconography but relatively short-lived success and underatedness as an actor. Even if the talk isn’t about the man’s personal life per se, there are great insights into the craft here, making for a lovely little bittersweet study on the quick rise and fall of a horror icon.

A Ghostly Film List!

Ghostly Film Delights!

By Kristin Battestella

Phantoms, spirits, ghosts, and the supernatural – who doesn’t love a good old haunted house tale, ghost story, or bump in the night scare? Regardless of if you spell it spectre or specter, don’t take in these apparition accounts alone! 

The Conjuring –Vera Farmiga (Up in the Air) and Patrick Wilson (Insidious) lead this 2013 possession thriller along with Ron Livingston (Office Space) and Lili Taylor (Six Feet Under). Although some of the cast may seem a bit too modern and it’s tough to tell the kids apart at times, the 1968 beginning has the fashions, feeling, and creepy dolls for immediate atmosphere. No attempted cool opening credits waste time – the opening crawl explaining the true story basis and Warren demonology casework does just fine before the 1971 station wagons, old TV static, home movie reels, and ominous music accent the main Perron tale. Granted, there is always a hardened dad, nobody pays attention to the dog’s warnings, the clocks all stop at the same time, and they go into the previously boarded up basement! The Warrens also seem fake and over confident to start, withholding information amid a slightly uneven back and forth establishment of the Perron haunted house period Poltergeist meets Ghost Hunters Warren family relationships. Fortunately, the plots and sympathies come together amid foggy lakes, eerie wide camera lens perspectives, uneasy upside down pans, creaking doors, and sleepwalking kids – that’s a creepy blindfolded and clapping game they play! The editing on the jump moments from director James Wan (Saw) is surprisingly subtle, startling the simmering audience at different times with different things and allowing for a personal build instead of in your face, all the time unfulfillment. Kids in peril, bodily bruises, excellent silence and darkness, heavy breathing, and over the shoulder fearful reveals keep the phenomenon intimate despite the old time research montage and cliché centuries old history. Most visual tricks happen in camera; the pacing focuses on fear and personal reaction even as complex, multiple occurrences mount thanks to an off kilter contrast, stillness, or action movement. Horror fans accustomed to recent under 90 minute standards may find the near two hours here long or too similar to classic supernatural fair, but the tension follows through from start to finish, progressing to a wild exorcism finale. 

Ghost Story –Fred Astaire, Melvyn Douglas, Douglas Fairbanks, Jr., John Houseman, Patricia Neal, and a bewitching Alice Krige shine in this supernatural 1981 tale adapted from Peter Straub. Firelight, dangerous snowscapes, and perfect mood music accent the storytelling atmosphere, and cluttered old houses, period décor, quaint thirties charm, and a mysterious Victorian derelict anchor the classy old guard and their demented Chowder Society. Ghostly laughter, eerie sounds, old time elevators, and scares unseen until it’s too late match the hazy effects and dreamy style – keeping the viewer unsure but intrigued. Is this a dream, reality, guilt, or apparition? Granted, the plot isn’t faithful to its source, bad effects are humorous today, and some of the acting crazy is hokey. Those who don’t know the cast may also find it tough to tell who is who and be confused in putting the connections together. The unusual framing design and back and forth flashbacks add some humor and romance that may detract from the spooky tone, and wise horror viewers will spot the simplistic plot holes, too. However, it’s pleasing to see older protagonists deal with sudden shocks, death, sex, and mature topics while clashing over generational changes, phantoms, and longtime regrets. It’s both thrilling to see the jolly old school unravel and suspenseful to watch uncomfortable nudity and an ominous we don’t know what lingering over any seemingly happy times. We like our gent ensemble yet suspect the past illicit – thanks to the period settings and refined performances, the decades old scope and personal stakes have room to stand out even if this isn’t all that scandalous compared to contemporary tales with lots of gore, cults, and torture. The paranormal tone and gothic atmosphere are not super scary for the most part, yet there are some excellent, intense moments here along with a macabre little mystery and ghastly finish.

The House of the Seven Corpses – Cranky director John Ireland (Red River, All the King’s Men), the aptly named John Carradine (Bluebeard, The Grapes of Wrath) as creepy old man Edgar Price, and aging actress Faith Domergue (This Island Earth) star in this 1973 haunted house film within a film full of red decor, black candles, and color tinted photography. A creepy death reel further sets the gothic mood along with Outer Limits music, feline fears, and spooky old house bumps in the night. Who knew behind the scenes equipment, filmmaking troubles, seemingly innocent script incantations, and shooting in a haunted location held so many perils? The viewer is just waiting for a retractable knife switch a roo stabbing! The voices are tough to hear most of the time, but the light humor and snarky banter works because the ensemble knows they are making a scary movie – the wooden, fake filming and crappy scenes are a fun audience comfort before the real suspense and spine chilling scary mounts. Conflict amid the onscreen crew and production furthers the fears and shocks as the titular risings begin while plenty of great screams, twists, and ghoulish intensity keep the viewer invested even if we suspect how the scares will play out. Although the ending is somewhat unexpected, even abrupt because the house history is confusing and left unresolved thanks to some plot holes, this is still a bemusing, atmospheric 90-minute ride.

Lights Out – I like short films and wish they got more mainstream attention and recognition, but I don’t think I’ve ever reviewed something this short at under three minutes. I can talk longer than this is! However, director David F. Sandburg’s (Earth Savers, Ladyboy) winner of the Bloody Cuts Horror Challenge 2013 starring Lotta Losten got me. Not many purportedly scary films these days can capture this unseen suspense, the increasing infringement of the unknown in the sanctity of the home, bedroom, and childhood under the covers safety. How can you flight or fight when fear is coming to you? Sure, jaded viewers may balk at the lack of dialogue or motivations. Why not call a friend in the night? Leave? Lock the door? Scream! Perhaps the end isn't as fulfilling as the initial shocks that either glue you in for the topper or make you drop your precious mobile viewing device, either. The lighting, shadows, and design, however, are top notch, and we’ve all been there – thought we saw something in the dark or retreated at the paranormal possibility. This relatable hook and scares totally works. If bigger industry names or Hollywood studios don’t notice Sandburg and this smartly simplistic viral sensation, they should certainly take note at the taut tension and straightforward filmmaking. Is it easy to keep up this intensity at this short a sample? Sure. Was the minimal design required by the competition and an indie shoestring budget? Probably. But is this how modern horror should be done instead of all the in your face 3D mayhem, fluff, trite, and obnoxiousness? Yes.  View if you dare on Sandburg’s page here: http://vimeo.com/82920243.

But Not so Delightful…

The Ghosts of Hanley House – Great thunder, screams, fun sound effects, footsteps, shadows, ticking time, and chiming grandfather clocks set the mood of this 1968 black and white haunt. Objects moving by themselves, unseen chokes, and opening doors lay on the titular further along side antiques, séances, and creepy décor. Unfortunately, bad music, faux hep cat cool, dated dialogue, ridiculous up close shots, flawed editing, and wooden acting from the unknown cast hamper any chance this seemingly tired premise or its twist might have had. One can forgive low budget feelings, the dares to spend the night in a haunted house, the cliché old woman who knows the story, and the inexplicably psychic lady believer, sure. However, viewers can’t overcome the overlong 85 minutes, padded plot, and poor audio – it sounds like they are throwing their voices from off camera! The slow pace and stupid actions are too tough to enjoy, and the darkness or flashlights going off and on will be annoying to some. These lighting schemes ought to be eerie and effective, forcing the audience to look and listen for the ominous sounds and scary reveals. But sadly, the dry scripting and stilted cast ruin any atmosphere, and there’s almost no reason to care once we get to what should be a very fine kicker. Pity.

A Lon Chaney Jr. Post!

A Lon Chaney Trio!

By Kristin Battestella

Do we need an excuse to discuss this Junior-variety triumvirate of Lon Chaney films? I thought not!

The Black Sleep – From Basil Rathbone’s slick top hat and suspicious, desperate doctoring and the spine-chilling entrance of the snapped Lon Chaney Jr. to a wild appearance by John Carradine and Bela Lugosi’s sad dénouement, the titans abound in this sophisticated 1956 terror tale. Cataleptic drug history and an ominous narration set the black and white mood along with a spooky score and fitting 1872 styles. Prison dreary, erroneous death sentences, grave robbing, dissection of convict cadavers, and the titular anesthetic keep the morbid plot moving, and questionable science, eerie estates, secret passages, and a crazy patient or two complete the scary movie checklist here. While some of the science talk is dated or hyperbole and deflection and the pace is perhaps slow today, the classy morose and well played ensemble cast – also including Akim Tamiroff (Touch of Evil), Herbert Rudley (The Mothers-In-Law), Patricia Blair (The Rifleman), and Tor Johnson (Plan 9 from Outer Space) – are worth watching. There isn’t much of our silent strongman Son of the Hour, and I’m not sure why neither he nor the bittersweet Lugosi has little or no lines, but freaky brain surgeries, great damsels, and macabre dream sequences are in keeping with the elegant yet subtly gruesome. Long time horror viewers won’t find a whole lot of scary amid the medical gone awry, but at times I didn’t know what was going to happen next thanks to surprising reveals, twisted progression, and an action creepy finish.

The Mummy’s Curse – Stay with me now – this 1944 hour long Universal sequel marks the final appearance by Lon Chaney Jr. as Kharis after The Mummy’s Tomb and The Mummy’s Ghost, which follow the 1932 original and The Mummy’s Hand. Got that? Of course, the timeline and locales are all over the place at this point anyway! We open with a French sing along to set the inexplicably changed Louisiana setting here before getting to the expected accursed mummy swamp recovery, investigating archaeology professors, and screaming dames. It’s amusing to see all the fearful and faux French accented locals, and reused stock footage from prior Mummy films creates further humor. But why is this exact same story being told to us again? Again but in a Louisiana swamp? A swamp that lies below a conveniently abandoned chapel where the Mummy hides? Fortunately, once the audience takes these leaps, Chaney’s resurrected and deadly, limbering monster can be enjoyed thanks to well done shadows, lighting, and crisp black and white photography. Virginia Christine (Tales of Wells Fargo) also has an excellent entrance as the revived Ananka, with eerie music, stilted movement, and great horror editing. Despite the spooky bayou atmosphere, this isn’t as scary movie as it should be – somehow Chaney’s crippled, dragging Mummy seems sad and used more than frightening. Poor thing misses a victim or two thanks to them, you know, walking away from him! Thankfully, the quick fun here is still watchable for fans, especially in a Mummy or Chaney viewing marathon. 

Witchcraft – Lon Chaney Jr. is old but earnest in his failed attempts to rescue a centuries old family graveyard from urban development in this black and white 1964 spooky. Creepy music and that stony cemetery scenery set the mood while family rivalries, ruthless business practices, and a buried alive witch returning from the grave just in time for May Day sacrifices up the angst ante. Although we don’t see Our Man Creighton too much, the wise horror viewer knows anyone desecrating a tomb will earn plenty of bad blood and titular mayhem. The young romance scenes are also too sappy and cliché, but thankfully, they are few and far between the otherwise well played generational gaps. Conflicting attitudes on respecting the witchcraft history and superstitious fears add to the suspenseful and well-edited murders, disturbing effigies, and voodoo dolls. Great lighting, dark shadows, sinister winds, creepy car rides, and eerie, silent up close scares increase as the revenge deaths and onscreen pace quicken. These 80 minutes might become too predicable by the end with so much magical vengeance, but each mini murder sequence is a well done piece unto itself. Creepy eyes, hoods and ritual robes, and just enough undead makeup accent the fun fiery finish, too. Perhaps this is a standard witchy tale, but there’s enough plotting and performance here to match the effective, atmospheric telling.

More Forties Horror!

Forties Frights Again!

By Kristin Battestella

Who’s ready for more mystery, mayhem, scares, and suspense from that silver screen wartime decade?!

The Black Raven – George Zucco (Scared to Death) leads this 1943 crime and creepy hotel hour, and lots of rainy, dreary atmosphere accompanies the shady ensemble of fast talking, cracking wise crooks. We only have 60 minutes and yet the action starts slow as we’re introduced to each of the washed out, stranded cast. It’s nice,  but we don’t have enough time for this meet and greet, and ironically, it’s tough to tell who is who once everyone’s done up in their dark rain slickers anyway. The caper colloquialisms may be tough to hear or understand today as well, and the great thundery soundtrack and fright opportunities don’t always come across or get as scary as they could be. Of course, there are some poor production values, and yet, there’s some fun to be had here, too. The fedoras, trench coats, and frocks add a classic mood, and the plot thickens as the big money goes missing and our guests get pushed down the basement steps. It’s all kind of silly, but nonetheless fun to watch on a scary family movie night. Who’s the murder and who’s next? Somebody close the door to those deadly stairs!

The Fall of the House of Usher – There’s not a lot of information available on this elusive 1949 British adaptation of Poe’s famously flawed siblings. The opening here is weird, with Brit pimps in their boys club chatting up their Poe favorites. When the story moves into the tale itself, however, solid dialogue from the book, lovely period décor, and bizarre designs put on the right demented atmosphere. Piano interludes, candlelight, unique photography, and one very creepy crazy mama add to the fun. Yes, today’s audiences may feel the plot meanders a bit with seeming slow or quiet scenes. Fortunately, the fade-in editing, ticking clocks, and slow burning wicks encapsulate the tomb-like mood. This actually does what an adaptation should do- I want to go read the source again! It’s a bit dry, but this one is worth the Poe study or classroom comparison for the scares and macabre it gets right. 

The Fatal Hour and Doomed to Die – The fourth and fifth films in the Mr. Wong series starring Boris Karloff aren’t scary or really even horror pictures by any means. So, either any forties murder mystery was considered horrific at the time or his association with fright is just that strong, for these two Wong tales appear in numerous Karloff compilations and free domain horror sets. Fatal starts slow as Wong is officially unofficially on the case while fast talking dames and inept fuzz inhibit his investigation. And let’s not forget those Asian stereotypes! The men somehow all look the same, and it’s tough to tell the cops and robbers apart until Karloff tells it like it is. Wong is actually a very smart detective, and solid music and suspense build nicely as the crime mounts. Though the pace is tight and the drama proceeds accordingly, Die is a run of the mill murder caper further overshadowed by its stereotypical makeup and the series’ inappropriate premise. The scenes without Big Boris are laden with colloquialisms and procedures, and the plot itself isn’t very interesting compared to BK’s classy detective style.  Despite the racial errors, Karloff is no less impressive in creating the Wong character and deducing the crime. Like the Fu Manchu pictures, sociologists might enjoy a Wong analysis, and fans of Karloff can delight.

Voodoo Man – A goat tee sporting Bela Lugosi is up to his no good with mad scientist wonders and resurrection debauchery alongside John Carradine and George Zucco in this 1944 touch of zombie tale. It’s a poor print and the sets are somewhat drab, but nice music, candles, and rituals with plenty of shadows and mood lighting accent the ominous detours, kidnappings, and motorist mayhem. The cars are cool, too, and the gals in white make the otherwise laughable voodoo set ups almost beautiful. Despite his Merciless Ming get up, Lugosi’s accent isn’t thick here and he still has the suave to make the dames do his bidding. I dare say his Dr. Marlow is even sympathetic in his quest for his lost wife. There’s some subtle humor to match the surprisingly not dated dialogue as well, although the Hollywood write me a scary story frame is corny thanks to lines like “Get that actor Bela Lugosi, it’s right up his alley!”  Yes, this may feel similar to a lot of other Lugosi flicks, but fortunately, the pleasant performances and good hour long pacing keep the clichéd hocus pocus fun.

60s and 70s Vampires, Oh My!

Sixties and Seventies Vampires, Oh My!

By Kristin Battestella

Yes, unbelievable as it is among all our recent undead teenage angst, vampires have really been around for a long time.  Now that Twilight has finally come to an end, newly grown up bloodsucker fans and old-school vamp obsessives alike can revisit these campy, sexy, mid-century ghouls or open the juicy retro coffin anew.

 (Looks like V8...)

Blood of Dracula's Castle – Oh yes, John Carradine’s (Bluebeard) a butler serving Double O Positive Blood in this 1969 vampfest from director Al Adamson (Dracula vs. Frankenstein). Swanky sixties tunes, hot rod cool cars, ironically sunshiny photography, and sweet fashions à la mode all create a mid century meets medieval feeling along with the gothic screams, dark forests, great candles, and charming castles. Thanks to a resident werewolf, human sacrifice, and an outdoor chase or two, the pace keeps up with the flashy mod vamps and sardonic wit onscreen.  However, there is surprisingly little blood considering the title – our aforementioned cupbearer and his nobles’ refined sensibilities for new…vintage as they say notwithstanding! Unfortunately, the low budget video releases also carry some strange green lines and print damage. Unless you think the innate film flaws add to the creepy character and stylized atmosphere, this one is really in need of a proper digital restoration. It’s also weird that all the titular mayhem is taking place in a castle in the middle of Death Valley, USA, but you have to go with the kitschy.  This is not high art, but dungeon secrets, fun scares, short shorts, and bullet bra bikinis keep this hour and a half entertaining.

The Bloody Vampire – The English version of this black and white 1962 Mexican import El Vampire Sangriento opens with eerie slow motion, silent carriages, tolling bells, howling wolves, and creepy forests to set the macabre mood. The candles, Old World Feeling, secret crypts, great architecture, and period costumes counter the almost comically out of place and unmatched dubbing, but there are some eerie good effects, thankfully. Fun Bats, zooms, and coffins mask the fact that once again, there isn’t much of the titular blood. However, the religious arias are a bit out of place and too reverent for the subject. Likewise, some of the sound effects are more fifties UFOs than scary. Fortunately, a few corsets and kinky bedroom threats accent the household violence, vampy bitch slaps, and whips. Although, I’ve never heard a vampire tell his victim/bride to put some clothes on before! It might have been neat to see a South American set tale rather than the standard Eastern European mold, but the English translations add to the gothic horror homage. Count Frankenhausen has a maid named Hildegard “The servants must call me Frau” and a daughter Bronehilda at his cave the “Haunted Hacienda.” Yes, and did I mention that “Vampirina” is the blood of a vampire? The English track is tough to hear, and it’s all back and forth wooden exposition on deadly flower roots, grave robbings, early autopsies, science versus death, vampire mythos, and secret vampire hunting family histories. It might be a dry translation or stilted from the innate Espanol, but at least this isn’t in the over the top telenovela styling we expect today. The pace does pick up for the last half hour, and once you’re past the niche logistics and morbid humor, then this is a good little hour and a half.

 

 (Look, it's 'The Man in the Golden Helmet'! I have this print!)

Crypt of the Living Dead – There’s isn’t a lot of information available on this black and white 1973 tale also known by the wonderfully bad title Hannah, Queen of the Vampires.  Andrew Prine (V) looks so young and the architecture and medieval religious designs are well done, yes. But sadly, the drab, colorless photography hampers the fun, gothic atmosphere. Was this later day black and white filming done by production plan or necessity? The editing is also either very poor or there has been some unfortunate film damage, and the plot is a little slow and silent to start, with too many setups and tough to hear dialogue when we do have it. The nighttime action is almost impossible to see as well, and the frantic camerawork and extreme close ups make what should be straightforward scares somewhat confusing. All this production doom and gloom and yet the script and cast actually aren’t that bad. The music and eerie effects are sinister enough, and there’s a historical spin on the then-contemporary skepticism and ethical debates. Die-hard vamp fans looking to have a fun nighttime viewing will enjoy this. However, the finale is a bit overlong and repetitive for horror lay folk, and those low budget values will hinder the natural fears and good scares for today’s more visually treated audiences. 

 

 (It's a castle...in the desert!)

 

The Vampire Happening – Freddie Francis (The Evil of Frankenstein) directs Pia Degermark (Elvira Madigan) in this 1971 German undead and fleshy romp accented by tongue in cheek scares, jazzy porno music, and incredibly bemusing imagery. From the bug-eye-glasses wearing folks on an airplane watching saucy movies like “Transylvania 1971” to the heady gothic castle where all the nudity and sexy torture goes down, this is how horror comedy should be done. The spooky atmosphere and eerie environments are excellent; the sexy players and fun plot don’t take themselves so seriously. It’s a given that the English dub is bad – though the dialogue is great when you hear it. Some of the zooms and filming angles are weird, sure, and I wish the video print were restored with just a bit more polish. However, the rest of the creepy sound mixing, dreamy effects, and boobaciousness are just fine. The audience for this type of film is almost certainly very niche – we’re beyond Once Bitten but not on the same level as Porky’s. Nevertheless, if anyone twisted and humorous enough is ever seeking a lighthearted bachelor party film near Halloween, this might be the picture. Could a straightforward and sophisticated telling of the story have been any good? Probably. There is a decent but juicy and period morality undercurrent here, but why go with the flow? Although I don’t suspect anyone today can pull it off, I’d actually love to see a retro remake!

The Vampire's Night Orgy – Spanish director Leon Klimovsky (The Dracula Saga) uses an unusual wide screen format for this hour and twenty minutes from 1974. The color is very washed out, too, and unfortunately, the picture is often too dark or tough to see. Like most of the foreign or obscure horror of this era, there’s edited versions and lost prints, and some scenes are regrettably dated and look the likes of seventies porn. Thankfully, those are about the only problems here.  Crazy funerals, wild music, and a nutty countess add to the demented ambiance of ticking clocks, creaking doors, and spooky sound effects. The dubbing is actually in sync and performed well, too, with a few words of un-translated Spanish adding to the Euro flavor. From the interesting premise – an en route house staff’s bus breaks down in an seemingly abandoned town that really has an all too generous blood drinking population – to a bit of kink, nudity, and cannibalism, the screams and foreboding build up are solid. Sure, most of the men look the same with huge mustaches and I’ll be damn, there isn’t a lot of blood to be seen. However, the child actors aren’t annoying, and the vampire violence is well played. One by one, victims are taken down in fast, almost gang rape terror, and the chase finale and twist ending earn top marks. Though in serious need of a restoration and some may have trouble getting past the dated look, this is a nice little scary movie.

(Say Sixties!)