Adapt Me Poe Podcast Guest!

 

It was such a delight to be invited to chat with Emily on the Adapt Me Podcast! In theme with the show, we discussed the often loose Edgar Allan Poe adaptions and why his lone novel The Narrative of Arthur Gordon Pym of Nantucket hasn't been brought to the screen! 

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DMs are open on Blue Sky for 2026 bookings! You can also keep up with the Greatest Movies of All Time Podcast's Cinema Legacy Poll in which I've taken part. Follow the Podcast or Video labels for more audio/visual guest appearances including:

L.A. Confidential - After Hours Podcast

John Hughes - Binge Home Movies

Psycho II - Making Tarantino Podcast

City Slickers - Lone Acting Nominees

Revisionist Almanac Let's Get Spooky Podcast Collab!

 

It was such a pleasure being asked by @AndrewCorns13 to take part in The Revisionist Almanac Podcast's Let's Get Spooky Project! My thoughts on my favorite horror films and a few more intriguing scary movie questions are included alongside several other podcasters. Listen now @RevAlmanac!

The 2024 Spooky Season Collaboration Project has arrived!

You’ll hear about some of our favorite horror movies, find out which horror sub genres we prefer, and much more.

Check out the episode which is available on all podcast streaming platforms. #Spooktober pic.twitter.com/I1qWq3LQOq

— The Revisionist's Almanac 🎥🎞️🍿 (@RevAlmanac) October 10, 2024

Also stay tuned for more 2025 spots at The Revisionist Almanac! You can keep track of my audio/visual guest appearances with our Podcast and Video labels and browse previous collabs:

Women InSession Podcast

Bedtime Stories Guest Podcast

House of Dark Shadows Guest Podcast

My DVD Snapcase Collection! 📀

 

Infamous for not alphabetizing her physical media collection, Kristin Battestella shares her budding DVD Snapcase collection – from early video release memories and classic films to horror movies and sentimental favorites.

Thank you for watching!

Follow @ThereforeReview on Twitter or read our reviews at InSessionFilm! You can also hear more with the Women InSession Podcast and follow our television retrospectives at Keith Loves Movies! 

Peruse our Therefore Review Vidoe Critiques Playlist or follow our Podcast and Video labels for forthcoming media appearances! 

Read more: 

The Exorcist

Blade Runner  

L.A.Confidential 

Soldier 

The Searchers 

Our 2023 at InSessionFilm!

 

Despite a tough 2023, it was important to me to keep up my moonlighting commitments at InSessionFilm, both with Long Form Movie Reviews and Top Ten Lists - not to mention the Women InSession Podcast! 

Here's a rundown of everything from Rachel Weisz to Vincent Price: 

The Underseen Rachel Weisz

The Banishing uses Shame as Commentary

Kick Ass Women's Comedies

Cool Eighties Comedies

She Will Addresses Women's Fears

Statement Making Seventies Science Fiction

Top Ten Michael Fassbender Essentials 

Top Ten Vincent Price Horrors

The Vincent Price, Roger Corman, Edgar Allan Poe Cycle

Great Bela Lugosi Horrors that aren't Dracula

I'm so grateful to have this film outlet to write, discuss, and share a variety of film thoughts past, present, or obscure! Here's a small sample of some of my favorite Women InSession Podcast episodes:

Robert Mitchum

Top 5 Worst Best Picture Nominees

Swashbuckler Movies

The Adventures of Priscilla Queen of the Desert

Tootsie and The Birdcage

Some Like it Hot

Underrated 1980s Movies

Memento

1939 in Film

Christopher Nolan and The Prestige

Wild Vampire Movies

Elizabeth Taylor and Richard Burton

Brendan Fraser

Little Women vs Little Women

A Christmas Carol Adaptations 

I don't always get a lot of interaction on Film Twitter, such that X is, but it is a tremendous privilege to share my film discourse with you and thank you for tuning in here, there, everywhere! 🥰

We're at InSession Film!

 

Tidings of health, hearth, and home from I Think, Therefore I Review! By Royal We of course, I mean me, and in the past few months in addition to I Think, Therefore I Review, I've also been doing some classic film analysis at InSession Film!

Feel free to explore some of the Old School Top Tens and More:

Top Ten: Gregory Peck Essentials

Harvey – Because We All Need a Pooka Right Now

Top Ten: Montgomery Clift Essentials

Top Ten: Charlton Heston Essentials

Top Ten: 'A Christmas Carol' Adaptations

Op-Ed: Seven Vincent Price Movies that Aren't Horror

Remember of course, you can find much more Horror commentary and Frightening Flix analysis exclusively at HorrorAddicts.net! Revisit the podcast season to hear our reviews and don't forget there are also a few Frightening Flix videos on Youtube alongside our Kbatz Kraft Holiday crafts and Dark Shadows inspired decorating:

I admit I've driven some of my editors a little crazy this year. At times I took on too many projects, bowed out of other opportunities, messaged people constantly over every little technical issue, but then took breaks from social media altogether. While chatting in some of those Kbatz Kraft videos, I've talked about rewatching a lot more comfort shows this year, both retreating into a rewatch happy place or going nothing to loose ambitious on artwork – each, of course, understandable for obvious reasons a.k.a 2020. So here's to getting back to a more regular reviewing schedule and the chance to share more Classic Film, Horror Movies, Retro TV, and Sweet Music in 2021!

Wild Retro Frights!

Wild Retro Frights!

by Kristin Battestella

The decades of yore provide this wild trio of shady hep cats, international ladies of the night, evil Hollywood dames, and more. Yowza!

The Black Cat– Lucio Fulci (The Psychic) directs Patrick Magee (The Masque of the Red Death) in this loose 1981 Italian Poe adaptation with English subtitles to match the Tudor manors, cobblestone streets, and superstitious village. Low to the ground cameras provide our feline point of view as the misunderstood cat causes a victim to drive off the road before prowling the rooftops. Fine carpets, stairwells, woodwork, and antique clutter contrast reel to reel tapes, big microphones, and vintage recorders – retro technology trying to contact the dead and capture their ghostly laughter, screams, and sounds of death. Flashlights and exploring exposed tombs reveal creepy tunnels, cobwebs, and shackled skeletons. It's all somewhat random to start with boaters, tourists, concerned parents, motorcyclists, cruising teens, and perky ingenues. However, the air tight traps, foaming at the mouth, and overgrown cemeteries create a sinister afoot amid the country quaint. Growling, mesmerizing eyes, shadows, back alley pursuits – this conniving little pussy knows how to unlock the latch on the door for complete warehouse perils. Gory impalements don't over do the blood, yet there are enough scratches and claws to show how easily a cat can make you bleed. Psychic tips lead to mice and the decomposing deceased, and confounded police call on tourist photographers with old school giant cameras to document the dead. Surely the cute little paw prints at the crime scene can't mean this is all a cat's doing? It's amazing how the slightest feline action can be so deadly – knocking over an oil lamp near the fireplace becomes a face melting inferno. The poltergeist activity escalates, but the police refuse to consider something supernatural. Bound by their hatred or not, this medium should have known one can only telepathically make a cat do his bidding for so long. This cat is pissed and he's not going to take it anymore! Although most of the feline film work is bemusing, there are upsetting moments thanks to poisons and a noose for our four legged nemesis. Who some of the players are and how they all have a connected history also feels lost in the translation, but fortunately, we're here to go with the evil cat and not worry about the details as choice zooms, editing, and shrewd use of that old camera flash match the Edgar appropriate buried alive house of horrors. Bats and blunt violence culminate in twisted retribution, and giallo splatter, Hammer feeling, and Poe demented combine for a creative slasher with claws perfect for anyone who has a love hate relationship with his or her cat. Like me!

Death at Love House – Couple Robert Wagner (Hart to Hart) and Kate Jackson (Dark Shadows) are writing a book on Lorna Love and stay at the Old Hollywood starlet's creepy manor in this 1976 television movie. Gothic gates, winding drives, old fountains, and broken statues accent the past torrid and vintage bus tours, and there's a freaky shrine, too – the preserved corpse of our beauty lying in a glass coffin. Of course this print is obviously poor, but the retro Hollywood scenery, Golden cinema looks, and seventies California style make up any difference. I wish we could see the arches and wrought iron better, but the VHS quality kind of adds a dimly lit ominous to the Mediterranean villa as retro commercials provide a vintage patina. Housekeeper Silvia Sydney (Beetlejuice) isn't very forthcoming about enchanting portraits of the starlet, and newsreels of her funeral show a man in a cape with a black cat among the mourners. Malleus Maleficarum spell books on the shelf, sacrificial daggers, and crusty director John Carradine (Blood of Dracula's Castle) suggest Lorna was more evil than lovely, and talk of mirrors, souls, passion, and rivals like Dorothy Lamour (Road to Bali) add to the character unto herself à la Rebecca. Without over the top visuals or in your face action for the audience's benefit, the performances here carry the scandalous scares – jumping at the horrors as thunder punctuates terrifying encounters in the dark. Apparent heart attack victims, destroyed pictures, and warnings to leave Love House lead to locked doors, gas mishaps, and steamy showers while phonographs provide chilling music as Lorna seems to be looking out from the silver screen film reels with her hypnotic power. Bewitching dreams relive the past and wax on eternal youth as the ghostly obsessions grow. At times, the spiral stairs, red accents, and swanky are more romantic, but phantom ladies at the window and rumors of fiery rituals create sinister. Our husband is said to be going through the scrapbooks but he's not getting any work done, remaining in denial about the basement tunnels, cult altars, pentagrams, and mystical symbols. Although the Mrs. seems calm somehow once the truth comes out, too, the creepy masks and wild reveals make for a flaming finish. There are too many tongue in cheek winks for this to be full on horror nor can one expect proper glam and glory in such a brisk seventy-four minute network pace. However, this is good fun for a late night Hollywood ghost story full of meta vintage.

The Hooker Cult Murders – Detective Christopher Plummer (Somewhere in Time) investigates the death of Karen Black (Trilogy of Terror) in this 1973 Canadian thriller also called The Pyx. Like the giant headsets, adding machines, black and white photographs, and payphones, the print and sound here are poor old school quality. It's tough to see the long falls off tall buildings and hectic crime scene, but the radio chatter, jewelry clues, and casual French accent the Montreal locations. Unfortunately, the morgue attendants are in a hurry with their sarcasm over this seemingly routine dead hooker. Despite strong arm police and whispers of another missing working girl, witnesses aren't exactly forthcoming – not neighbors nor the “manager” of the “entertainment.” Talk of which of one of them is a Catholic, technically, or not that good of one anyway leads to crosses, statues, Latin mottos, sermons, and communion. However, the grand halls and gated arches created a sense of unwelcome outside looking in as flashbacks of the living now deceased include nude trysts, cigarettes, and smitten clients. The creepy dudes and the hysterics are a bit much, but the rules of the brothel are strict and there's a schedule to keep! Drug use leads to a convent and recovery, but our cop's obsessing over a dead hooker doesn't go over well at home, and the disjointed back and forth at times competes with the slow suspense. The mellow euphoric, flat music sung by Karen Black to go along with her shoot up scenes is, however, pretty campy. Memories of horses are meant to be something romantic, but the bemusing, nonsensical lyrics wax on red balloons, and it's all a dream within a dead person's flashback that's also somehow montaged with kids playing near her body chalk line. ¯\_(ツ)_/¯ Granted the songs are meant to be some kind of feminine character development, but with the bad sound and poor poetry, they detract from the car tailing, evidence in the trash, and drug stash in the sugar bowl. The strung out may insist it's only a little bit and she knows not to over do it, but we know she's in way over her head, foolishly thinking she can say no or choose the john. Swanky appointments and wine lead to promised payments if she tells him her whole history when to strip and reveal the truth about oneself and whether she believes in God is almost a more raw experience. Suspicious phone calls and mysterious men in black cars lead to more murders with blood on the carpet and bodies in the stairwell as the investigation comes together thanks to rough interrogations and upside down cross realizations. Candles, confessions, shootouts – it's wild how we're seeing the slow build up to her death yet it's only been a day since for our detective and the bodies are falling left and right. Sped up, chipmunk chanting is unintentionally funny, but the altars, flesh, and desecration escalate to confrontations perhaps with the devil himself – or just a corrupt dude or maybe some kind of snake thing, it's tough to tell. Tainted beverages, white robes, and black hood rituals mix with distorted visuals and standoffs, culminating in an almost simultaneous, chilling finale. The twofold film style is awkward and the title fronts the horror expectations while giving away the cult surprise, but this remains a fun, interesting romp for fans of the cast.

A Bonus Vincent Price Western!

The Baron of Arizona – Before he was a horror maestro, Vincent Price starred in this 1950 black and white western opening with 1912 cigars and toasts to statehood before recounting the 1872 tall tales of our ambitious swindler. Our eponymous clerk is angry that grandfathered grants give away land to ignorant people, so he forges a fictitious lineage back to 1748 with honorary titles and claims endorsed by the King of Spain. He talks down to Mexicans who can't read, explaining what every big word means as he proclaims an abandoned daughter is heiress to this great fortune, and it's weird that the narrative keeps going back to the men talking about the action to progress the timeline. Inscriptions are carved in stone to prove the barony as the girl is groomed for nobility – it's easy to make a peasant girl believe she is a princess with portraits, gifts, and dresses. Our suave villain, meanwhile, is creating fake graves and traveling to Spain to doctor rare documents. Shadows, black hats, and noir filming add a sinister mood to match the crimes while mission libraries, churches, and the crucifix create what should be a looming sense of guilt for our con, who joins an order just to perfect his forgery. Black hoods, candles, and old tomes at the biblioteca only lead to increased greed, hitches in the plan, daring escapes, and wagon chases with hysterical rear projection and billowing robes. All who encounter the grifter insist they don't know him or why they should trust him, but some flirting finesse leads to hiding out with the gypsy caravan until a rendezvous with the marquesa and a triumphant return with noble papers. The government would have no problem honoring a reasonable grant, but thousands of acres, all mineral and river rights in the territory, and a redrawn boundary with New Mexico understandably cause public resistance. Simple, shabby, sets begat grand manors and large rooms with models, maps, and innovations. Railroad business, irrigation plans, mining opportunities – getting the real local wealthy to invest hundreds of thousands is where the true con lies. And when the government offers to buy the barony for $25 million? Cha-ching! Farmers taking up arms and one on one rivalries lead to lawsuits, but that intruding, patronizing voiceover inexplicably disappears in favor of spinning newspapers detailing the local backlash, violence, and trials as the Department of the Interior comes calling. The pioneers, however, argue that they as white Americans are more entitled to Arizona than the older Spanish grants, and if you speak anything different, you are a traitor. From his grand coach, the gaslighting baron insists he is not taking over the territory for the money but to help these people make his barony great, and it's ironic to see such an obvious swindle then considering today's administration. When his wife the fictitious baroness now grown briefly doubts, he says it's just unnecessary guilt over her privilege, yet we can't take her soft spoken earnest seriously because she's standing by her man as he's convicted of conspiracy to defraud the nation. Confessions and suspect ink lead to a lynch mob finale where our baron's still smiling as he spouts condescending lies from the noose. Of course, the Hayes Code assures his wife still loves in in the end, but this isn't your typical western thanks to Price's carefully orchestrated charm. It's also interesting to look up this real life tale. Have you seen the wild mutton chops on this guy? Obviously we know he doesn't get away with it, but it's delicious to see how close he gets.

Top Ten: Vincent Price!

 

Welcome to our new Top Tens series in celebration of I Think, Therefore I Review's Tenth Anniversary! These monthly lists will highlight special themes and topics from our extensive archive of reviews.

This time I Think, Therefore I Review presents in chronological order...

Our Top Ten Vincent Price Pictures!

House of Wax

House of Usher

The Pit and the Pendulum

The Comedy of Terrors

The Masque of the Red Death

Tomb of Ligeia

Dr. Goldfoot and the Bikini Machine

The Conqueror Worm

The Abominable Doctor Phibes

Theater of Blood

Please visit our Vincent Price tag, browse our Horror page, or check out or American International Pictures rundown for even more classic frights!

I Think, Therefore I Review began as the blog home for previously published reviews and reprinted critiques by horror author Kristin Battestella. Naturally older articles linked here may be out of date and codes or formatting may be broken. Please excuse any errors and remember our Top Tens will generally only include films, shows, books, or music previously reviewed at I Think, Therefore I Review.

Forties Mysteries and Mayhem Returns!

More Forties Mystery and Mayhem!

By Kristin Battestella

Science run amok, family monsters, mistaken identity, mystery, and murder abounds in these wartime tales inspired by classic literatures and period macabre.  

Dr. Jekyll and Mr. Hyde – Spencer Tracy (Boys Town), Ingrid Bergman (Casablanca), and Lana Turner (Peyton Place) star in this loose 1941 Robert Louis Stevenson adaptation from director Victor Fleming (Gone with the Wind), itself a remake of the 1931 Fredric March award winner. Though available on DVD sets with its predecessor, the heavy-handed religion good and science bad Hayes Code restrictions here hamper the supposedly scandalous talk of whether the soul is in the realm of science or spirit. The slow, talkative start, dated abstract ideals, and dramatic pacing tell the audience about these radical experiments rather than showing the medical dangers. The design also isn’t as impressive as we might expect, for black and white photography and small set pieces don’t illume all the possible Victorian grandeur. Quick animal testings and laboratory montages represent the science fiction while the up close transformations and intimate camerawork remains on the earnest but out of place Tracy– he ironically looks kind of goofy and doesn’t seem all that different as Hyde. Bergman adds some much needed sassy intrigue, and it’s pleasing to see one normally so demure go from saucy and streetwise to submissive and scared thanks to Hyde. Unfortunately, Turner doesn’t have much to do as the suffering fiancée, and her charming society chaste counter balance isn’t well developed. Escalating violence and bemusing dream sequences of the two women, lotus flowers rising, whipping racing horses, and bottle corks popping do much better with the innuendo. We never get the horror depravity one hopes with this tale thanks to the straightforward presentation and fade to black tame, but it’s nonetheless fun to see just for the classic stars going freaky.

The Invisible Man Returns – Smoky atmosphere, great décor, execution tensions, and reprieve desperation start this 1940 sequel featuring a young Vincent Price as the eponymously afflicted. There’s some confusion in how this plot ties in with the 1933 film but the familial connections are explained soon enough. Objects move by themselves thanks to the invisible tricks and the neat see through effects hold up well along with Scotland Yard investigations, a fun laboratory, innocent romance, and elaborate plans. Animal experiment scenes, however, are bittersweet, and Price’s voice is a bit muffled when under wraps for the fainting ladies. His voice isn’t the raspy smooth, mature sound we love, either, but the invisible science debates and ethical questions amid the escalating violence are intriguing. Why look for a cure when the madness is so much fun? A touch of social commentary, a wronged man, an 80-minute built in ticking clock, and a race for an antidote forgive some bumbling cop work and the cliché, hammy colloquialisms, and there’s a wild, dirty, factory finish. But I’m not going to tell you if we see the young, debonair Vincent, hah! 

The Undying Monster – Great ominous music sets the mood along with family curses, stately but sinister seaside locales, tolling bells, barking dogs, and turn of the 19^th century styles for this 1942 hour. Gas lamps, old time phones, and period laboratories accent the conversational delivery – which isn’t your typical monster exposition. Foreboding uses of shadows and light, up close camera attacks, and wolf howls keep the action moving while a comical older lady, on the case Scotland Yard, and meddling help are smartly utilized. Beware, there is one scene of canine faint, but this leads to intriguing self-aware discussions on the supernatural versus science and ancestral indiscretions like selling one’s soul to the devil. No one wants to believe what’s happening, and as such, the pleasant horror tone takes a backseat to a proactive who done the violence mystery. The ensemble, however, adds well done banter, antagonism, agendas, and evidence. The scares are wisely used as needed, and the time here doesn’t seem so short thanks to a fun action pursuit finish. This is a well put together little eerie, and I sincerely wonder why contemporary horror films just can’t take everything done right here and maximize all the gothic atmosphere and glory.

The Woman in White –The late Eleanor Parker (The Sound of Music) shines amidst the top hats, frilly collars, carriages, white capes, flowing skirts, and asylum escapes in this spooky but alluring 1948 adaptation of the Wilkie Collins novel. Lovely interiors, telescopic effects, camera tricks, black and white photography, and shadowy lighting designs accentuate the titular figure whilst moving candlelight and brimming fog layer the cemeteries and outdoor scenery. The opening and closing narration and tacked on whimsy feel amiss, and there are some hammy characters and melodramatic over acting. However, Parker is doubly charming, and the ill at ease, mistaken identity and family secrets blend well with the budding romantic triangles. A perfectly scheming Sydney Greenstreet (The Maltese Falcon) adds to the suspicions and Agnes Moorehead (Bewitched) drops an intriguing tidbit or two. Granted, several dated plot points may be amusing – a 2-year engagement is considered urgent? A distant relative institutionalized is scandalous? Fortunately, plot twists increase as the mystery, tension, secret passages, and creepy escalates. The audience is forced to pay attention and seek out the subtleties – even if you’re familiar with the story; this version remains fun to watch as all the switcharoos unfold.

One to Skip

The Invisible Woman – Following The Invisible Man Returns, this 1940 double bill is slow to start with anonymous humor and lighthearted talk of money and loveable, hair brained professors. Let’s put an ad in the paper seeking someone who wants to become invisible! The get back at her nasty boss reason for our supposedly so ballsy and beautiful lady applicant – a model aptly named Kitty – is weak, and the invisibility making machine instead of the previous potions is mostly an unexplained MacGuffin. Beyond Wicked Witch of the West Margaret Hamilton and Stooge Shemp Howard, the sassy house staff is annoying and the numerous coming and going people all look the same. Fun laboratories and experiment effects are pleasing along with the softer, melodic scoring. However, the feminine spins seem wasted on scaring off jerks and clothes off or on innuendo. Crooks are after the invisibility machine, there’s somebody named Foghorn, bad Mexican jokes, and the slapstick – eh, I stopped caring and went to clean my tub drain instead. This is harmless fun and dated girl power if you like forties comedy, but it unfortunately doesn’t match the fantastic dilemmas of its predecessors and replaces them with 70 minutes of overlong and loosely tied platitudes.

I Think, Therefore I Review at Horror Addicts.net!

Greetings, Thinkers!

Are you a fan of our Horror Film and Television essays and reviews?  Then stop by Horror Addicts.net for more of our Macabre!

This week alone we are having a Triumvirate of Terror special, and our Buffy The Vampire Slayer articles have also visited with the Addicts along with many more of our movie and DVD reviews such as Dark Shadows!

Vincent Price the Maestro

Christopher DeLEEful Films

A Peter Cushing Passion

 

Bookmark and follow the horror hep cat “Kbatz” tag for our scary film and television posts or visit Horror Addicts.net for a complete schedule of the ongoing podcast season. That’s right, you can HEAR samples of Yours Truly talking terror and answering your dead mail! 

Don't forget that I Think, Therefore I Review is also part of the Horror Blogger Alliance! If you have a horror website, check out their latest membership drive!
 

We've also reached over 300,000 hits here on the main blog at I Think, Therefore I Review, too!  So THANK YOU to all who've stopped by and commented, and here's to many more essays, lists, articles, and reviews - scary or not!!

An American International Pictures Rundown!

American International Pictures Delights!

By Kristin Battestella

We’ve discussed the glory of Hammer Films here at I Think, Therefore I Review as well as the joys of Amicus Productions and American International Pictures.  But when even we couldn’t find all our AIP essays, well, that meant it’s time for a handy list post. Here’s all our AIP treats all in one place!

 (Crazy Vincent Price invites you in...)

Phantom from 10,000 Leagues

The Screaming Skull

Attack of the Giant Leeches

A Bucket of Blood

The Amazing Transparent Man

Black Sunday

House of Usher

The Pit and the Pendulum

The Premature Burial

Burn Witch Burn

Tales of Terror

The Brain That Wouldn’t Die

The Raven

Dementia 13

The Terror

The Haunted Palace

The Comedy of Terrors

Black Sabbath

The Last Man on Earth

The Masque of the Red Death

The Tomb of Ligeia

Dr. Goldfoot and the Bikini Machine

Planet of the Vampires

Die Monster Die!

Dr. Goldfoot and the Girl Bombs

Queen of Blood

Circus of Fear

The Conqueror Worm

The Crimson Cult

The Oblong Box

Scream and Scream Again

The Dunwich Horror

The Bloody Judge

Count Yorga, Vampire!

Cry of the Banshee

The Vampire Lovers
Julius Caesar (1970)

Murders in the Rue Morgue

Tales from the Crypt

Baron Blood

The Abominable Dr. Phibes

Dr. Phibes Rises Again

Sisters

Madhouse
Deranged

At the Earth’s Core
The People That Time Forgot
The Island of Dr. Moreau (1977)
The Evictors 

The Amityville Horror