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The Initiation

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‘They pledge themselves to be young, stay young… and die young’

The Initiation is a 1984 American slasher film directed by Larry Stewart from a screenplay by Charles Pratt Jr.  The film stars Vera Miles (Psycho; Psycho II), Clu Gulager (From a Whisper to a Scream; Feast), Daphne Zuniga (The Dorm That Dripped Blood; The Fly II), James Read, Marilyn Kagan and Hunter Tylo.

Wikipedia | IMDb

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By the time The Initiation appeared in 1984, the slasher boom was over, at least as far as mainstream audiences were concerned. A few years on from the box office success of films like He Knows You’re AloneProm Night and Friday the 13th, the genre had been reduced to second division efforts that could nevertheless make a decent profit through video sales – certainly, I seem to remember seeing this film clogging up the shelves of video rentals stores, never quite looking interesting enough to actually rent.

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This second wave of Eighties slashers effectively followed the template laid down by those earlier films, cheerfully trotting out what were already clichéd ideas with their fairly formulaic storylines, and The Initiation is no different. For much of this film, it feels like watching a slasher film constructed by numbers, from the opening synth drone on the soundtrack onwards. A childhood trauma leading to later retribution? Check. Horny teens you look about thirty? Check. An unseen killer? Check. Gratuitous shower scenes? Check. Yet the film does try to offer a little more – not much, but there’s an attempt to add some genuine mystery to the story (though the experienced horror viewer will quickly spot the heavy-handed pop psychology clues) and it at least has a few decent performances, some impressively gory deaths and the odd witty line of dialogue – which is more than we can say for the likes of Girls Nite Out.

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Kelly Fairchild (Daphne Zuniga) is one a four sorority pledges undergoing initiation to join Delta Ro Kai house (and please, let sororities and frat houses remain a strictly American phenomena – bad enough we have prom nights in the UK now), involving the girls breaking into what is referred to as her father’s department store – though in fact it’s that popular Eighties horror location the shopping mall. Kelly is plagued with nightmares involving her stabbing her father and a man on fire – and it soon turns out, thanks to hypno therapy from boyfriend and psychologist Peter (James Read), that these are in fact repressed memory. Soon, the past starts to catch up with Kelly as her friends fall victim to a mysterious killer in the empty mall. But who might it be? The escaped looney with unconvincing burn make-up on his face? Or perhaps the schizophrenic Kelly? As I said, anyone who has seen more than a handful of horror movies will probably see the final revelation a mile away.

The InitiationOf course, for many viewers, much of the fun in a film like this is its immediate familiarity. Characters shouting out for friends to ‘stop fooling around’, false jump scares and a selection of grisly murders are grist to the mill for genre enthusiasts, and I’ll admit that under the right circumstances, The Initiation is probably something of a guilty pleasure. It has spectacularly gratuitous nudity, a couple of unexpectedly graphic killings, a terrible band performing at an unconvincing teen party and a couple of old hands – Vera Miles and Clu Gulager – slumming it… and for many people that’s probably more than enough. But it also has characters who are a little more rounded than you’d expect from such basic fare and keeps its ‘teens’ just on the right side of annoying. Not a great film by any stretch of the imagination, but above average for what it is and certainly a welcome, and unexpected release on Arrow Video DVD in the UK.

David Flint – Strange Things Are Happening

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Vampire Circus

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Vampire Circus is a 1971 British horror film, directed by Robert Young. It was written by Judson Kinberg, and produced by Wildburg Stark and Michael Carreras (who was uncredited) for Hammer Film Productions. It stars Adrienne CorriThorley WaltersLynne Frederick and Anthony Higgins (billed as Anthony Corlan). The story concerns a travelling carnival whose vampiric artists prey on the children of a 19th-century Austrian village.

Schoolmaster Albert Müller witnesses his wife Anna taking a little girl to the castle of vampire Count Mitterhaus, where the child is killed. The villagers, led by Müller and the mayor, invade the castle and attack the Count, driving a wooden stake through his heart. With his dying breath, Mitterhaus curses the villagers, vowing that their children will die to give him back his life. The villagers force Anna to run the gauntlet, after which she runs back to the castle, where the briefly-revived Count tells her to find his cousin Emil. Meanwhile the villagers set the castle on fire.

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Fifteen years later, the village is ravaged by the plague and blockaded by the authorities. The citizens fear that the pestilence may be due to the Count’s curse. A travelling circus, led by a dwarf and a gypsy woman, arrives in the village and the villagers appreciate the distraction from their troubles. One of the artists, Emil, is actually a vampire and Count Mitterhaus’s cousin. Emil and the gypsy woman go to the castle, where they find the Count’s staked body and reiterate the curse, that all who attacked on his cousin and all their children must die…

Wikipedia | IMDb | Rotten Tomatoes

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“one of the company’s last great classics”, writing, “erotic, grotesque, chilling, bloody, suspenseful and loaded with doom and gloom atmosphere, this is the kind of experiment in terror that reinvigorates your love of the scary movie art form.” PopMatters

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“Hokum, maybe, but I challenge anyone not to enjoy it. Vampire Circus has stood the test of time – and today’s filmmakers could do worse than to take a look at it if they’re constructing a vampire tale of their own. It wears its crapness firmly on its sleeve, and adds a sense of crazy paced style sadly lacking in today’s turgid gore fests.” Chris Wood, British Horror Films

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“Less a standard Hammer monster melodrama than a surreal journey through dark fantasy (reminiscent of Jean Rollin’s erotic vampire series), with an unexpected (but not entirely inappropriate) surplus of nudity and bloodletting. The film’s creepy highlights include the chilling extended prologue and scenes of vampire trapeze performers transforming into bats in mid-leap.” Gary W. Tooze, DVD Beaver

” … one of the best Hammer horror films of them all” 1000 Misspent Hours and Counting

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Synapse Films Blu-ray features:

• Featurette: THE BLOODIEST SHOW ON EARTH: Making Vampire Circus – An all-new documentary featuring interviews with writer/director Joe Dante, Hammer documentarian Ted Newsom, Video Watchdog editor/author Tim Lucas, author/film historian Philip Nutman, and actor David Prowse (32:39 in HD!)
• Featurette: GALLERY OF GROTESQUERIES: A Brief History of Circus Horrors – A retrospective on circus/carnival themed horror productions (15:07 in HD!)
• Featurette: VISITING THE HOUSE OF HAMMER: Britain’s Legendary Horror Magazine – A retrospective on the popular British horror/comic publication featuring author Philip Nutman (9:48 in HD!)
• VAMPIRE CIRCUS: Interactive Comic Book- Featuring artwork by Brian Bolland (3:15 in HD!)
• POSTER AND STILLS GALLERY (1:58 in HD!)
• ORIGINAL THEATRICAL TRAILER (2:321 in HD!)
• Isolated Effects and Music score
DVD with same content/extras – in SD

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Buy Vampire Circus on Blu-ray + DVD combo from Amazon.co.ukAmazon.com

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Buy Vampire Circus novelisation from Amazon.co.uk


Maniac Cop 2

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Maniac Cop 2 is a 1990 American action horror film directed by William Lustig and written by Larry Cohen (It’s Alive; God Told Me To; Q: The Winged Serpent). It is the sequel to Maniac Cop (1988) and stars Robert DaviClaudia ChristianMichael Lerner and Bruce Campbell. Lustig considers this to be his best film, saying: “It was the film [where] I felt as though myself and my crew were really firing on all cylinders. And I think we made a terrific B-movie”. Maniac Cop 2 is the first film in the series to suffer cuts by the MPAA with some of the violence trimmed to get an “R” rating, most notably the police station massacre, which appears in its entirety as a flashback sequence in Maniac Cop III: Badge of Silence (which was also originally rated NC-17).

Surviving being impaled by a pipe and plunging into a river, the undead Matthew Cordell acquires a junked police cruiser, and continues his killing spree through New York, attacking a convenience store in the middle of a robbery, and killing the clerk (the thief subsequently being killed in a shootout with police). As Cordell stalks the streets, Officers Jack Forrest and Theresa Mallory are put back on duty by Deputy Commissioner Edward Doyle, who has the two undergo a psychiatric evaluation under Officer Susan Riley.

While out at a newsstand, Jack is knifed through the neck by Cordell, leaving Theresa distraught, and prompting her to decide to appear on a talk show to inform the public about Cordell, the police having kept Cordell’s supposed return covered up (Commissioner Doyle was involved in originally framing Cordell and sending him to Sing Sing). While en route to a hotel in a taxi, Theresa is joined by Susan, and the two are attacked by Cordell, who kills the cabbie, and forces Susan and Theresa off the road. After handcuffing Susan to the wheel of a car and sending her into the busy streets, Cordell kills Theresa by snapping her neck. Gaining control of the car, Susan crashes, and is found and given medical attention.

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Elsewhere, a stripper named Cheryl is attacked in her apartment by Steven Turkell, who has strangled at least six other exotic dancers over the course of several months…

Wikipedia | IMDb | Rotten Tomatoes

“Maniac Cop 2 is a thinking man’s exploitation film, improving on the 1988 original.” Variety

” … the ‘serial killer team-up’ sub-plot gets a little annoying, but the story regains a sense of purpose towards the climax, which brings a spectacular and logical closure that the first film lacked. I rate Maniac Cop 2 over most Friday the 13th and Halloween sequels in the category of most entertaining ‘undead killer’.” Mark Hodgson, Black Hole Reviews

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Maniac Cop 2 is being released by Blue Underground as a Blu-ray/DVD combo on November 19th, with a new 4K high-definition transfer from the original negative supervised by cinematographer James Lemmo, in 16×9-enhanced 1.85:1 widescreen with DTS-HD 7.1 Master Audio (plus the original Dolby Surround track), enhanced for D-Box motion-control systems.

  • Audio commentary by Lustig and filmmaker Nicolas Winding Refn
  • “Back on the Beat—The Making Of MANIAC COP 2,” a newly produced retrospective documentary including interviews with most of the cast and crew
  • Cinefamily Q&A with Lustig
  • Deleted scene (The Evening News with Sam Raimi)
  • Theatrical trailers
  • Poster and still gallery
  • Isolated music track

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Demonwarp

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Demonwarp is a 1987 American science fiction/horror film directed by Emmett Alston (New Year’s Evil) from a screenplay by Bruce Akiyama and Jim Bertges. It stars George Kennedy, David Michael O’Neill, Pamela Gilbert (Evil Spawn), Billy Jacoby (Bloody Birthday, X-Ray, Cujo), Hank Stratton (Freddy’s Nightmares), Colleen McDermott and Michelle Bauer (Hollywood Chainsaw HookersThe Tomb, Evil Toons).

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Bill Crafton (Kennedy) is talking to his daughter Julie inside their cabin in the woods. Suddenly, a Bigfoot-like creature breaks in and kidnaps Julie. A group of teenage campers arrive and they too eventually meet the Bigfoot, with many of them being killed or captured. It is later discovered that one of the campers wentthere to find his uncle. His uncle is later found to be the Bigfoot, and that a bigoted Catholic priest used him for his own evil plans. Actually, the priest thinks an alien who arrived from an unknown planet 100 years ago is an angel who is here to be served by him. After unearthing this alien conspiracy and a horde of mindless zombies, the hidden spacecraft is destroyed inside the cave they used to hide it…

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Producer Rick Albert and executive producer Mark Amin (Leprechaun series and CEO of Trimark) decided that their first film production should be a genre film, using as many special effects and monsters as the small $250,000 budget could support. To save costs, Rick Albert recruited many of his friends, who were lawyers, to appropriately play the army of zombies. To guarantee it would appeal to a young male audience, Demonwarp features topless scenes. It was edited on a movieola using 35mm film.

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Special effects maestro John Carl Beuchler devised the initial warped storyline and was going to direct but left the project to helm Friday The 13th Part VII: The New Blood instead. The film was shot in just twelve days by Emmett Alston, who previously directed the 1981 slasher movie New Year’s Evil, was cinematographer for Moonchild (1972) and production manager on Vampire Hookers (1978). Horror genre regular George Kennedy (Death Ship, Uninvited) was paid $15,000 for his work. In the UK, the 1988 Trans Global Pictures VHS release was cut 1 minute and 7 seconds by the BBFC.

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Wikipedia |IMDb 

“So all in all a run of the mill eighties hack and slasher, despite the promise of everything rolled into one. The ending leaves you wondering just what drugs Buechler was snorting when he dreamt up this little beauty? Average…” A Slash Above…

“You figure at some point, the movie would make an attempt at having someone…anyone explain the general plan of the Alien or why/how this is all happening, but no dice.  In the tradition firmly established by the earlier parts of this masterpiece, shit just happens… ” Midnight Showing

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“I would give them an A for effort at least, and the C stands for creativity. Or something. This film is insanely enjoyable. I would put this film, along with Night Train to Terror and Nightmare Weekend, in my list of horror films that I suspect were secretly made by 13 year-old boys.” The Trashy Horror Charlie Show

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Man-Thing (film)

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Man-Thing is a 2005 US/Australian horror telefilm, directed by Brett Leonard and featuring the Marvel Comics creature created by Stan Lee, Roy Thomas and Gerry Conway. The screenplay by Hans Rodionoff is very based loosely on a storyline by Steve Gerber, who wrote the most well-known series of Man-Thing comics. It stars Matthew Le Nevez, Rachael Taylor, and Jack Thompson. The film had a budget rumoured to be $30 million but this seems inconceivable.

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Most of the source material was altered. Among these are moving the setting from the Florida Everglades to Louisiana (though the film was actually made in Australia), and changing the creature’s powers from burning those who “know fear” to being able to manipulate the swamp’s vegetation. The movie also made no mention of A.I.M. or their attempt to steal the super soldier serum. The character is also represented in a significantly more antagonistic light than the comic-book version. Man-Thing’s former identity remained Ted Sallis, though in the film he is portrayed as a Native American shaman instead of a scientist. Consequently, the Man-Thing’s origin is somewhat different, though the Nexus of All Realities is still involved.

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Two teenagers who have ventured deep into the swamp to have sex but the young man is killed by a plant-like monster.

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The following day, young replacement sheriff Kyle Williams reaches Bywater and meets with deputy sheriff Fraser, who tells him that the previous sheriff was not the only missing person: At least forty-seven other people were missing, the first one having been shaman and Seminole chieftain Ted Sallis, since oil tycoon Fred Schist had bought the ancient tribal lands from Sallis himself to prospect. Schist claimed that Sallis had sold legally and escaped with the money, and asked the sheriff for help: Local protestors opposed to his perfectly legal activities, and mestizo scoundrel Renee Laroque was sabotaging his facilities. Williams investigated this while at the same time trying to find an explanation to the missing people, some of which were found brutally murdered with plants growing from inside their bodies. Weirdo photographer Mike Ploog and shaman Pete Horn tell Williams local legends about the guardian spirit, suggesting that it could be real…

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“Brett Leonard turns in one of his best directing jobs to date, giving the movie an eerie feel that constantly holds the audience’s attention. Leonard also does a wise thing by moving the film along at a rapid pace that leaves little time for the audience to question the plausibility of what they’re watching. Comic book scribe Hans Rodinoff turns in an equally good screenplay, allowing for plenty of gory deaths and suspenseful moments. The titular Man-Thing gets a makeover, transformed from a little known comic book character from the 70′s into a frightening and powerful force…” Joseph Savitsky, Beyond Hollywood

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“The director, Brett Leonard, tries for some jump-scares, but as with the rest of the film, they just fall flat, not even making for a startle. So not only does this film fail as a Marvel movie, it fails as a horror movie as well. He also tries to ram every Southern stereotype down our throat at any chance he gets (possibly to try and counteract the blaring Australian influences), while giving us some of the corniest and hackneyed dialogue you will ever hear. How can you not roll your eyes when a character yells out, “It’s the Man-Thing, man!”?”
Comic Book Revolution

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“The filmmakers cannot seem to decide what Man-Thing is either. Throughout the film, it is implied that Man-Thing is a demigod sent by the vengeful ancestors of the wronged tribe. Or perhaps it’s a mutated Ted Sallis still alive for some odd reason. Or perhaps it’s a demonic ghost of Sallis, like a slimy version of The Crow. Or perhaps it is even a monster from another dimension that came into being from a Nexus of Realities that gets mentioned only in passing (How do you mention a dimensional portal in passing anyway?). The film never bothers to resolve this conundrum and because of their incompetence, it’s up to the viewer to take a guess at just what the hell is going on.” Scott W. David, Horror Express

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Directed by Brett Leonard
Produced by Avi Arad
Scott Karol
Christopher Petzel
Screenplay by Hans Rodionoff
Based on Man-Thing
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Starring Matthew Le Nevez
Rachael Taylor
Jack Thompson
Conan Stevens
Music by Roger Mason
Cinematography Steve Arnold
Editing by Martin Connor
William Goldenberg
Studio Lions Gate Films
Artisan Entertainment
Marvel Enterprises
Fierce Entertainment
Screenland Movieworld GmbH
Samurai Films Pty. Ltd.
Distributed by Lions Gate Films
Release date(s) April 30, 2005
Running time 97 minutes
Country United States
Australia

Wikipedia | IMDb | Rotten Tomatoes


Dr. Hackenstein

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Dr. Hackenstein is a 1988 comedy horror film written and directed by Richard Clark and distributed by Troma Entertainment. The film’s obvious influences include Young Frankenstein, Murder by Death and Re-Animator. Comedienne Phyllis Diller has a small part in the movie.

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In 1909, after the death of his wife, Dr. Elliot Hackenstein (David Muir) concocts the seemingly fiendish perfect plan: with the help of two useless graverobbers and a three lost girls, he can use the spare parts to reanimate the disembodied head of his dead spouse Sheila and build a better woman. His supervisor, Dean Schlesinger, is appalled and soon offed by Hackenstein. Meanwhile, three attractive young sisters become stranded and therefore would-be victims of Hackenstein…

Dr. Hackenstein has production values that are better than many of its cheap counterparts. Initially, it’s a passable 80s take on Young Frankenstein with some titillation but the feeble humour soon becomes risible. It’s ok for free — as Troma — seem to have decided (with ads) if you are in a charitable mood but don’t pay for this. Adrian Smith, Horrorpedia

“Well, points for trying, but about 12% of the movie is actually intentionally funny and not nearly enough is unintentionally funny. The film plays more like a zany romp, especially as Dr. Hackenstein pursues the girls. The cheesy music plays and he’s sneaking up behind the one girl with his syringe and just before he plunges it into her neck she turns and he hides the needle and smiles sheepishly, as if to say “Oh! Hi, how you doing?” That kind of stuff. Clark includes some breasts, mainly because I think he felt he absolutely had to, and the gore—primarily Dr. Hackenstein operating off camera as blood is squirted into his face—is minimal (except for a jarring eye-ripping scene toward the end.) … Dr. Hackenstein is a horror comedy that’s neither gory nor terribly funny.” DVD Verdict

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Wikipedia | IMDb

We are once again grateful to the recently reanimated Wrong Side of the Art! Go visit.


Clovis Trouille (artist)

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Clovis Trouille was born on 24 October 1889, in La Fère, France. He worked as a restorer and decorator of department store mannequins, but is remembered as a Sunday painter who trained at the École des Beaux-Arts of Amiens from 1905 to 1910.

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After his work was seen by Louis Aragon and Salvador Dalí, Trouille was declared a Surrealist by André Breton - a label Trouille accepted only as a way of gaining exposure, not having any real sympathy with that movement.

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The simple style and lurid colouring of Trouille’s paintings echo the lithographic posters used in advertising in the first half of the 20th century. His understandable utter contempt for the Church as a corrupt institution provided Trouille with the inspiration for decades of work:

Dialogue at the Carmel (1944) shows a skull wearing a crown of thorns being used as an ornament.

The Mummy shows a mummified woman coming to life as a result of a shaft of light falling on a large bust of André Breton.

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The Magician (1944) has a self-portrait satisfying a group of swooning women with a wave of his magician’s wand.

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My Tomb (1947) shows Trouille’s tomb as a focal point of corruption and depravity in a graveyard.

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Wikipedia | Related: Nosferatu (1921)


The Invisible Maniac

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The Invisible Maniac is a 1990 film directed by Adam Rifkin, credited as Rif Coogan. The screenplay was by Matt Devlen, Tony Markes and Rif Coogan. It features Noel Peters, porn star SavannahStephanie BlakeMelissa Moore and Clement von Franckenstein. Republic Pictures released the film on VHS but it has not been released on DVD yet.

A young boy is caught by his mother spying on the young lady across the road as she removes her lingerie. She lambasted him on the evils of women.

Twenty years later, the scientist announces his theories of invisibility to a group of colleagues. They mock him and he responds by killing four of them. He escapes from the insane asylum and manages to secure a job teaching summer school physics at a high school. The students tease him relentlessly. Meanwhile, he perfects his serum for invisibility, and he goes on a spree of vengeance…

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“There are a lot of surprisingly good kills here—Bubba being force-fed a sandwich, Betty getting choked by a fire hose, Vicky’s electrocution by way of radio and shower. Kevin even pulls off a couple of decent Freddy-type lines, which could probably have slipped into a second draft of The Dream Child (my favorite: when he throws Gordon from the roof, Kevin quips, “Basic law of physics: What goes up, must come down!”).” VHShitfest

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“Rifkin is attempting to draw on the wild era of great 80s slasher movies, and as so often happens when people come in at the end of a trend, he takes it to ridiculous lengths. In 80s horror, of course, the killers’s victims are usually suffering a metaphorical punishment for their crimes – drugs, sex and alcohol being the most popular choices. In the world of The Invisible Maniac, that idea of the world providing the killer a slate of deserving victims is utterly absurd.” Reel to Reel

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Wikipedia | IMDb



Goodbye Gemini

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Goodbye Gemini (US Prism VHS title: Twinsanity) is a 1970 British psychological horror thriller directed by Alan Gibson (Dracula A.D. 1972The Satanic Rites of Dracula) from the novel ‘Ask Agamemnon’ by Jenni Hall.

It stars Judy Geeson (Inseminoid), Martin Potter (Satan’s Slave), Michael Redgrave (Dead of Night), Alexis KannerMike Pratt, Marion Diamond, Freddie Jones (Vampira) and Peter Jeffrey (Dr. Phibes). The notable cinematography and oblique camera angles are by Geoffrey Unsworth (Unman, Wittering and Zigo).

The film makes significant divergences from the book, which involved the use of dream and fantasy sequences written in the style of a Greek tragedy, during which a teddy bear named Agamemnon comes to life and interacts with Jacki. Most notably, the film presents the story in chronological order, whereas the book takes place within the frame narrative of an amnesiac Jacki slowly piecing together the preceding events.

Jacki (Geeson) and Julian (Potter) Dewar, a pair of fraternal twins, arrive in London; and their father is in Mexico. They set about mindlessly indulging themselves in the pleasures afforded to them by their father’s estate (“tapestries and knickers a speciality”), much to the chagrin of the housekeeper, Mrs. McLaren. When Mrs. McLaren threatens to upset their carefree life by imposing order, they trip her down the stairs, staging it as an ‘accident’.

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The twins launch themselves into London’s scene, accompanied by Jacki’s teddy bear, Agamemnon. At one club the pair encounter Clive (Kanner), a small-time pimp and his “creepy friends”. Julian goes out for a night with Clive. who convinces him to accompany him to a brothel where he is raped by two transvestites.

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The next night, the twins blindfold Clive and position him in a chair set up before Agamemnon. When he hesitates in identifying them properly, the twins stab him to death. In the process of Clive’s murder, Agamemnon is cut in half; the combined sight of Clive’s blood splattered on her and Agamemnon’s severed body causes Jacki to suffer a nervous breakdown and she flees…

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Buy Goodbye Gemini on DVD from Amazon.com | Amazon.co.uk

” … a film of two halves: the first half, climaxing in the twins’ terrifying ritual murder of Clive, fizzes with energy and interesting characters, and is thoroughly absorbing. Sadly after that it all comes unstuck … One thing that doesn’t disappoint is the film’s frankly incredible soundtrack. The film kicks off with the Peddlers performing the thrillingly funky “Tell the World We’re Not In” over the credits and Christopher Gunning’s score bears comparison with Roy Budd’s music from the same year’s Get Carter. Ivan Kirby, Classic Horror Campaign

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Buy Christopher Gunning’s lauded soundtrack on CD from Amazon.co.uk

” … allusions to incest aren’t all that effective or shocking, and considering Julian’s jealousy is the catalyst for his irrational behaviour, the whole thing feels a bit uneven. I did enjoy that grim British horror vibe, in particular the downbeat ending, which really ends the movie on a dark note; nobody did downbeat horror like the British in the 60s and 70s. My biggest problem with Goodbye Gemini is that it takes much too long for the horror aspect to creep in…” Trash Flavoured Trash

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” … a classy slow-burn treatment of the horror sub-genre about the deadly aspects of the twin bond that thankfully does not degenerate into a Psycho-clone (despite the comparisons drawn by the commentators with the Hithcock film as well as Whatever Happened to Baby Jane?). Although Potter has the showier role as the more unstable of the twins, Geeson (a British horror favorite) conveys the underlying menace of her character more subtly … Kanner is excellent as the charming Clive” Eric Cotenas, DVD Beaver

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Wikipedia | IMDb | Related: The Pit aka Teddy | Thanks to Dwayger Dungeon for the image of Agamemnon the teddy bear.


Cellar Dweller

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Cellar Dweller is a 1988 horror film, about a comic book artist who unleashes a demon after drawing it. It was directed by John Carl Buechler, written by Chucky creator Don Mancini (as Kit Du Bois), and stars Debrah FarentinoBrian Robbins (C.H.U.D. II: Bud the C.H.U.D.), Yvonne De Carlo (The Munsters), Pamela BellwoodVince Edwards and Jeffrey Combs (Re-Animator, Would You Rather).

On October 29, 2013, Scream Factory released the film on DVD for the first time, along with Contamination 7Catacombs and The Dungeonmaster as part of the second volume of their Scream Factory All-Night Horror Marathon series.

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Thirty years have passed since the grisly murder/suicide of Colin Childress, creator of the comic book, Cellar Dweller. But, as often happens to those ignorant of it, comic book artist Whitney Taylor is doomed to repeat history in a most grotesque way. Little does she know that her twisted renderings will soon reincarnate the bloody hysteria of Cellar Dweller.

Scream Factory All-Night Horror Marathon

Buy Cellar Dweller on Scream Factory DVD from Amazon.com

‘The film is a little light on gore, though what we do have is wonderful — Cellar Dweller casually gnaws on torn-off limbs and hurls severed heads around like so many volleyballs.  What did take me by surprise was the quantity of high-quality female nudity on display in this film, including a prolonged shower sequence cut short by a grisly Cellar Dweller attack.’ Radiation-Scarred Reviews

‘This is no stunner of a movie it has to be said but like a lot of the Empire movies that came out in the 80′s it has it’s own style that rubs off on me very easily. I did enjoy watching this, though it’s nowhere as good as some of the other titles that came out of the Empire stable.’ Horror Chronicles

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‘The movie has little-to-no plot, but it somehow managed to keep me entertained. I suppose it could have had to do with the interesting-looking creature and decent amount of gore. It’s no surprise that a low-budget movie like this pulled off such make-up effects behind the creature since director John Carl Buechler went on to do various other effects for genre movies. Although the movie has an incredibly simple plot and it barely makes it past an hour-15-minute-running-time, it does successfully dish out an interesting little cheesy 80′s horror tale.’ Upcoming Horror Movies

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Wikipedia | IMDb

 


Evil Come Evil Go

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Evil Come Evil Go is a 1972 American exploitation horror film written and directed by Walt Davis (Widow Blue/Sex Psycho) for adult movie producer Bob Chinn. It stars Cleo O’Hara, Sandra Henderson, Jane Tsentas (The Jekyll and Hyde PortfolioTerror at Orgy Castle), Rick Cassidy (Desires of the Devil), Margot Devletian, Chesley Noone (Angel Above – The Devil Below) and porn star John Holmes (who was also assistant director).

Previously available on DVD via Something Weird Video, the film is re-released on a DVD triple-bill by Vinegar Syndrome on January 7, 2014.

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Traveling Evangelist preacher, Sister Sarah Jane (Cleo O’Hara), is hellbent on ridding the world of evil, sex-obsessed men. Taking to the streets of Los Angeles, she quickly befriends a gullible young bisexual woman and the two embark on a mad, sex-filled killing spree…

‘Though the film fails to come up with a satisfactory conclusion, the overlong sex scenes (which are pretty graphic and feature plenty of full male and female nudity) bog things down at times and some of the audio is heavily damaged, most of the humour is on target, it’s in very bad taste and O’Hara is hysterically funny as the deranged Southern Belle.’ The Bloody Pit of Horror

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‘When it comes to mixing crazed religious harpies, almost-porno sex scenes and gooey gory murders, no film does it better than Evil Come Evil Go!… It’s another peek into the bizarro mind of Davis, but is competently photographed by Manuel S. Conde and better-acted than his more familiar films (The Danish Connection, Sex Psycho). The violence and sex is a tad more restrained this time around for Davis, but it’s still a sleazy, off-the-wall gem which could have only been made in the 1970′s!’ Casey Scott, DVD Drive-In

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‘Although quite bloody at times (with much crimson-smeared bared flesh on display) the violence is not as explicit as the sex. And although there is more bloodshed here than in “Sex Psycho” there is nothing as extreme or gory as that movie’s machete to the neck demise. But once again sex and violence do taboo bed-fellows make so what violence there is seems magnified as a result.’ Beardy Freak

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Buy on Vinegar Syndrome triple-bill DVD from Amazon.com

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IMDb

 


Harry Novak (film producer and distributor)

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Harry Novak (January 12, 1928 – March 26, 2014) was an American film producer. Best known for his sexploitation and exploitation movies, Novak also distributed a number of horror films via his Boxoffice International Pictures company.

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Novak began his career at RKO handling Disney movies until its collapse in 1957 and he also handled the US release of early Carry On films.

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His first production was the 1964 ‘monster nudie’ Kiss Me Quick! (original title Dr. Breedlove, a pun on Dr. Strangelove). Although it features Dracula, Frankenstein’s monster, a mad doctor and an alien, this science fiction horror comedy flick was merely an excuse for full colour topless female nudity. Cinematographer Lazlo Kovacs later worked on Ghostbusters. Click here to watch the trailer [contains nudity].

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Horror-themed films distributed by Boxoffice International Pictures include The Beautiful, the Bloody and the Bare (1964), Mantis in Lace/Lila (1968), Any Body, Any Way/Behind Locked Doors (1968), Jean Rollin’s The Nude Vampire (1970) and Requiem for a Vampire/Caged Vampire/Caged Virgins (1971), The Mad Butcher (1971), The Toy Box (1971), Toys Are Not for Children (1972), A Scream in the Streets (1973), Please Don’t Eat My Mother! (1973, an ‘adults only’ remake of The Little Shop of Horrors), The Sinful Dwarf (1973), Axe/Lisa, Lisa (1973), Frankenstein’s Castle of Freaks (1973), Rattlers (1976), The Child (1977) and Rituals (1977).

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Wikipedia

 

 

 

 


La momia nacional (“The National Mummy”)

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La momia nacional (which translates as “The National Mummy”) is a 1981 Spanish horror sex comedy directed by José Ramón Larraz (Vampyres, Scream – and Die!, Rest in Pieces, Edge of the Axe) from a screenplay by Juan José Alonso Millán. It stars Francisco Algora, Quique Camoiras, Azucena Hernández, Carlos Lucena, José Jaime Espinosa, Lili Muráti, Trini Alonso, Paloma Hurtado, Mabel Escaño, Pilar Alcón. 

This film was a domestic release that does not seem to have been sold outside of Spain except perhaps in some Latin American countries.

The IMDb‘s plot keywords include: werewolf, female nudity, brothel, prostitute, vampire, governess, erotica, political comedy, mummy, severed arm, sex and insane asylum, which all sounds like good/bad fun to us… although the song that plays over the opening credits is appalling, so perhaps this is one comedy horror that deserves to remain in Spain?

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IMDb | We are most grateful to No, hija, no for some of the images above.

 


The Cabin in the Woods

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The Cabin in the Woods is a 2011 (released 2012) US horror film directed and co-written by Drew Goddard and co-written and produced by Joss Whedon. It stars Kristen Connolly, Chris Hemsworth, Anna Hutchison, Fran Kranz, and Jesse Williams.

The film follows five friends who travel to a remote cabin for a holiday and become victims of a seemingly stereotypical horror movie plot while being observed via hidden cameras by mysterious office workers.

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Goddard and Whedon, having worked together previously on Buffy the Vampire Slayer and Angel, wrote the screenplay in three days, describing it as an attempt to “revitalize” the slasher film genre and a critical satire on torture porn. Principal filming took place from March to May 2009 on an estimated budget of $30 million, and was shot in Canada. More than sixty artists worked on the effects before filming began.

The Cabin in the Woods premiered on March 9, 2012 at the South by Southwest film festival in Austin, Texas and was released in the United States on April 13, 2012. The film went on to be a critical and commercial success, grossing more than $65 million in the box office.

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Plot teaser:

Technicians Gary Sitterson and Steve Hadley prepare for an operation, one of several taking place around the world, while joking with fellow technician Wendy Lin.

College students Dana Polk, Jules Louden and her boyfriend Curt Vaughan, Holden McCrea, and Marty Mikalski go to a remote cabin in the woods for a vacation. While there, the technicians control the local environment and give them mood-altering drugs to manipulate the group into following a scenario. The drugs gradually reduce the group’s intelligence and awareness, and also increase their libido. After entering the cellar, the group discovers a large assortment of items, including a diary by Patience Buckner, a girl abused by her sadistic family. Reciting an incantation from the diary, Dana inadvertently triggers the Buckner family scenario — a family of zombies who rise from their graves.

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Curt and Jules go outside to have sex, encouraged by more mood-altering drugs. The Buckners attack the lovers and kill Jules, but Curt flees to the cabin. Meanwhile, Marty, who frequently smokes marijuana, becomes paranoid and believes they are being manipulated. Curt informs the group of Jules’ death. Discovering a hidden camera, Marty thinks that he is on a reality television show, but is attacked and dragged away by one of the Buckners. Holden, Dana, and Curt attempt to flee in their RV, but the technicians barely block their path. Curt attempts to jump a ravine to flee only to crash into an invisible forcefield and fall to his death. Realizing that something is unusual about the environment, Dana becomes convinced that Marty’s worries about their manipulation were correct…

 Buy The Cabin In The Woods on Blu-ray at Amazon.com | Amazon.co.uk

Reviews:

“The Cabin in the Woods is hardly the most serious, or smartest, horror film audiences will have seen in a while – there are plenty of eye-roll-inducing dialogue moments and the over-arching setup might be hard for some moviegoers to accept – but, for anyone that’s ready for an entertaining (albeit over-the-top) horror movie, avoid the film’s spoiler-filled trailer and head to your favorite cineplex knowing as little as possible.” Screen Rant

“It’s an affectionately satirical nightmare that asks why horror is so potent: what awful human need is being fed by seeing attractive young people in states of semi-undress who are suddenly, brutally slaughtered, almost as if they are being punished for being young and sexy? Why does the genre adhere so closely to the belief that young people in jeopardy have to be picked off singly, leaving that one character who had initially appeared to be so vulnerable and unworldly, but in whom the situation has uncovered extraordinary reserves of heroism and grit? Could there be some anthropological answer to the ritualist behaviour in horror?” The Guardian

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“If it’s true that you always kill the thing you love, then horror honchos Joss Whedon and Drew Goddard have taken an ax to slasher cinema in The Cabin in the Woods and chopped it up for kindling. With love, mind you, and a potently playful sense of mischief. Cabin is a deliciously devious scare dance that keeps changing the steps until you lose your shit and fall helplessly into its demonic traps. Screenwriters Whedon (Buffy the Vampire Slayer) and Goddard (Cloverfield), in his feature-directing debut, are fright-obsessed.” Rolling Stone

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“… vaguely akin to Wes Craven’s New Nightmare in that it also contemplates the function, and arguable importance of horror stories as a way of somehow addressing and helping viewers comprehend genuine evils throughout the world, while safely engaging our primitive instincts and blood-lust. In Craven’s film, the Nightmare on Elm Street series acted as a way of containing some form of ancient, nameless evil that was condensed and given articulated form in the shape of Freddy Krueger. When the films stopped, the evil was released and free to roam the collective consciousness of the wider world. Horror cinema has long been discussed in terms of its ability to help viewers deal with complex emotions and anxieties in a safe environment, where we know no harm can come to us.” Behind the Couch

“Making cookie cutter movies about kids going out to the woods to get murdered just won’t be good enough anymore. The Cabin In The Woods may have been a love letter to the horror genre, but it was also a much-needed kick in the arse.” Den of Geek

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Soundtrack excerpt by David Julyan and ‘Last’ by Nine Inch Nails, plus image montage [spoiler alert]:

Horrorpedia on Social Media: Facebook (Follow)  | Facebook (Social Group) | Pinterest | Tumblr | Twitter

Wikipedia | IMDb


Frankenstein’s Castle of Freaks

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Frankenstein’s Castle of Freaks (originally: Terror! Il castello delle donne maledette – “Terror! The Castle of Cursed Women”) is a 1974 Italian horror film produced and directed by exploitation entrepreneur Dick Randall. It is very loosely based on the Mary Shelley novel Frankenstein.

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The film is also known as Dr. Frankenstein’s Castle of Freaks (American video title), Frankenstein’s Castle (British video title), Monsters of Frankenstein, Terror, Terror Castle, The House of Freaks and The Monsters of Dr. Frankenstein

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In a non-specified time in an undisclosed European country, neanderthals roam the countryside, upsetting the local villagers. Seeing an opportunity to rid themselves of their tormentors, they corner one of the brutes (Goliath, Loren Ewing from Devil in the Flesh), evading the tree trunks and rocks he hurls, to bash him over the head and kill him. Leaving his corpse, this is soon collected by some shadowy individuals and taken to the castle laboratory of Count Frankenstein (Rossano Brazzi, slumming it somewhat post-The Barefoot Contessa and The Italian Job) so that he can continue to conduct his unholy experiments. The Count is most disappointed that the other (female) cadaver collected up has been tampered with by his necrophiliac dwarf assistant, Genz (Michael Dunn, The Mutations, The Werewolf of Washington)

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The locals are becoming alarmed – they’re suspicious as to what is going on at the castle and also a tad unhappy that the graves of their loved ones are being robbed. Not for the first time in the film, they are told to go away and stop being silly by the hopelessly inept head of police, played by familiar trash movie face, Edmund Purdom (The Fifth CordAbsurd; Pieces) in fairness it’s a very sparse mob with a touch of the Monty Pythons about it. Elsewhere, Genz has befriended the other marauding caveman, Ook (the brilliant character actor Salvatore Baccaro, aka Sal Boris but here under the worst pseudonym ever, Boris Lugosi) and… if you’ve made it this far, it probably doesn’t matter.

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Some female nudity, comedy caveman grunting, some pervy dwarf action and some endless experiments with the world’s smallest lab set-up, the ending can’t come quickly enough – indeed, rather like the opening scene, when it does come it seems out of place.

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Directed by Dick Randall (here as Robert H. Oliver), best known as a producer of low-budget schlock and horror (The Mad Butcher; Pieces; The Urge to Kill), the film was made in Italy and features many bit-art actors from genre of the time – or more correctly, slightly before the time, many of them clearly having fallen on bad times – also along for the ride are the likes of German stunner Christiane Rücker (Castle of the Walking Dead), buff strongman Gordon Mitchell (Satyricon, Frankenstein ’80), Xiro Papas (The Beast in Heat) and Luciano Pigozzi (Blood and Black Lace, Baron Blood, All the Colours of the Dark).

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The real wonder of Frankenstein’s Castle of Freaks is that it conspires against the odds so wilfully to become one of the most painful horror films to watch. As the script is at pains to clarify, the story is broadly speaking that of Frankenstein and so one might assume the hard work has been done… but no, endless, pointless twists, cut-aways, a breathtakingly slow operation (Frankenstein spends longer shaving Goliath’s head than Colin Clive did making two monsters come alive) and some mild hanky panky spiced up with the inclusion of a dwarf and a caveman who communicates through grunts, only serve to make this a harrowing mess.

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Worse still, bad enough that the likes of Brazzi are disgracing themselves but that the film is so bad that even aforementioned Dunn and Baccaro (also seen in The Beast in Heat and briefly in Deep Red), usually arresting and air-punchingly fun in their performances are unable to save this is alarming. The squelchy, grimy score is by Marcello Gigante, better known, and suited, for his work on Italian Westerns. The settings are meagre and rather harbour the feeling that if the camera moved slightly to the left they’d get a decent shot of the car park; as it goes, the gothic flavour is one of the few nearly-ticks.

Picked up by Harry Novak‘s Boxoffice International Pictures and unleashed in cinemas during 1974, the film has not improved with age and is so ponderous it’s difficult to even reappraise it as kitsch. The film found its way onto the home market initially through the likes of Magnum Video and later seen alongside Randall’s far more accomplished production, The Mad Butcherthrough masters of lo-fi Something Weird.

Daz Lawrence, Horrorpedia

 

 

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Hack-O-Lantern aka Halloween Night

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Hack-O-Lantern is a 1988 American low budget horror film that has also been released as Halloween Night, Death Mask and The Damning. It was directed by Indian-born Jag Mundhra (Open House, Night Eyes) from a screenplay by Carla Robinson. The film stars Hy Pyke (Lemora, Nightmare in Blood, Slithis), Gregory Scott Cummins, Katina Gamer, Carla Baron, Jeff Brown, Michael Potts and Patricia Christie.

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Reviews:

Extremely cheesy, Hack-O-Lantern is the epitome of straight-to-video late 80s horror, with big hair, cheap costumes and dodgy effects, mundane metal rock from D.C. La Croix (“You’re the Devil’s son!”) and Mercenaries, a fair amount of female nudity, the requisite puerile party scene, dialogue that’s delivered with no conviction whatsoever by a mainly amateurish cast, and a painfully distracting synth score that seems more akin to a silent movie.

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On the plus side, Hy Pyke overacting as an incest-lovin’ Grandpa villain with a Southern drawl to savour is hilarious, and his supposedly evil antics are what keeps the plot alive when it threatens to falter.

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Hack-O-Lantern is obviously low-grade rubbish but like Jon Mikl Thor’s testosterone-fuelled rock horror outings such as Zombie Nightmare, its thoroughly enjoyable rubbish, when taken it on its own unambitious terms. Needless to say, the Halloween elements are merely incidental.

Adrian J Smith, Horrorpedia

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“The ending had a nice little twist as to who the killer was, but by then I was really too bored to care. I watched Hack-O-Lantern for some fun Halloween thrills, but found it more of a chore to sit through. A film with a cool name like Hack-O-Lantern deserves to be somewhat entertaining, but this was more like Crap-O-Lantern.” The Spooky Vegan

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The Slaughter

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The Slaughter is a 2006 American horror film written, photographed, edited and directed by Jay Lee. It stars Jessica Ellis, Zak Kilberg, Jen Alex Gonzalez Brad Milne, Terry Erioski, Laura Stein, Travis Wood, Billy Beck and Adriana Esquivel.

In the US, the film was released on DVD in November 2007 by Lions Gate. An ’18’ rated UK DVD release from Boulevard Entertainment came in April 2008.

At the turn-of-the-century, a group of naked young women perform a ritual sacrifice to raise a she-demon. Forty years later, at a remote house, the power of the she-demon causes a mother to sacrifice her own daughter. The house remains abandoned until six college students are hired to clean up the place by Mr. Stevens, a real estate agent. The teens find a book of incantations in the basement and due to their lustful activities unwittingly unleash a “gateway to unspeakable evil”…

IMDbRotten Tomatoes

“The story comes full circle in a 80′s style “awakening” of the demons sort of take. This hot fully nude demon appears to each of the occupants and inflicts some form of “Freddy Krueger” style death act. We get a blured telling that she is summoning the powers through the use of fire, earth and water kind of crap…but regardless it’s just opportunities to kill off the kids in a paint by numbers kind of way. I must say though I was surprised at the cleverly cool practical effects gags used.” HorrorNews

Beardy Freak review

Talk of Horrors review

Diary of a Genre Addict review

DVD trailer:


Eyes of a Stranger (1981)

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‘Sorry, your party is dead…’

Eyes of a Stranger is a 1981 slasher horror thriller film directed by Ken Wiederhorn (Shock Waves; Return of the Living Dead Part II). It features makeup effects by Tom Savini and stars Jennifer Jason Leigh in one of her earliest roles.

The film focuses around a murderer who stalks his victims and then calls them repeatedly before raping and killing them. Feminist TV reporter Jane Harris (Lauren Tewes) becomes suspicious and investigates one of her neighbors, whom she believes is committing the crimes.

The film was originally cut for an R-rating, removing many instances of violence including a decapitation, leaving only the final head shot uncut. As a result many of Tom Savini’s gore effects were removed or censored. The uncut version has since been released in Warner’s Twisted Terror Collection on DVD with an R on the packaging.

Reviews:

“There are a lot of clever ideas here, but most of them were done better in earlier movies… If not for the nudity and gore, this could have easily been a made for TV movie. True slasher fans will most likely find Eyes of a Stranger disappointingly tame. On the other hand, fans of older suspense/thrillers will find the gore overdone and the nudity gratuitous. It seems this movie was made to disappoint everyone.” Exclamation Mark

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“There’s uses for a meat cleaver, a switchblade, and bare hands. In the uncut version, there are at least four notable deaths, bloody as can be. A singlehanded decapitation is fun, and flows all over Debbie’s apartment, where she will later find her boyfriend’s head in the fish tank. It seems Night School has a cousin.” Oh-the-Horror!

” … the script gives too much time to the psychopath and he doesn’t get characterised as well as say, in a movie like Maniac. There are no real shots of him behaving like a loon and instead we just see him sitting down to have his dinner and with all due respect to John DiSanti, he just doesn’t ooze scariness.” A Slash Above

“The film shuffles from one suspense-free scene to another – bathed in the pastel nihilistic look that typified many early 1980s genre flicks, the result of blistering Miami sunshine, cheap film stock and subsequent bad video transfer.” J.A. Kerswell, Teenage Wasteland: The Slasher Movie Uncut

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Buy Teenage Wasteland from Amazon.co.uk | Amazon.com

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Buy Eyes of a Stranger uncut + Dr. Giggles + Deadly Friend + The Hand + Someone’s Watching Me + From Beyond the Grave on DVD from Amazon.com

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Wikipedia | IMDb | Amazon.com


Crown International Pictures – production company and distributor

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‘Blood Mania’, ‘Brain Twisters’, ‘Orgy of the Dead’, ‘Satan’s Slave’…

Crown International Pictures is primarily known for low budget flicks, grindhouse cinema, biker films, exploitation films, and B-movie drive in fare.

An independent film studio and distribution company, it was formed in 1959 by Newton P. Jacobs, a former branch head of RKO Pictures. He left RKO in 1947 when he formed his own company, Favorite Films. Crown International Pictures was later headed by Mark Tenser who became President in 1973 with Jacobs moving up to acting as Chairman of the Board.

Crown International Pictures began releasing both low budget films by American producers such as Bloodlust! and The Seventh Commandment and cheaply acquired overseas films such as First Spaceship on Venus and Varan the Unbelievable for a double feature in 1962.

CIP began by releasing six films a year in 1961 with the number rising to twelve films ten years later. Jacobs felt that CIP survived by having carefully planned growth and not over extending their product. Jacobs, who seems to have not noticed that his company have released a number of movies considered to be amongst the worst of the worst, said that CIP did not want to be regarded as a “mini major studio” but as the top of the independents to give the company more freedom in selecting and exploiting their film product. In 1963, Crown began producing their own films starting with The Skydivers

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Buy: Amazon.comAmazon.co.uk | Amazon.ca

Well over 50% of CIP’s product market were drive-in theatres with the number decreasing to 30 per cent in 1981.

Official company website

‘Crowned and Renowned: A Look Back at Crown International Pictures’ – Article by Richard Harland Smith at MovieMorlocks.com

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Notable releases include:

The Beast of Yucca Flats (1961)

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Bloodlust! (1961)

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The Devil’s Hand (1962)

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Madmen of Mandoras/They Saved Hitler’s Brain (1963)

Terrified (1963)

The Creeping Terror (1964)

Orgy of the Dead (1965)

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Mondo Balordo (1967), narrated by Boris Karloff

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Blood of Dracula’s Castle (1969)

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Nightmare in Wax (1969)

Blood Mania (1970)

Point of Terror (1971)

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Stanley (1972)

Horror High (1974)

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Soul Vengeance/Welcome Home Brother Charles (1975)

Land of the Minotaur/The Devil’s Men (1976)

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Satan’s Slave (1976) [US distributor]

The Crater Lake Monster (1977)

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Zoltan… Hound of Dracula/Dracula’s Dog (1977)

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Terror (1978)

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Don’t Answer the Phone! (1980)

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Galaxina (1980)

The Hearse (1980)

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Prime Evil (1988)

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My Mom’s a Werewolf (1989)

Brain Twisters (1991)

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Housewife from Hell (1993)


Creature (2011)

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Creature is a 2011 American horror film, based on a screenplay written by Fred M. Andrews and Tracy Morse. The film is set in the Louisiana Bayou, where a group of friends discover a local legend and are in a fight for their survival. The movie has an MPAA R-rating in the United States with a running time of 93 minutes, it is in Dolby Digital SRD and is also available as a digital cinema print (DCP).

The film opened in theaters on September 9, 2011, in the United States and Canada and was directed by Fred M. Andrews.

It stars Mehcad BrooksSerinda Swan, Amanda Fuller, Dillon Casey, Lauren Schneider, Aaron Hill, Daniel Bernhardt, and Sid Haig. In its first weekend in the USA, Creature earned a mere $327,000 from 1507 venues. It was the lowest grossing first weekend ever for a film appearing on over 1500 screens, and the second worst per location average ever.

Wikipedia | IMDb

“Good or bad, even if just to laugh at its shortcomings, a B-monster movie like this should be fun to watch. Creature is dull, witless, horribly written, not scary and, worst of all, doesn’t even make good use of its monster.” Dread Central

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“The actual design of the Lockjaw monster isn’t bad at all, but it’s the kind of design which would look much more convincing as a comic book character.  On screen, it looks eminently fake, with never a moment’s doubt as to the fact that it’s a stuntman in a suit.  And once you notice that, you can’t help but feel sorry for the poor guy, wearing a plastic monster suit in the sweltering Louisiana swampland.” Daily Grindhouse

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“… the kills. Most are off-screen entirely, opting for a sleight of hand technique where we see a character react to what has just happened to them out of frame, and then there’s a cut to them holding out their half-chopped off arm or looking at whatever impaled them.”
Horror Movie a Day

HorrorNews.net review

Creature-DVD-ARt

Buy Creature on DVD from Amazon.com | Amazon.co.uk


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