Password: Kill Agent Gordon (1966)

- Password: Uccidete agente Gordon
Makes up for its lack of original ideas with a healthy dose of tedium, 18 August 2009

Recently, I've discovered, watched, and enjoyed a number of Eurospy thrillers made in the 1960s. While some have been better than others, there are only a very few that I've watched that I couldn't find at least a bit of entertainment value. Well, Password: Kill Agent Gordon is one of those few. To begin with, the plot is a disaster. I often write that the plot in whatever genre movie I've recently watched doesn't really matter. But usually, that's only because the movie is so much fun and the plot so convoluted that the movie was entertaining regardless. In Password: Kill Agent Gordon, the plot is almost non-existent – something about gun smuggling to Communist Asian countries. Trust me, you'll forget all about the whys and what-fors very quickly. Second, I've got a real problem with Agent Gordon as played by Roger Browne. The man just didn't do anything for me. He came across terribly dry - not what you normally associate with a cool secret agent. Third, the two female "names" in the cast, Rosalba Neri and Helga Line, are misused and add little. Ms. Line, in particular, doesn't do much more than follow the dull Agent Gordon from scene to scene. She's got little to offer other than her looks. Finally, the budget limitations of Password: Kill Agent Gordon are very apparent. Most of these Eurospy movies were made on a shoestring budget, but many were able to overcome this handicap with cool ideas and over-the-top action. Not here. Apparently, the only idea that director Sergio Grieco (I usually enjoy his work) and the screenwriters could come up with to cover up the lack of a budget was to have Agent Gordon fight what appeared to be the same group of baddies over and over to the point of tedium. Not very original – or entertaining.

3/10

That Man in Istanbul (1965)

- Estambul 65
Lots of good action in this 60s Euro-Spy effort, 30 June 2009

The U.S. government is double-crossed when they pay a $1 million ransom for the return of a top scientist. They lose both the money and the scientist. Agent Kenny (Sylva Koscina) is sent to Istanbul to investigate. She enlists the aid of a gambler named Tony Mescenas (Horst Buchholz) to assist her in finding the scientist with the promise that he can keep the $1 million. The trail leads Tony and Kenny through the streets, masques, and waterways of Istanbul. Will the U.S. government get what it wants? Will Tony get what he wants? And will Kenny get out alive?

That Man in Istanbul is a very good entry in the 1960s Euro-Spy cannon. While the film may lack some of the usual over-the-top spy accoutrements, it doesn't lack in exciting chase scenes, gun play, or fist fights. In fact, the action is pretty much non-stop. Director Antonio Isasi-Isasmendi keeps the pace at a high level throughout most of the film. The fight at the top of the masque tower, Tony's jump to the boat, and the underwater knife fight are real highlights. Both of the film's leads, Horst Buchholz and Sylva Koscina, turn in more than competent performances. A solid supporting cast, particularly Klaus Kinski and Gustavo Re, is more than up to the task. Throw in a bit of humor, suspense, intrigue, and some wonderful shots of 1960s era Istanbul and you've got the makings of a very entertaining film. If I have a couple of complaints they would be Koscina's screen time (she's absent for most of the second act) and the overall length of the movie (cutting 15 or 20 minutes would help). Still, a very enjoyable experience. I'll give it a 7/10.

7/10

Blue Eyes of the Broken Doll (1976)

- Los ojos azules de la muñeca rota
A very average Giallo, 17 May 2009

Blue Eyes of the Broken Doll is a decent enough Spanish Giallo with enough twists and turns in the plot to make it reasonably entertaining. The biggest problem, however, is that it lacks the style I usually associate with the genre. The set-up is wonderful – a drifter, Gilles (played by Spanish horror legend Paul Naschy), is hired as a caretaker at a house inhabited by three beautiful women – all of whom have some sort of problem. Claude has a prosthetic arm, Ivette is wheelchair bound, and Nicole is a raging nymphomaniac. Gilles arrival coincides with a series of brutal murders. Gilles has a secretive past, but is he really capable of the string of vicious deaths? Don't worry, it'll all be sorted out in the end.

First - the good. As I've already indicated, I loved the set-up. The big old house full of crazy women provides a wonderful backdrop for the film's events to unfold. The acting is okay. I was most impressed with Diana Lorys' very sympathetic performance as the vulnerable Claude. Next, the plot will keep you guessing right up to the end with its numerous red herrings. Suspicion is thrown on just about everyone. And, even though the ending comes out of nowhere and hardly seems plausible, the final reveal has one of the things I love about Gialli – the total unpredictability of the finale.

But as my rating would indicate, there are things about Blue Eyes of the Broken Doll that didn't work for me as well as they could have. First, I'm not the biggest fan of Paul Naschy. I try and try to enjoy the man's work, but for the most part, I don't see the appeal. Next, the special effects are very weak – even for a low budget Giallo. The eyes look ludicrous. Finally, as I indicated in the opening, Blue Eyes of the Broken Doll lacks that style I look for in a Giallo. Leaving out the works of Dario Argento and Mario Bava, just compare this movie with the Gialli of Sergio Martino, Luciano Ercoli, or Emilio Miraglia and you'll quickly see what I mean.

In the end, I'll give Blue Eyes of the Broken Doll a weak 6/10, verging on a 5/10.

6/10

The House That Screamed (1969)

- La residencia
A true masterpiece, 4 January 2009

I'm kicking myself – Why in the world did I wait so long to watch this movie? The House That Screamed (or La Residencia which I think I prefer) is a film right up my alley. The movie tells the story of a boarding school owned by Mme. Fourneau. She runs the place with an iron fist. A new student, Theresa, has had enough of the rules and the humiliation and desires to escape. But does anyone really escape from this place? Not if Mme. Foureneau can help it. And not if an unknown killer with a penchant for slashing young girls' necks gets hold of you.

I admit that I went in expecting typical Euro-trash, but instead, I was treated to one of the best Gothic horror films that I've ever seen. La Residencia plays a bit like a cross between the early giallo Naked You Die and Dario Argento's masterpiece Suspiria with a touch of a WIP thrown in for good measure. The whole movie has a sense of dread about it that I found appealing. And I love a movie with atmosphere and, fortunately, La Residencia's got it to burn. The large, rambling, darkly lit school with its many secret rooms and passageways; Waldo da los Rios' mood-enhancing score; and the magnificently creepy lighting and cinematography all add to atmosphere that all but beats you over the head with its effectiveness. Of course a major factor in the film's success is the masterful direction of Narciso Ibáñez Serrador. He's more than capable of handling the more suspenseful moments and wringing every last drop of tension out of even seemingly mundane scenes. And switching the film's focus from Theresa to Irene about 2/3 of the way through the film is genius. Well done! The acting is also wonderful. I expected a good performance from Christina Galbo and she didn't disappoint. Lilli Palmer is new to me, but her Mme. Fourneau is one of those characters I'll never forget. But most impressive is the job turned in by Mary Maude as Irene. The fact that she's able to transform her character from the loathsome tormentor of Galbo's Theresa to the film's heroine in the final act is nothing short of a miracle. Finally, I would be remiss if I didn't at least mention the film's final twist. I won't give anything away, but I will say that it's amazingly well handled. Bravo!

In the end, La Residencia is a real undiscovered gem that should have a wider audience even among Euro-horror fans. It will most likely go down as one of the best "new" movies I see in 2009. Something else it deserves is a good, legitimate R1 release. It certainly deserves better than the Elvira treatment. Nothing against Elvira – I loved her show and miss seeing a lot of the cheesy horror she brought the screen. La Residencia, however, doesn't fit that description.

9/10

Hundra (1983)

Morricone's score almost makes the movie worthwhile, 24 March 2008

In the past few weeks, I've watched a number of movies with Amazon-style man-hating tribes who only seek the company of men for the purposes of procreation. In this one, the Amazons are wiped out by a band of men. Wiped out, that is, except for a hunter/warrior named Hundra (Laurene Landon) who vows to get even for the slaughter of her sisters. It's also up to Hundra to repopulate her tribe if it is to survive. But to do so, Hundra will need the help of the very same men she seeks for revenge.

Based on my rating, it should be obvious that I have some real problems with Hundra. Tops on that list would be the film's terribly mixed message. The movie tries to incorporate a lot of pseudo-feminist mumbo-jumbo into its plot with little success. It's all for show. You see the film is terribly hypocritical. On the one hand, the film seems to be trying to explore the empowerment of women - but at the same time the film exploits the very same women it purports to empower. The filmmakers seem to be trying to have their cake and eat it to (Is that cliché enough for ya?). Getting past the film's mixed message, Hundra is, for the most part, a poorly made, badly paced, and horribly acting movie. You would think that a plot involving this much bloodshed and sex would hold a little more interest. I, however, found myself nodding off several times throughout the movie. Dull and uninteresting doesn't begin to describe it. The version I saw clocked in at about 1:45 – or about 30 minutes longer than it should have. As for the film's lead Laurene Landon, she's honestly one of the worst actresses I've seen in a while. Her delivery is so unnatural that it's distracting. Finally, the fight choreography is abysmal. Between Landon's unconvincing movements and the lack of any creativity in the fights, these scenes seem to drag on forever. And it doesn't help that the longest fight during Hundra's climax was shown in slow-motion.

Before I end this, I feel I should mention one very obvious highlight of Hundra – Ennio Morricone's score. It far exceeds anything else in the movie. It might not be Morricone's best, but it's certainly memorable. There's one particular piece of music played during the film's final fight scene that almost makes the movie worthwhile. It's that good.

3/10

Black Candles (1982)

- Los ritos sexuales del diablo
All the sleaze in the world can't save this movie, 4 August 2007

When Carol (Vanessa Hidalgo) starts looking into her brother's death, she begins to suspect something more sinister than "natural causes". The closer she gets to the truth, the more of a threat she becomes to her sister-in-law, Fiona (Helga Line), and the rest of the local Satanists. They'll do whatever is necessary to put a stop her nosy ways.

If you're into sleazy, Satanic-themed movies, Black Candles has a lot to offer. The movie is filled with plenty of nudity and ritualistic soft-core sex. One scene in particular involving a young woman and a goat must be seen to be believed. Unfortunately, all the sleaze in the world can't save Black Candles. Most of the movie is a total bore. Other than the one scene I've already mentioned, the numerous sex scenes aren't shocking and certainly aren't sexy. The acting is spotty at best. Even genre favorite Helga Line gives a disappointing performance. The plot really doesn't matter. Its main function seems to be to hold the string of dull sex scenes together. I'm only familiar with one other movie directed by Jose Ramon Larraz. Compared with his Daughters of Darkness that masterfully mixes eroticism and horror, Black Candles comes off as amateurish. 3/10 is about the best I can do.

3/10

Count Dracula (1970)

- Nachts, wenn Dracula erwacht
Lee's best performance as Dracula?, 9 March 2007

In the past, I've accused Jess Franco of losing focus about 10 minutes into his films. It's not unusual to see him stray from his subject for a few unnecessary close-ups of any random object or to include several minutes of what appears to be vacation footage he shot out of the window of a car. That's certainly not the case with Franco's Count Dracula. By Franco's standards, it's a very straight forward story. There are a number of other things to like about the movie. Excusing the Spain for England locations, the sets are wonderfully Spartan and very atmospheric. Bruno Nicolai's score is about as good as you'll find in any of Franco's efforts. But the highlight is the acting. Franco assembled one of the most acclaimed casts he ever worked with. Klaus Kinski, Herbert Lom, and Christopher Lee give the film immediate credibility. Lee's performance is the real standout. Of the numerous times he played Dracula, his work in Count Dracula just might be the best of his career. The supporting players, featuring the usual group of Franco regulars, give some of their best performances.

But it's this straight forward approach used by Franco that contributes to the films downfall. Franco was attempting to film a fairly faithful adaptation of Bram Stoker's novel (it was the only way he could get Lee to agree to play Dracula). And while he may have actually been more successful along that line than some of the other, better known Dracula films, unfortunately the end result is incredibly dull and lifeless. While the film gets off to a good start with Jonathan Harker's visit to Dracula's castle, things grind to a halt once Dracula reaches England. So even though Count Dracula may represent one of Franco's most competently directed films, the boredom factor is too high to rate the movie anything better than average.

5/10

Dracula, Prisoner of Frankenstein (1972)

- Drácula contra Frankenstein
At least it has a decent Bruno Nicolai score, 12 August 2006

Because this is Franco, giving a plot rundown is something of a futile challenge, but I'll do my best to hit some of the highlights. Dr. Frankenstein arrives in some unnamed village to work in a supposedly abandoned castle. The castle actually isn't so abandoned as it's really the home of Dracula and his vampire servants. It's not long before Dr. Frankenstein revives his creation. Dr. Frankenstein puts his monster and Dracula to work kidnapping local women for his experiments. Why? I have no idea, but he straps them to a table and does his thing. But Dracula being Dracula is sucking the life out of some of the locals. It's up to Dr. Seward and the local gypsies/werewolves to put a stop to Frankenstein and Dracula.

During the first few moments of Dracula, Prisoner of Frankenstein, I was having trouble believing that this was a Franco film. The opening shots of the castle with Bruno Nicolai's score are well done and, for the lack of anything better, un-Franco-like. But this impression only lasted a few moments as Franco quickly shifts from the imposing and foreboding castle to a shot of a random dog on a random staircase. That's Franco for you.

Compared with some of the other Franco films I've seen, Dracula, Prisoner of Frankenstein isn't too bad. Don't misunderstand, it's not very good, but if you've seen something like Franco's Oasis of the Zombies, this movie is a winner. You get a lot of what you expect from Franco – suspect acting, poor make-up effects, and shaky camera work. One thing that really bothered me, though, is that Franco can't seem to decide what time period his film is set. While some characters drive cars, Dr. Seward gets around in a horse and buggy. And even though Dr. Frankenstein has a large collection of machines that require electricity, there's not a light bulb to be found anywhere. Things like this just bug me. . In the end, I can't in good conscious recommend Dracula, Prisoner of Frankenstein to anyone other than the most die-hard of Franco completists.

3/10

Frankenstein's Bloody Terror (1968)

- La marca del Hombre-lobo
A whole lot of fun and my new favorite Naschy film, 25 July 2006

Finally! I've been searching and searching for a Paul Naschy film that appeals to me. And I'm so happy to have discovered one. After sitting through some less than stellar offerings like Vengeance of the Zombies and Dr. Jekyll vs. the Werewolf, I've finally found a winner. I won't go so far as to proclaim it as one of the best horror movies I've ever seen, but Frankenstein's Bloody Terror is a whole lot of fun and easily the best Naschy film I've so far run across.

To begin with, Frankenstein's Bloody Terror has absolutely nothing to do with either the good doctor or his creation. It seems that an American distributor was promised a Frankenstein movie, but was given a werewolf film instead. Undaunted, the distributor decided to stick with the Frankenstein name he probably had already worked into advertising. Thus Frankenstein's Bloody Terror becomes a werewolf/vampire slugfest.

Frankenstein's Bloody Terror is something of a historical movie for horror fans. It marks the first time Naschy would play Waldemar Daninsky and his cursed alter-ego that Naschy turned into something of a cottage industry. In this one, the residents of a small village blame a series of deaths on wolves. Daninsky joins a hunting party and is bitten, not by a wolf, but by a werewolf before he is able to subdue the creature. It's not long before Daninsky goes through a strange and painful metamorphosis that turns him into a snarling beast himself. A friend, looking to help Daninsky, turns to a doctor who has written extensively on the subject. But it turns out that this is no ordinary "mad" doctor. It seems the doctor and his wife are in reality blood sucking vampires. Before you know it, they've got Daninsky chained to a wall while they prey on his friends. Can Daninsky free himself and save those dear to him? And if he does save his friends from the vampires, who's going to save them from him?

As I said in my opening, Frankenstein's Bloody Terror is a lot of fun. It's hard not to have a good time with the over-the-top storyline and action. The movie actually gives you two werewolves for the price of one. Their battle is a blast and a real highlight of the movie for me. This monster free-for-all is reminiscent of some of Universal's monster mashes from the 40s, only a little more graphic in its presentation. The film has a marvelous Hammer-esquire look to it with vivid colors and period sets. The use of colored gels is a nice touch to the lighting in many scenes. I really liked Naschy's werewolf make-up. It's a little more "wild" than it would be in latter Daninsky films. The supporting cast is good with Rosanna Yanni as a gypsy woman being the most well known.

If you're looking for a sophisticated sort of horror movie with a deep, philosophical meaning that sticks with you long after it ends, Frankenstein's Bloody Terror is probably not the movie you're looking for. But if you're just looking to be entertained and have a good time, it's hard to go wrong with Frankenstein's Bloody Terror. Now that I've found a Naschy film I enjoy, I'm even more excited to discover the rest of his work.

7/10

Let Sleeping Corpses Lie (1974)

- Non si deve profanare il sonno dei morti
"You're all the same the lot of you, with your long hair and faggot clothes.", 24 May 2006

And to think, I've avoided this movie for years. I love horror movies, but I'm not the biggest zombie fan in the world. But Let Sleeping Corpses Lie is different. It's intelligent, dark, witty, and creepy – and that's a hard combination to achieve. I've read a number of reviews that complain about the acting and I don't get it. I thought that Cristina Galbo, Ray Lovelock, and Arthur Kennedy were excellent in their roles. No one was going to win an award for this movie, but they're certainly not as bad as others have indicated. I also appreciate the fact that the film features what I'll call scenes of "controlled gore". There certainly are a few disturbing images, but Director Jorge Grau never lets the gore go over-the-top into quasi-parody and that's a good thing. My only complaint would be with the final scene. It's just so unnecessary. Let the movie end on a dark note. There's nothing wrong with that.

8/10

Curse of the Devil (1973)

- El retorno de Walpurgis
It's certainly not the worst Naschy film I've seen, 15 May 2006

I'm like the Energizer Bunny when it comes to Paul Naschy – I keep going and going and going with the hope of one day finding a Naschy film I really enjoy. I know the man has his fans, but I've yet to see the appeal. My latest excursion into Naschy's filmography is Curse of the Devil. It's certainly not the worst Naschy film I've seen (that would be Dr. Jekyll vs. the Werewolf), but the best I can do is call it an average horror film.

The film gets off to a good start. The story explaining how Daninsky (Naschy) became a werewolf is well done. Much like Hammer's Curse of the Werewolf, the backstory presented in Curse of the Devil is nice as it provides a reasonable (well, as reasonable as horror movies can be) explanation behind lycanthropy. Too often, horror movies expect us to accept a person is a werewolf without any explanation other than they were bitten by a werewolf. It's as if it's always been that way, so just accept it. I really appreciated and enjoyed this portion of the film. These early scenes also have a nice Gothic feel to them and an attention to detail that really adds to the atmosphere.

But then Daninsky changes into a werewolf and the whole thing goes downhill. It's the same old story we've seen numerous times. And, if you've seen many Naschy films, you'll definitely feel like you've seen it before. If Naschy is anything, he's consistent and predictable. From what I've seen, his films rarely stray from the tired and true path. But more specifically, there are a couple of things about the werewolf scenes that bother me. First, how is he able to sneak up on everyone? Wouldn't the sound of a hulking, snarling werewolf be a tip-off that something's not quite right? Second, the "special effects" are abysmal even when taking into account the time period in which the movie was made and any budget limitations. Most of the werewolf victims in Curse of the Devil look like people who have, for whatever reason, poured marinara sauce on their faces. It's not very effective.

As I always seem to write when discussing a Naschy film, I'm not giving up. Even though I've yet to find that Naschy film that clicks with me, I'll keep going in hopes that sooner or later one will.

5/10

Feast for the Devil (1971)

- Las amantes del diablo
Little to get excited about, 3 May 2006

I did something while watching Feast for the Devil that I rarely, if ever, do – I caught myself nodding off a couple of times. Why? It's dull. It's uneventful. It's pointless. It's not very good. Instead of Feast for the Devil, a better title might be Feast for the Insomniac.

Usually these Euro-Gothic films work for me. I'm a fan. But there's so little to get excited about in Feast for the Devil that it never clicked with me. The story involves a Dr. Tills Nescu who has a bad habit of kidnapping and sacrificing young women. While that may sound like a good set-up for a movie, in all actuality, Dr. Nescu and a variety of unknown people spend most of the movie at parties on his boat. Not very Satanic, huh? The movie builds to the final scenes of Dr. Nescu performing his rituals to honor Satan. But as it turns out, Dr. Nescu is hardly the big bad servant of the Devil we've been led to believe throughout the movie. Instead, he's more of a servant of his dead mother. What a letdown!

4/10

Murder Mansion (1972)

- La mansión de la niebla
If it weren't for those meddling kids......, 2 May 2006

As much as I enjoy Murder Mansion, don't take my enthusiasm for the film as some kind of recommendation. Although I don't like the term, I am fully aware that Murder Mansion is a "guilty pleasure" of mine. I realize that it's not really a very good movie, but I love it just the same. So watch it at your own risk and don't blame me if you don't like it. You've been warned!

If you do decide to give Murder Mansion a try, here's what you can expect: an incoherent plot that makes no sense regardless of the number of times I watch it; a beginning that seems to be leading nowhere; most likely, a bad, chopped-up transfer; silly dialogue; and plot holes big enough to drive a truck through. You'll also find what I call one of the best Scooby Doo moments I've seen. All that's missing is the "If it weren't for those meddling kids" line.

7/10

Fangs of the Living Dead (1969)

- Malenka
I really wanted to like this movie, 23 April 2006

Plot: A woman inherits a castle from a distant relative. When she arrives to take possession, she learns her castle is a home for the undead who want to bring her into the family.

I really wanted to like Fangs of the Living Dead, but two things really hampered my enjoyment. First, there are far too many stretches of the movie that are quite simply boring. It's not that I mind a slow moving story, but this thing is downright dull in places. Second, and this more of a personal preference, but the main character as played by Anita Ekberg is annoying. For a horror movie to be really effective, it helps if you care about the characters. I wanted Ms. Ekberg's character (and Ms. Ekberg for that matter) to die within 10 minutes of her introduction.

4/10

Oasis of the Zombies (1983)

- La tumba de los muertos vivientes
As bad as a movie can get, 14 April 2006

I don't know that it's really fair for me to write anything on Oasis of the Zombies as I've never actually seen the entire film. I've tried to watch it at least four different times, but, I can't seem to get through it to the end. Why? Oasis of the Zombies is such a complete and utter mess that I either shut it off about half way through because I just can't take it anymore or I end up falling asleep out of total boredom. Even by Jess Franco standards, Oasis of the Zombies makes no sense plot-wise and it's as dull as dishwater. The acting is atrocious. The special effects are so bad they go beyond being laughable. Oasis of the Zombies has to be one of the worst excuses for a movie I've ever had the misfortune of attempting to watch. Maybe I'll give it another go at some point in the future, but I rather doubt it.

I don't want to come across as one of those people who dismisses Franco as a no talent hack. That's just not true. There are some Franco films I really enjoy (Venus in Furs, The Diabolical Dr. Z, and Night of the Skull to name just a few), so it's not like I don't "get" Franco. I just can't imagine even the most vocal and ardent of Franco supporters enjoying this trash.

1/10

Angel of Death (2002)

- Semana Santa
I don't understand all the hate directed at this movie, 26 March 2006

I'm shocked by all the negative reviews I've read on Angel of Death now that I've seen it. My rating of a 6/10 almost makes me look like a fanboy in comparison with what most people seem to think about Angel of Death. It may not be the best movie ever made, but it's certainly better than the garbage others seem to be labeling it. Take the criticisms I've seen leveled against Mira Sorvino. The charge – Sorvino sleepwalks through her performance. What these people call sleepwalking I tend to view as a nice, understated performance that works for me. It's like the old adage – one man's trash is another man's treasure.

The plot centers on a series of brutal murders being committed during the Spanish Holy Week celebrations in Seville by a red-hooded monk. Through their investigations, Sorvino and her compatriots discover a back-story of rape and greed dating back to the time of the Spanish Civil War. Sorvino must find the killer before she becomes the latest victims. This plot is, perhaps, the movies weakest point. It's interesting enough, but it's far too involved to completely explore in a roughly 90 minute movie. There are a few subplots that go nowhere and much is left to the viewer to figure out.

In many respects, Angel of Death seems to be an attempt to revive or at least revisit the European or Giallo thrillers of the past. A black-gloved hooded killer, a convoluted plot, beautiful cinematography, and violent death scenes all hearken to the glory days of the Euro-thriller. It's a shame this movie wasn't more well received because I would have enjoyed seeing more of this kind of film.

6/10

Vengeance of the Zombies (1973)

- La rebelión de las muertas
One good gore scene, but little else, 20 March 2006

What a mess! Vengeance of the Zombies tries too hard to be everything. The film doesn't devote near enough time to any one element of the plot. Vengeance of the Zombies is all over the place. It's one part Satanism, one part Eastern mysticism, one part Caribbean voodoo, and one part revenge. Throw in some bad acting, a lack of logic, and a twist out of left field and you've got a recipe for disaster. I'm trying real hard to enjoy these Paul Naschy films, but thus far I'm not impressed.

My rating would be lower if it weren't for some special effects that work quite nicely. There's one decapitation scene in particular that far exceeds the quality of anything else in Vengeance of the Zombies.

2/10

Night of the Skull (1976)

- La noche de los asesinos
For a Franco film, it's not too bad, 12 January 2006

It's difficult to know how to rate a Franco film. Do you compare his films with all other films, or do you just compare Franco's films with his other films? Compared with the entire population of movies, Night of the Skull probably isn't that good. But for a Franco film, it's not too bad. And when you consider that this is only one of ten films Franco is credited with directing in 1976, it's amazing that Night of the Skull is at all comprehensible.

I haven't read this anywhere so I have no real basis for knowing this, but Night of the Skull seems to be Franco's attempt to make a Giallo/Krimi type film. A hooded, cloaked, skull-masked killer is offing the members of a wealthy family gathered together for the reading of a will. Almost everyone in the family is a suspect, that is, until they're killed. Some of the scenes are almost expertly handled like the first murder where the elderly patriarch of the family is buried alive with only his hands, which have been tied behind his back, sticking out of the ground. There are also very few scenes where Franco appears to lose his (and the camera's) focus and stays pretty much on course throughout. On the downside, the killer's identity is, unfortunately, too easy to guess and leaves little in the way of a surprise once he/she is finally unmasked. And, while the acting is never as bad as in something like Franco's Oasis of the Zombies, no one was going to win an award for their performance either.

In the end, Night of the Skull is something of a treat for fans of Franco. Non-fans would probably be best advised to steer clear.

5/10

Horror Rises from the Tomb (1973)

- El espanto surge de la tumba
Head-in-a-Box, 11 December 2005

Centuries ago, Aleric du Marnac (Paul Naschy) and his female companion were put to death for a variety of crimes including consorting with Satan. The pair vowed to get their revenge on the descendants of those responsible for their deaths. du Marnac was beheaded and his body and head were buried separately. Switch to the present day (1973) where Hugo du Marnac (also Paul Nashcy) and his friends discover a buried chest containing the head of Aleric du Marnac – a head that wants to be reunited with the rest of its body. Through possession and blood sacrifice, du Marnac is determined to make his body whole.

What Works:

- The Last Act. I have yet to see a Paul Naschy film that I can wholeheartedly endorse, but Horror Rises from the Tomb comes as close as I've yet seen. The final third of the movie is a nice slice of Euro-horror. It's loaded with lots of juicy horror elements - a reanimated head, a sickle-welding maniac, zombies, a magical talisman, and more. If only the first two-thirds of the movie could have been this good. It's not that the first part of the movie is bad, it's just not as good as the final half hour.

- The Head-in-a-Box. Horror Rises from the Tomb certainly isn't the first film of its type to have a reanimated head, but its definitely handled better than most. Through some nice editing and some tricky camera placements, du Marnac's head comes to life. In fact, most of the special effects (the zombies rising from the swamp or the heart being ripped from the chest are two more examples) are as good as anything I've seen form an early 70s Spanish horror movie.

- Helga Line. du Marnac's twisted, blood-thirsty female companion is played to perfection by Helga Line.

What Doesn't Work:

- Paul Naschy. I've written this before, but I just don't understand Nashcy's status as a cult icon. He's one of the most unappealing actors I've ever seen. As the descendant Hugo, Nashcy lacks anything approaching charisma.

- Dialogue. This may have as much to do with the dubbing as anything else, but some of the dialogue had me going back to see if I had heard things correctly. The best example goes something like this (I don't have the exact quote, but this is close): "Two people have been murdered and we've just dumped their bodies in the lake. We've got to get out of here. We don't want to get involved." Huh?

I've come to realize that Naschy's brand of horror may not be for me. I'll still watch his films in hopes that one day I'll see in him what so many other horror fans have seen. Horror Rises from the Tomb may not be Naschy's breakthrough with me, but it's a movie that I enjoyed and will revisit in the future.

6/10

Pyro (1964)

- Fuego
A nice, early Spainish horror/thriller, 10 October 2005

A married man has a torrid affair with the previous owner of the house he has bought for his family. He tries to end the affair, but the woman will have none of that. She sets the house on fire killing his wife and child. Burned beyond recognition, the man vows revenge against his former lover.

Overall, Pyro is a nice little horror/thriller. The plot, although predictable, is generally well paced and only gets bogged down by the love story on one or two brief occasions. It's the predictability that keeps me from rating Pyro much higher. There are a few chills to be had like the scene where the woman runs in fear down a deserted street at night, afraid that her disfigured lover is about the catch-up with her. The acting is a notch or two above what I have seen in other early Spanish horror films. Both Barry Sullivan and Martha Hyer give excellent performances in the lead roles. Hyer, in particular, is wonderful as the scheming, murderous ex-lover. Finally, the burn make-up is effectively creepy. It's the stuff of nightmares.

A couple bits of trivia – first, apparently Pyro was the first horror/thriller movie to be filmed in Spain. Whether it's true or not, I don't know. I just thought it was interesting. Second, cult fans may be interested in catching Pyro to see a young, pre-Franco Soledad Miranda in a small role. She doesn't do much, but she has a presence about her that's unmistakable.

6/10