The Hideous Sun Demon (1959)

"Liquor and science don't mix well, apparently.", 11 February 2017

Dr. Gilbert McKenna (Robert Clarke) is a research scientist who is accidentally exposed to a new type of radiation. At first, he seems to be doing remarkably well. However, once in direct sunlight, Gil's body begins to change. He goes through a devolution process and turns into some sort of out-of-control, lizard-type creature.

"Hideous" is the right word to describe Gil's transformation. The special effect suit is about as good as I've seen in a 1950s era sci-fi/horror film. I'd rate it right up there with the suit from Creature from the Black Lagoon. It's really nicely done. The acting is hit or miss. Clarke does a good job playing the tortured victim. I also enjoyed Nan Peterson as Trudy Osborne - not because she's a particularly great actress, but she channel's Marilyn Monroe quit well. Some of the performances, however, are laughable. I'm thinking of the dude who played the gangster - I think it was Peter Similuk. Just awful.

The problem with The Hideous Sun Demon and the thing that keeps me from rating it higher is there's really not much plot here. The movie is full of padding. The runtime is only 74 minutes, but I'd bet at least 20 of those minutes felt like filler. For example, I think there are more scenes of people driving around California than there are scenes devoted to the titular Sun Demon.

5/10

The Last Shark (1981)

Why does this seem so familiar? I wonder?, 7 February 2015

Port Harbor's, a small ocean-side community, preparations are in full swing for the big upcoming windsurfing regatta. However, their plans are rocked when a local windsurfer turns up missing. The only thing that can be found is a portion of his board that appears to have been gnawed on by a rather large great white shark. The mayor is against canceling the big event. The town turns to a salty old sea captain (Vic Morrow doing his best Robert Shaw impersonation) to help capture the shark before anyone else is killed. Sound familiar? 

There's absolutely no way to hide where the inspiration for The Last Shark came from. It's as blatant a rip-off of Jaws as I've ever seen – and I've seen a bunch of them. But this one just might be among my favorites. It's so corny in parts that it's often laugh out loud funny. For years, I had read reviews on the internet of a Jaws-type cash-in with a roaring shark. Well, I finally saw it. The repeated roaring of the great white in The Last Shark every time it surfaces is the stuff of legend. It's comedy gold. The special effects are anything but special. The shark in this movie is so fake its mouth doesn't really move. The one person you see eaten is actually lowered into the unmovable jaws. The dialogue is another source of amusement. Utterly ridiculous dialogue presented with a completely straight face – I don't know how they did it. Finally, there are moments that defy description. The best example has to be the scene where the shark targets and rams a small boat from the bottom. The person on board is sent flying 20 feet in the air like a rocket just went off. You need to see it. Hysterical. 

Actually, as ridiculous as much of the movie is, I still enjoyed it – maybe for the wrong reasons at times, but it's all harmless and entertaining enough. The movie moves at a good pace and never gets bogged down and boring. There are a couple of decent acting performances and some nice location shots. I think a 6/10 for The Last shark is about fair given the entertainment I got out of it. 

One final thing I noticed, The Last Shark has to hold some sort of record for the most mustaches in a movie. Mustache-less lead James Franciscus looks out of place with the rest of the cast.

6/10

Murders in the Zoo (1933)

An unforgettable opening set-piece, 30 December 2009

There are very few films that I have waited as long to see as I have Murders in the Zoo. I've been aware of the movie for something like 40 years, but for whatever reason, just watched it for the first time a couple of nights ago. So, was it worth the wait? Overall, I'd say yes. The film features Lionel Atwill at his absolute best. He's an overly possessive husband willing to take the most extreme measures imaginable to deal with any man paying too much attention to his wife (played by the incredible Kathleen Burke). During his career, Atwill played a variety of mad characters, but few could top the decidedly evil Eric Gorman. The almost gleeful manner in which he toys with his intended victims – not unlike a cat "playing" with a mouse – is a joy to watch. You can all but see the psychosis in Atwill's eyes. And what Gorman does to his first victim is the stuff of classic horror movie legend. If you're an Atwill fan, this is one you don't want to miss.

Unfortunately, Murders in the Zoo is almost done-in by the ridiculously unfunny performance of Charles Ruggles. Ruggles, playing the worst sort of comic relief imaginable, actually managed to be higher billed and have more screen-time than Atwill. Whose idea what that? If the rest of Murders in the Zoo weren't so good, I could easily see dismissing the film based on Ruggles. He really is as bad and annoying as you've read.

7/10

Giant from the Unknown (1958)

"All white men die!", 24 November 2009

Local geologist Wayne Brooks (Ed Kemmer) teams up with visiting archaeologist Dr. Fredrick Cleveland (Morris Ankrum) to search the local mountains for the remains of a 300+ year old Spanish conquistador and a reputed giant of a man named Vargas. Another draw for Brooks is the opportunity to spend a little time with the Dr.'s vacuous but attractive daughter, Janet (Sally Fraser). The team is about to give up when Janet accidentally discovers a Spanish graveyard. But is there more here than helmets and breastplates? It's not long before the giant Vargas makes his return and sets his own sights on young Janet and anything else he can maim and destroy.

By all rights, I've most likely overrated Giant from the Unknown. It features a multitude of easily identifiable weaknesses – a plot that moves at the break-neck pace of a slug, the dim-witted Janet randomly stumbling on the Spanish artifacts, Sheriff Parker's beyond ridiculous persecution of Brooks (Why in God's name would anyone think that Brooks would be running around the country-side slaughtering cows and destroying hen houses?), Bob Steele's laughably bad performance as Parker, the whole notion of Vargas "living" in a sort of suspended animation for 350 years, and the poorly done special effects in the film's finale. Giant from the Unknown literally has everything you could hope to find in any regular bad movie. It would be easy to write it all off as badly made 50s junk, but for whatever reason and despite these many shortcomings, I found myself inexplicably enjoying the movie. Entertainment can be different from one person to the next. And, it's often difficult to put a finger on what you find entertaining in a movie. All I know is that for most of Giant from the Unknown, I was entertained. I went for the characters, I got a kick out of legend Jack Pierce's Vargas make-up, and I enjoyed the acting of Keemer and especially Ankrum. Ankrum is one of those actors who's good in everything I've seen him in. Sure, it takes some patience to get through the slow parts in Giant from the Unknown (and there are a bunch of 'em), but it's worth it. There's a good little movie here if you just look for it. Like I said, it's difficult to explain, but I'm giving this one a 6/10.

6/10

Teenage Zombies (1959)

What a nothing movie!, 16 October 2009

An obvious attempt at cashing in on the success of I Was a Teenage Werewolf and even I Was a Teenage Frankenstein, Teenage Zombies is a complete disaster. It makes those other two movies look like masterworks in comparison. The problem – well there's really too many to mention, but at the top of the list is the lack of anything remotely interesting in the plot. What a nothing movie! I'm having trouble thinking of a movie that bored me quite as much as Teenage Zombies with its nothingness. Dull doesn't begin to describe it. The 70-something minute runtime was the longest hour and ten minutes I believe I've ever spent in my life. The title may evoke images of teenagers being turned into mindless zombies, but that never happens. Instead we see naturally mindless teenagers walking around an island, driving a boat, and trying to carry on conversations. Exciting, huh? The teens do run into a band of Communist types bent on world domination, but if this sad group of teens is able to take them down, they really never posed much of a threat. If the movie wasn't bad enough already, with about ten minutes to go and out of nowhere, the director decided to throw a gorilla into the proceedings. What was that all about? A desperation move that fails epically. And then there's the ludicrously bad acting, the often inappropriate music, the strange silent pauses at every turn, and the poor sets. No matter how you slice it, Teenage Zombies is one badly made, dull as dishwater movie.

1/10

The Monolith Monsters (1957)

"From infinity they come. Meteors!", 23 September 2009

The residents of the small California desert town are under attack. The fragments of a meteor that struck nearby the community of San Angelo possess the strange capability of growing to skyscraper proportions when activated by water. The alien monoliths crumble under their own weight, shattering into even more pieces capable of growing and destroying everything in their path. But the danger goes beyond the destruction caused by the falling rock formations. Any living being that comes into contact with the monoliths is turned into stone. It's up to geologist Dave Miller (Grant Williams) and a band of plucky locals to find a way to stop the threat to San Angelo and, ultimately, the world.

I just love these 1950s era Universal sci-fi/horror movies. They're so much fun to watch. From the steady, enjoyable cast (headlined by Grant Williams and Lola Albright) to the crisp, clean black and white cinematography to the familiar but effective stock monster music, The Monolith Monsters is the kind of movie that never fails to provide a great deal of entertainment value given its relative modest budget. I get a kick out of the number of Universal films from this era that take place in some small, remote South Western desert town like San Angelo (you can thank Jack Arnold for the desert setting). It's a perfect location or this kind of movie. The Monolith Monsters also features some nice special effects. I'm sure it was difficult task to make rocks look menacing. The scene where one towering rock formation after another rises from the desert floor and crushes a small farm is very effective. Another plus for The Monolith Monsters is the intelligent script (again, you can thank Jack Arnold for this). Sure, the movie is filled with a lot scientific mumbo-jumbo, but in this case, it actually has an air of believability to it. Finally, The Monolith Monsters benefits greatly from the steady hand of director John Sherwood. He may have only directed three movies, but he capably pulls all of the elements I've mentioned together with nice pacing and interesting camera shots to create a rock solid (pun intended) movie experience. Overall, it's a job well done.

7/10

The Final Sacrifice (1990)

"I'm Rowsdower... Zap Rowsdower.", 17 September 2009

While rummaging through his father's old stuff, a boy named Troy discovers a map that leads to an ancient civilization. Troy thinks the map may also lead to answers to his father's death. But there are other, darker forces at work. A cult bent on world domination wants to get hold of the map. With the help of a former cult member named Rowsdower, Troy hopes to get to the bottom of the mystery before he ends up like his father.

While I usually pride myself in being able to separate the two, in the case of The Final Sacrifice, it's really difficult to imagine watching the movie without the Mystery Science Theater 3000 commentary. The movie seems to have been tailor made for that type of ridicule and mockery. From Mike Pipper's Yosemite Sam-like voice to the over-weight Canadian guys in black hoods and tank top running through the woods to the nonsensical plot to the cardboard Ziox civilization – it's like shooting fish in a barrel – the riffs just can't miss. I've probably seen The Final Sacrifice a half-dozen or more times and I'm always astounded at the ineptitude of it all. Some things are so bizarre, however, that it leaves me scratching my head in wonderment:

• Zap Rowsdower? Really? You've got to be joking. The name, the actor, the character motivation – none of it makes the least bit of sense.

• Troy McGreggor? Again, you've got to be joking? I sincerely doubt you could find a punier or bonier looking guy to play the role. And that incessant whining of the name "Rowsdower". It makes me want to slap the guy every time he opens his mouth.

• Plot coincidences. Can you write a plot with more unrealistic and unfathomable plot coincidences? Take the bad guys timing in coming after Troy. The map has been sitting undiscovered in Troy's attic for seven years. That's right – SEVEN years. But the moment Troy discovers the map, the bad guys immediately show up on his doorstep. Yeah, right. Or take Troy's chance meeting of Rowsdower. Of all the trashy, redneck pick-up trucks in Canada, what are the chances Troy would pick one to climb in that just happens to be owned by a former member of the cult that's chasing him? Not very likely.

• Is Canada really that desolate of a place? Troy's aunt's house appears to be in a neighborhood of some sort. Is there no one around to notice that something's amiss when hooded goons take a chainsaw to her front door? Does no one notice a band of thugs chasing Troy on his bike? And why doesn't someone notice the shootout Rowsdower and the cult members have on the highway? Is this kind of activity normal in Canada?

This is too easy and I've barely scratched the surface. I haven't mentioned the lousy technical aspects of the film, the amateurish acting, the poor special effects, or the ridiculous music score. The Final Sacrifice has it all and none of it is good. Because of some unintentional entertainment value I derive from the film, I can't rate it any lower than a 2/10. But as far as MST3K episodes goes, it makes for one of the best. I'll give that version a 5/5 on my MST3K rating scale. Enjoy.

2/10

Friday the 13th (2009)

"Jason. My special, special boy.", 16 September 2009

I've been a fan of Friday the 13th films for about as long as they've been making Friday the 13th films. I don't much care for some of the more recent entries to the series (for example, I loathe both Freddy vs Jason and Jason X), but I've always had a good time with the earlier movies in the series. In fact, one of my favorite movie-going experiences involves the Friday the 13th films. I can fondly remember back in the 80s going to the local drive-in one night in a driving thunderstorm to watch parts 1-4. What fun! So with a bit of apprehension, I finally decided to take the plunge and check out this new re-imaging.

So how was it? My rating might not indicate it, but the new Friday the 13th wasn't as bad as I had feared. The movie has its fair share of problems (I'll get to some of the more heinous in a moment), but at least I found most of it entertaining. Good action, some imaginative kill scenes, and a few new ideas that actually worked made the movie worth checking out. And as I've written repeatedly in my movie comments, entertainment is the single biggest factor for me when it comes to rating a movie.

But like I said, I had my problems with the movie. I'm not going to go into detail, just a laundry list: the new, smart Jason who apparently is a licensed electrician; the reliance on sudden, very loud music to frighten the audience; the large, lumbering Jason moving with the stealth of a ninja (Are we really supposed to believe he climbed on the roof of that house in seconds with no one inside hearing anything?); the really underwhelming scene where Jason discovers the iconic hockey mask; the absence of the normal, recognizable Friday the 13th music; characters that are actually more annoying than any in the original films (I couldn't wait to see a couple die); Jason taking prisoners; the finale where the two survivors inexplicably drag Jason's body to the boat dock and throw it into the lake; technical aspects like the overuse of shaky cam and the underuse of lighting; the abysmal acting (Jared Padalecki being the exception); and the scene where Jason hangs the girl in the sleeping bag over the fire and roasts her alive is totally out of character with . . . well, totally out of character with the character.

I could go on and on listing things in the movie that bothered me, but really, what's the point. Friday the 13th is what it is, a reasonably entertaining piece of junk cinema that was never meant to test anyone's intelligence. So despite the many problems with the movie I've enumerated, a 6/10 seems about right.

6/10

The Black Scorpion (1957)

"What's the tequila for?", 28 August 2009

The Black Scorpion is yet another example of the big bug movie craze of the 1950s. And as far as these movies go, it's not a half bad example. The plot centers on American geologist Hank Scott (Richard Denning) and his Mexican counterpart Artur Ramos (Carlos Rivas) who are investigating the aftermath of a volcanic eruption in Mexico. They soon discover that that the eruption opened a fissure in the earth's surface through which giant scorpions are emerging and terrorizing the countryside. Along the way, they'll meet Scott's love interest played by Mara Corday, an annoying pest of a boy named Juanito, a bevy of concerned Mexican officials, and dozens of venom-dripping gigantic scorpions. They'll also have to come up with a way to stop the creatures before they rampage through Mexico City.

The highlight of The Black Scorpion is without a doubt the stop motion scorpions. Willis O'Brien, of King Kong fame, gets most of the credit, but Pete Peterson did the lion's share of the work. Insects like scorpions are particularly well suited for stop motion animation. The jerky movements of the animation is well-suited to match the natural motion of the scorpions. The first attack on the linemen, the descent into the fissure, and the final showdown in the bull ring are all wonderful examples of the excellent job of animation done on The Black Scorpion. My biggest complaint with the scorpions is the all too frequent close-ups of their faces. They look terrible. The drooling, motionless faces don't fit with the otherwise excellent special effects. Seeing the close-ups once or twice might have been fine, but after about a dozen shots of scorpion puppet faces literally dripping with venom, it gets to be ridiculous.

As for the rest of the film, while nothing may be overly spectacular, it is immanently watchable. For a fan of 50s big bug sci-fi, The Black Scorpion is a lot of fun. It's also nice to see a movie from this period set in a place like Mexico. In most of these 50s sci-fi films, you would think that there's nothing beyond the borders of the U.S.A. The acting is okay. The three leads (Denning, Rivas, and Corday) give solid, but not necessarily memorable, performances. The direction is likewise solid but not overly spectacular. The film's pacing is nice with few dull spots to slow things down. I suppose director Edward Ludwig could have built a bit more tension before revealing his giant scorpions, but it's not like we didn't know they were coming anyway. Like I said to begin this, The Black Scorpion isn't a half bad way to spend almost 90 minutes. I'll give it a 6/10.

6/10

The Reptile (1966)

A real gem in Hammer's catalog, 11 August 2009

A young couple, Harry and Valerie Spalding, inherit and move into a small cottage previously owned by the husband's now deceased brother, Charles. Charles' death is something of a mystery, but none of the locals in the small Cornish village want to discuss it or any of the other deaths they've seen. Harry has seen some strange things in his time and believes that these deaths are similar to the cobra bite victims he saw in India. But a cobra in Cornwall – it's not possible. The couple meets their standoffish and odd neighbor, Dr. Franklyn, and his charming, but strange daughter, Anna. The Franklyn's are hiding a secret, but is it a secret capable of killing Charles and others in the community? Is there a giant, snake-like creature hiding in the Franklyn's house?

Of all the wonderful movies that Hammer made, I'm of the opinion that The Reptile is one of the most often overlooked gems in the catalog. It's a really nice movie that doesn't seem to get near the attention I feel it deserves. Good acting from a rather small cast (with a big, meaty role for Hammer regular Michael Ripper), nice pacing, solid direction, and that Hammer "look" (for lack of a better word) that I always enjoy. But what really sets The Reptile apart is the atmosphere. There's a real sense of fear and mystery about the whole movie. It's as creepy and suspense filled as anything Hammer ever made. And I just love the whole notion of a snake-cult putting a curse on Franklyn and his daughter. It's a unique, original idea for a movie. Sure, there have been other snake-to-man movies, but none that I've seen are as well done as this one. Finally, I've read complaints about the make-up effects. Personally, I think they're fine given the relative modest budget Hammer put-up for the movie. The snake appliances may not look as real as one might have hoped for, but at least they're not some weightless CGI nonsense. Just go with it and have fun.

8/10

Pharaoh's Curse (1957)

The very definition of plodding, 6 August 2009

The soul of an ancient mummy is transferred to one of his followers so that he might punish everyone involved in the desecration of his tomb. The soul transference makes the young man age at a tremendous pace until he himself resembles a mummy. One by one, the blood is drained from those involved in the dig.

To be as brief as possible, Pharaoh's Curse is quite the lackluster affair. While the movie does present a few good, original ideas (blood sucking mummy's, soul transference, interesting make-up effects, the arm ripping scene, etc.) and a few atmospheric moments, the direction and pace are the very definition of plodding. To make matters even worse, the first 15 of the film's relatively short 66 minute runtime consist of nothing much more than padding. I usually go for these slow moving mummy movies, but Pharaoh's Curse tests even my patients. The cast helps very little. With only one exception (Ziva Rodann is the lone bright spot – wish the movie could have focused more on her mysterious character), the cast is as dull as the screenplay. Finally, I don't know whose idea it was to put the mummy-looking servant in what appears to be pajamas, but it's a laughable, ridiculous look for a creature that supposed to instill fear in the audience.

Despite my mostly negative comments on the Pharaoh's Curse, I'm going to rate it a 4/10. Not a good rating to be sure, but generous given all the problems I have with the movie.

4/10

Tarantula (1955)

"No blood! No sign of a struggle! The bones just stripped clean like peeling a banana!", 5 August 2009

A couple of well-intentioned scientists set out to solve the Earth's food shortage problems by developing a new, revolutionary growth formula. They inject the usual rats and guinea pigs to test their formula with remarkable success. But for some reason known only to the screenwriters, the scientists also test their formula on a tarantula. A fire in the lab destroys all of the animals with the exception of the tarantula that escapes unnoticed into the desert. Unnoticed, that is, until ranchers start reporting the unusual deaths of a number of their herds. But the now giant tarantula has a taste for more than just cattle. Can the arachnid be stopped before the whole town of Desert Rock is wiped out?

I'm going to echo what most others have written about Tarantula – of the many giant bug movies churned out during the 50s, Tarantula is probably only second to Them as far as the best goes. Good acting, good locations, and good cinematography are keys to the film's success. Jack Arnold is another of those keys. He was about as good as anyone working in horror/sci-fi at the time. His snappy, well-paced direction are a real asset to the film. As far as big bug special effects in films from the 50s, Tarantula is easily one of the best. The effects in this film are often compared with Burt I. Gordon's Earth vs. the Spider made a couple years later. As far as I'm concerned, there's really no comparison. Sure, there's at least one or two times where the tarantula seems to be walking on air, but overall, it's a job well done by some talented people. And I so much prefer it to any of that lifeless CGI that would be used today. For what it's worth, a very strong 7/10 seems about right to me.

7/10

The Uninvited (1944)

"Mists gather here... and sea fog... and eerie stories...", 4 August 2009

I've watched at least three movies recently that, for whatever ridiculous reason, cannot be purchased on a R1 DVD. Two Hammer films, Twins of Evil and Vampire Circus, and The Uninvited. Okay, maybe I can in some twisted way understand the fate of the two Hammer films, but why oh why isn't The Uninvited available in the U.S. on DVD? Makes no sense at all. The Uninvited is a true classic in every respect. The plot involves a brother and sister, Roderick and Pamela Fitzgerald (Ray Milland and Ruth Hussey), who buy an abandoned, but remarkably well preserved, house on a cliff overlooking the ocean. The seller has a granddaughter, Stella Meredith (Gail Russell), who is totally against the sale of the house because it was her mothers. Shortly after moving in, strange noises and loud crying can be heard all through the house at night. Neither the dog nor the cat will venture upstairs – too frightened to take the first step. And there's a locked studio upstairs that always feels cold regardless of the temperature. If you can't guess already, the house is haunted (I know, a real shocker). The haunting seems to be that of the ghost of the Stella's mother, who Roderick is falling in love with (Stella that is, not the ghost of her mother). But why is she haunting the house? And why does Stella's life seem to be put in danger every time she visits? It's a mystery that demands to be solved.

I just love discovering a classic like The Uninvited that I've never taken the time to watch. Every thing about the film is spot on perfect. While I could go on and on extolling the movie's virtues, I'll try to limit this to just a couple of real highlights. First, the movie's got a boatload of atmosphere. It's so thick you feel like you can cut it with a knife. It gives you that kind of eerie feeling that doesn't leave once the lights go on. But The Uninvited is more than just a horror movie. Director Lewis Allen flawlessly mixes in romance, comedy, mystery, and drama. And the amazing part is that it all works – especially the mystery elements of the story. Even without the ghosts, the mystery of the house and Stella and her mother would have been enough to keep me interested. The special effects are another area that deserves mention. I've often argued in the past that some of the best ghost stories are those that don't really show anything. You know, the less is more argument. Well, in The Uninvited, we actually get to see what's causing all the problem. And to my astonishment, this also works. I was expecting something cheesy, but instead saw an image that looked like what a ghost might look like. Finally, it's impossible to discuss The Uninvited without mentioning the acting. This is probably the best performance I've ever seen from Ray Milland. He's amiable, care-free manner fits nicely into the film. I also enjoyed Ruth Hussey. She has a Myrna Loy quality to her that I liked. The others, including Gail Russell, Donald Crisp, and the scene stealing Dorothy Stickney, hold their own.

If you're a fan of classic horror (or even just a fan of classic films) do yourself a favor and seek out The Uninvited. You'll kick yourself for not doing it earlier.

9/10

Vampire Circus (1972)

A wonderful departure from the usual Hammer vampire film, 4 August 2009

The 1970s are almost universally regarded as the weakest period in Hammer Films' history. Yet as I sit and think about Hammer's output in their last few years, I'm amazed at how many of the movies I genuinely enjoy. Twins of Evil, Blood from the Mummy's Tomb, Dr. Jekyll & Sister Hyde, Dracula A.D 1972 (I know I may be alone in rating this one as highly as I do), Captain Kronos: Vampire Hunter, and Frankenstein and the Monster from Hell – all made in the 70s and all solidly entertaining films. Add to that list Vampire Circus. In fact, it might be the best of the bunch.

In a small 19th century Serbian village, Stetl, the locals finally find the courage and band together to put an end to the blood thirsty rule of Count Mitterhaus (Robert Tayman). Count Mitterhaus, you see, was a vampire (But in a Hammer film, isn't every Count a vampire?). As the stake is driven through the heart and the light is fading, he puts a curse on the village and vows to return and seek his revenge. Fifteen years later, with Stetl beset by a plague so bad that other nearby villages have set-up armed roadblocks to keep the people in, it seems that the Count's curse has come to pass. Just when things look their bleakest, the Circus of Nights comes to town. Looking for a relief from their despair, the townspeople are delighted to have this diversion in their midst and welcome the newcomers. Clowns, dancers, animals, and a strongman - the circus is a success. But when some of the town's locals, including the children, turn up with dead, the circus performers are immediately blamed. Are these innocent circus folk or are they something more sinister with another purpose altogether – like resurrecting the body of Count Mitterhaus?

From the very opening scene where the little girl is led in what seems to be the most innocent manner into a nearby castle only to meet her fate at the hands of the blood-thirsty Count, Vampire Circus gets off to a great start and never really lets up. That opening scene sets the tone of much of what's to come. Honestly, I just loved it. While it starts out innocently enough, it features a rather startling and unexpected conclusion. Robery Tayman's Count Mitterhaus may just be the most fiendish, savage vampire to appear in a Hammer film - and that includes the work of Christopher Lee. Not even the children are safe in Vampire Circus. For example, even though we don't see it, it's implied that a whole school of children are ripped to shreds by Emil's (Anthony Higgins) black panther persona. There's probably as much claret spilled, necks ripped open, and limbs taken off in Vampire Circus as any Hammer film I can think of. But it's not all graphic violence. There's some real atmosphere at work here as well. The whole movie has a creepy sort of vibe to it that really works. The circus is just odd enough to be eerie without going overboard. And I love the liberties Hammer took in Vampire Circus with the traditional vampire lore. Circus performers turning form animal into vampire, humans and vampires living (and loving) together, etc. make Vampire Circus a unique experience. The acting is, for the most part, as good as you'll find in any Hammer film. Even though you won't find any of the big name Hammer stars, Tayman, Higgins, Adrienne Corri, and several others give outstanding performances. Finally, though I've seen some reviewers dismiss the "amateurish" special effects, they really worked quite well for me. Emil's transformation to panther or the twins flying transformations into bats are amazingly well done.

I realize it's not all perfect (I didn't care for Thorley Walters' performance, John Moulder-Brown seemed way too young, and too many scenes were too obviously filmed in a studio), but this is one of my Hammer favorites. Vampire Circus is a real treat.

8/10

Supernatural "All Hell Breaks Loose: Part 2" #2.22 (2007) (TV)

"We got work to do.", 31 July 2009

In my opinion, Supernatural is easily one of the very best shows currently on television. I only recently discovered the show, but I've had an absolute blast catching-up on the first two seasons and I'm looking forward to starting the third. But for the finale of Season 2, "All Hell Breaks Loose: Part 2", what a real letdown! After a very promising beginning in Part 1, Part 2 generally fails to deliver on most every level. You know, I get that Dean and Sam are brothers; and I get that there is a familial connection and a bond between them; and I understand they've lost the rest of their family; but do you have to go on and on with the forced sentimentality. The episode features a culmination of a year long story arc and sees Sam and Dean face off against their most bitter nemesis. Yet, almost half the episode features either Sam or Dean emoting about some BS or another. It bored the pants off me. The final showdown in the graveyard is pretty much a big nothing. It's over before it ever gets started. In the case of "All Hell Breaks Loose: Part 2", the build-up is far better than the final climax. As much as I love the show, I can't give this one any more than a generous 5/10.

One thing that has always bugged me about Supernatural is Sam and Dean's ability to travel great distances in what seems like no time at all. There's no better example than Dean's trip to the Crossroads in this episode. If I remember correctly, the Crossroads is in Mississippi. The graveyard in the episode is in Wyoming. Yet somehow Dean seems to make the trip in the blink of an eye. Have you ever driven from Mississippi to Wyoming? Takes a heck of a lot longer than what's portrayed here.

5/10

Twins of Evil (1971)

A nice ending to Hammer's Karnstein trilogy, 28 July 2009

Can someone please explain to me why Hammer's Twins of Evil isn't available in Region 1 on DVD? What a joke! Twins of Evil is as good and entertaining as many of the better known Hammer offerings that you can find in the $5 bin at Wal Mart. And it's not like Twins of Evil doesn't have a "name" star. Peter Cushing is about as big a "name" as you'll find in the Hammer catalogue.

In Twins of Evil, Peter Cushing plays Gustav, the leader of a group of Puritan style religious fanatics who have no qualms in burning alive any attractive woman they encounter. However, fearing the wrath of the King, Gustav and his merry band of witchfinders conveniently ignore the fact that Count Karnstein is a vampire. Things are going good for Gustav – burning witches and all – until his twin nieces, Frieda and Maria, turn up at his doorstep looking for a place to live. Frieda's got a wild side and is soon drawn to the Count. In no time at all, Frieda joins the Count in his bloodsucking ways. Now what's Gustav to do? Kill his own kin?

I just love these Hammer period pieces. I know that by 1971 this kind of horror was horribly outdated, but today I look at it and joy in its relative quaintness. The period costumes (excluding some worn by Playboy twins Madeleine and Mary Collinson), the big old castle on the top of the hill, the fog shrouded woods, and the antiquated notion of burning witches are things that make Twins of Evil so much fun. Speaking of the Collinson twins, I don't think it was their abilities as thespians that landed them their roles. They may be eye-candy, but that's about it. Cushing gives his usual outstanding performance. Plenty of good atmosphere and snappy direction are other highlights of the film. Finally, even though I saw it coming from a mile away, I loved the little twist at the end. Overall, an enjoyable film and a nice ending to Hammer's Karnstein trilogy (and real step-up from the preceding entry, Lust for a Vampire). I'll give it an 8/10. Here's to hoping for that R1 release!

8/10

Supernatural "Folsom Prison Blues" #2.19 (2007) (TV)

"Calm down. It's all part of the plan.", 15 July 2009

I'm really starting to sound like a broken record when discussing these episodes of Supernatural, but "Folsom Prison Blues" is yet another rock solid entry in the series. In this one, a murderous entity is accidentally released when an old section of a prison is reopened. The spirit has its own ideas about justice and sets out to see that those who have done wrong get what they deserve. Sam and Dean are soon on the hunt, but how are they going to stop a ghost operating inside a jail?

"Folsom Prison Blues" has everything that I enjoy about Supernatural. Highlights include some incredibly spooky moments (with one that had my wife jumping out of her seat), atmosphere, interesting characters, nice fight scenes, a twist near the end, and lots of excellent humor. In fact, the humor in Supernatural seems to get better and better as the series goes along. Dean's whole take and attitude toward being in jail is very funny. This episode also sees the return of over-the-top FBI Agent Henricksen. It also sees the introduction of a new ally in the form of Public Defender Mara Daniels. I'd like to hope she makes a return appearance later in the series to give the boys a hand. With an episode this fun and with all its got going for it, I'll even let the whole ridiculous notion and ramifications of a plan where Sam and Dean are intentionally thrown into jail slide.

8/10

Supernatural "Playthings" #2.11 (2007) (TV)

"Wow! This is a lot of dolls. They're nice...They're not super creepy at all.", 6 July 2009

"Playthings" is another solid Supernatural episode. In this one, Sam and Dean take a break from their hunt for the demon to investigate a series of mysterious deaths at an old Connecticut hotel and to put a stop to the hoodoo or haunting or whatever is going on before anyone else is killed. I just love a good ghost story set in a large, rambling house like the Pierpont Inn in this episode. Like I said in another user comment for an episode of Supernatural, one thing that always freaks me out is a ghostly little girl with curls, a dress, and a doll – and "Playthings" has got these in spades. Creepy, cool stuff as far as I'm concerned. The subtle references to The Shining and the unsubtle references to Scooby Doo were both unmistakable and very welcome. And the humor in "Playthings" is often laugh-out-loud funny. From the comments about Sam being a doll collector to Dean wanting to poke Grandma Rose with a stick to Sam and Dean being mistaken for a gay couple, it's as funny as anything I've seen up to this point in Supernatural. My only complaint would be the predictability of much of what happens. I mean, was there anyone who didn't know or couldn't have guessed that Maggie was imaginary? Overall, it's not my favorite episode, but I think a 7/10 is about right.

7/10

Supernatural "The Usual Suspects" #2.7 (2006) (TV)

"You know, Casper - the blood thirsty ghost.", 29 June 2009

"The Usual Suspects" isn't my favorite episode of Supernatural, but it's a darn good one. Sam and Dean find themselves in custody for a couple of murders they didn't commit. The brothers are convinced that a vengeful spirit committed the murders, but how do you tell that to the police? When Detective Diana Ballard (Linda Blair) has a run in with the ghost, she begins to believe the boys. With Dean locked-up, she works with Sam to solve the mystery and, hopefully, put a spirit to rest.

As soon as I saw Linda Blair pop up on the screen, I knew I was going to enjoy this episode. I mean come on – it's Linda Blair for goodness sake! What's not to like about that? Horror legend Linda Blair guest starring on the best horror television show to come down the pike in years – I loved it! Besides Blair, "The Usual Suspects" has a lot going for it – rock solid plot (even if it is terribly predictable), good special effects, and some nice humorous moments. Two things I really enjoyed were the way the story unfolded through flashback (i.e. the truth vs. Sam and Dean's story) and the little comments at the end referencing The Exorcist. Very cool. I've gotta give this one an 8/10. I'm really looking forward to sitting down with the rest of Season 2.

8/10

Supernatural "Provenance" #1.19 (2006) (TV)

"Well, this isn't exactly the first grave we've dug.", 26 June 2009

MAJOR SPOILERS AHEAD --- I recently finished watching the first season of Supernatural and, overall, I'm impressed. There are been a few things that have bugged me and some episodes that didn't necessarily work, but those instances have been rare. This particular episode, known as "Provenance", is a particular favorite of mine. In this one-off episode, Sam and Dean investigate a series of deaths that appear to be related to an unusual painting. It seems that each time someone takes ownership of the painting, they have their throats slit in the night. The painting depicts a family from roughly around the turn of the century. The story goes that the Father in the painting was a barber who went mad and killed himself and his family with a straight razor. But as Sam and Den eventually discover, it's not the Father who's come back for murder – it's the adopted daughter. And for me, that's what makes this episode so especially creepy – there aren't many images that frighten me like a murderous little girl, complete with frilly dress, welding a razor in one hand and dragging a doll behind her in the other. Spooky! It's a smartly written little story filled with wonderful atmosphere. The special effects, the cinematography (especially when the little girl makes her presence known), and the lighting are all as good as you'll find in any big budget movie. "Provenance" is a very entertaining, leave-the-lights-on-when-you-go-to-bed kind of episode.

9/10