Sanguinaire

In the Golden Age of Hollywood, amid the storied eons of the great glamor stars, you had the Stanwyckian tough cookies, the Rogers-like high society sophisticates, and the Garboish fragile beauties - but no one was quite like the Jazz Age wild child Clara Bow. When she made an entrance, she burst onto the screen like a whirlwind and didn't look back, positively exuding earthy vitality. That she didn't have a significant sound career is truly unfortunate, for one's imagination plays happily with the notion of Clara bawdily defying the frigid censors well into the culturally stolid war years. Though we didn't get much in that way, CALL HER SAVAGE is fortunately a picture worth a thousand words.

Okay, the first ten minutes make it look like a dusty old western, but STAY WITH IT...otherwise you'll be missing one of the boldest and brightest pre-Code items this side of CONVENTION CITY. When Clara first appears on horseback, the wind blowing through her hair, you will be transfixed for the remainder of the show. The narrative opens in Texas, with a rich landowner punishing his tomboy daughter Nasa (Clara) by sending her off to Chicago for charm school. He also has latent motivation in wanting to marry her off to the man of his choice. Once in the big city, Nasa becomes known as "Dynamite" in the tabloids for her volatility and elopes with a slippery charmer instead of her intended beau. He strays, so to speak, as soon as their honeymoon, leading Clara to take her leave. From here, it's a road to ruin and back again for the young lady, with a startling secret in store for her at the climax. A free-form blend of western, romantic comedy, tragedy, and everything in between, CALL HER SAVAGE takes (sometimes jarring) turns from comedy to pathos, creating an absolutely unique experience.

I can only imagine how Joseph Breen and his ilk must have gnashed their teeth over this film - virtually every scene seems to have been calculated to drive them up the wall. For all its brazenness, it's surprising that CALL HER SAVAGE was a Fox production, for one would expect it more from Warner Bros. We first see Clara in a tight-fitting white shirt, enthusiastically whipping a snake - then a handsome ranch hand when he laughs at her! Clara then tears off a portion of her shirt to tend to his wounds (my, hasn't that one been appropriated time and time again!). Further mix in race relations, prostitution, and an attempted rape of Nasa by her STD-ravaged husband ("Don't get up" she cautions. "I GET UP every afternoon!" he answers). And don't miss the detour to cinema's very first gay bar where the waiters sing about sailors in pajamas (!). On a seedier level, there's a brief but unsavory taste of pederasty when a drunken old fool approaches a little girl.

But it's Clara who makes this movie. The early scenes of her scantily clad and writhing on the grass have a palpable erotic charge that no black and white vintage can dilute (remember, this was the woman who sat through a stage performance of Dracula dressed in a fur coat - and little else). I really hope that Clara is well remembered today, for she was TRULY a star and incredible personality. A lively, vital, and eternally beautiful free spirit. But there was always a touch of sadness in those big, childlike eyes, wasn't there...

The television horror anthology has a long and noble history. In the Fifties, Rod Serling blazed the trail with THE TWILIGHT ZONE; though the series mostly veered in the direction of what may be called "speculative fantasy", it did produce its share of horrific/macabre episodes. This was to be followed by THRILLER in the early Sixties, a much more overtly Gothic series hosted by Boris Karloff, and one of the first television series to catch flack for experimenting with graphic violence (one episode featured a man staggering down a flight of stairs with an ax buried in his head!). Serling struck again with NIGHT GALLERY in the Seventies, an often genuinely weird and experimental series that, like THRILLER, often drew from the great pulp horror tales of the past for inspiration. And, in the Eighties, came George Romero's TALES FROM THE DARKSIDE.

I vividly remember the show as a pre-teen; it would premier late at night, around 11:30 after the news and "normal" programming concluded. As that bleary witching hour approached, when the wholesome prime-time like of FAMILY TIES and THE FACTS OF LIFE seemed miles gone by, disorientation and apprehension would set in - the atmosphere was right for a kid to be scared! And nothing was scarier than DARKSIDE's opening sequence. What looked like pastoral postcard scenes of rural Vermont would give way to the ominous intonations of Paul Sparer, backed up by a prickly synthesizer score. The title card would then appear in dripping letters of crimson. It was, in a word, unforgettable.

For budgetary reasons, the episodes were shot on video; on the one hand, this gave them an air of cheapness, but on the other lent them a kind of creepy immediacy. The frequent appearance of veteran stars meanwhile, some of who hadn't then worked in years, provided some old-fashioned cachet. Eddie Bracken starred in one I'll never forget - A Case of the Stubborns, based on a story by Robert Bloch. Bracken plays a cranky old grandfather who refuses to accept the fact that he has died, much to the distress of his family. As the days pass, Bracken begins to decompose, to the point of literally sneezing his nose off. Another one that stuck with me was called Inside the Closet, which starred Fritz Weaver as a doctor with a horrible Tom Savini-designed secret locked in his doll closet. One of the (deservedly) best-loved episodes was a Christmas-themed affair called Seasons of Belief. This one had E. G. Marshall sadistically terrorizing his children with stories of The Grither, a sort of demonic Santa being whose name must never be spoken. Building to a truly spectacular conclusion, Seasons of Belief stands out as an endearingly bilious Yuletide classic. In addition to the old-timers, TALES FROM THE DARKSIDE boasted some up-and-coming talent as well - the aforementioned A Case of the Stubborns also starred Christian Slater. Another one I remember, called Monsters in My Room, had little Seth Green as a boy who faces the titular trouble. To further sweeten the package, horror masters like Romero, Savini, and Bloch frequently contributed behind the camera.

TALES FROM THE DARKSIDE looms large in the pantheon of Eighties horror (when the genre wasn't afraid to be bold and nasty), as well as in the hearts of those of us who remember it. As it's been off the air for some time, a DVD release may well be in order, so that a whole new generation might behold what gave many Children of the Eighties a pleasant little chill back in the day. As the show's closer immortally put it: "The Darkside is always there, waiting for us to enter, waiting to enter us. Until next time - try to enjoy the daylight."

Never turning up on television, long out of print on video, and never released to DVD, HOUSE OF THE LONG SHADOWS has fallen prey to neglect in recent times. To a degree, this is understandable; taken purely on its own, HOUSE at first seems to emerge a bit disappointing today. The oft-cited problem is that the four horror stars seem painfully marginalized in order to make way for Desi Arnaz Jr. But, when seen in a larger context, HOUSE rises far above its humble origins and becomes something much greater than the sum of its parts. Much like James Whale's THE OLD DARK HOUSE - a film that shares much in common with HOUSE - it is a film that requires multiple viewings to fully appreciate.

Just as Universal's Dracula of 1931 inspired and influenced a cycle of horror films that would grow, mature, mutate, and ultimately flounder in various forms till the late Forties, so too did another horror zeitgeist bloom during the late Fifties, Sixties and Seventies. The British studio that had produced 1957's groundbreaking THE CURSE OF FRANKENSTEIN, Hammer Films, found great success in the genre over the next twenty years, not infrequently making use of Christopher "Dracula" Lee and Peter "Frankenstein" Cushing. Meanwhile, in Hollywood, American International found their superstar in Vincent Price, whom they headlined in a series of literate, atmospheric Edgar Allan Poe adaptations, beginning with THE FALL OF THE HOUSE OF USHER in 1960. Eventually, this series too would cross the Atlantic. The popularity (and profitability) of these scare shows insured a legion of second-rate cheapness from various entities, many of which utilized Shakespearian actor and erstwhile Universal horror veteran John Carradine, who crept his arthritic way through such low-budgeters as GALLERY OF HORRORS and BLOOD OF DRACULA'S CASTLE.

But, by 1982, this cycle of traditional horrors had seemingly come to a dead end. Hammer and AIP were no longer producing feature films, and most of the great horror stars of the time were now electing to either shoot for mainstream success or a semi-retirement save for the occasional film and television cameo appearance. As the Eighties dawned too, the genre was foregoing Gothic horror in favor of the summer camp bloodbath, the holiday massacre, and the dream-slaying slasher. In the midst of these gruesome developments however, director Pete Walker, not unfamiliar with bloody subject matter himself, decided to provide the old-fashioned approach one last go-around, and gather the very icons of that style to do it.

The plot is old humbug, another revitalization of Earl Derr Bigger's old standard Seven Keys to Baldpate, which had been filmed a number of times before. Jaded novelist Arnaz accepts a bet from his impish publisher (Richard Todd), which involves him spending 24 hours in an old Welsh mansion and writing a Bronte-like Gothic story. As the stormy night progresses, various dodgy characters turn up who, as it emerges, are all members of the benighted Grisbane family, gathered on this night to release a horrible secret in the attic. Before long, various unwary visitors - as well as the Grisbanes themselves - begin to be murdered in grisly ways by a mysterious psychopath. Many twists and turns later, the narrative works its way toward a lighthearted conclusion.

There had long been plans to unite the four horror superstars in one film, but scheduling conflicts had made it impossible. Finally, the opportunity arrived with this project, and all are well served by their roles here. Each is allowed to indulge in his particular acting persona. Price is flamboyant and theatrical, Lee imperious and sinister, Cushing genteel and sympathetic, Carradine sonorous and stentorian. Price in particular excels here, and this was his last real opportunity to shine in a full-fledged horror film. Though he would return to the genre two more times before his death in 1993, neither his embarrassing appearance as an expletive-spewing sorcerer in BLOODBATH IN THE HOUSE OF DEATH or his cantankerous turn hosting THE OFFSPRING can compare to his grandly overstated Lionel Grisbane. In particular, Lionel's pitched introduction at the doorway is unforgettable, a true highlight of horror cinema.

If there is a major regret here, it's that Cannon opted to re-cut the film for some theatrical showings - and that's the version released to VHS years ago. This move appears to have been done in order to play up the horror content and mute the comedy. Though I've never seen the original cut, it almost unquestionably would have been preferable. Both Price and Cushing seemed to feel so, and lamented the fact that many of the comic build-ups were left in, only to have the punch lines cut. The real loss was the original end credits sequences, in which each member of the cast steps out of character to take a final bow.

But, in the end, the shortcomings matter little. HOUSE stands as truly the last of its kind, and more than that, can be seen as the point of embarkation for a new style. Just as Universal provided the iconographic monsters of the Thirties and Forties with a peculiarly reverential send-off in ABBOTT AND COSTELLO MEET FRANKENSTEN, so too does HOUSE OF THE LONG SHADOWS allow its four veteran bogeymen of the Sixties and Seventies to gracefully bow out, in character and with their dignity intact. It's sublimely appropriate that the film should meld Eighties slasher/body-count horror themes (gruesomely accented ax murders, stabbings, acid baths, etc.) with the traditional Gothic approach these men specialized in; by taking part in those very situations themselves, Price, Lee, Cushing, and Carradine thereby "pass the torch" to the knife-wielding maniacs that would come to rule the genre in their place. Seen in this light, the film's faults seem to considerably melt away, and one realizes what a true, unique gem we have here. That is, a lighthearted but affectionate good-bye to twenty-five years of classic horror films executed with great deft and style.

In the previous movie, the Lutz family was terrorized and tortured by the notorious Amityville house before making a wise exit from the property - but others were apparently eager to move into the place. We now are introduced to a new crew for haunted house horror - the severely dysfunctional Montelli family. Blissfully (stupidly?) unaware of the house's deadly past, and apparently not too concerned when the faucets spew blood, they soon find themselves in a mess of trouble. The oldest son is possessed by a demon that creeps out from the secret room in the basement, causing him to do wicked things like seduce his sister - and worse…

This is the best of the sequels to The Amityville Horror, just a bit better than Amityville 3-D. It has that raw edge to it that makes early eighties horror so interesting. As far as the acting, it's better than you would think - James Olson gives a very good performance as the priest, while Burt Young is, as always, outstanding in the role of the bad tempered father. Right from his first scene you know he's going to be a big jerk, but Young manages to make the role very entertaining. This movie has some quite grisly, even chilling scenes, especially in the early parts, and it does a great job of giving the house itself a sense of sinister atmosphere. There's also an amazing little moment where a tablecloth is pulled off a table and thrown over a crucifix on the wall by an invisible entity, all done in one shot without a jump cut. Altogether, this is a solid, underrated sequel. Give it a look.

Made just after the excellent Halloween 4, this entry in the series is, in my opinion, one of the best. Not as good as parts 1, 4, or H20 perhaps, but it surely rises above the others. Further developing the themes of Halloween 4, we find Jamie Lloyd traumatized by her previous adventures, and now with a newly acquired psychic link with Michael. Similarly, Dr. Loomis seems more unhinged than ever - a man driven to the brink of insanity by years of contact and obsession with his former patient. Also, Michael's character is given some nuances lacking previously - such as in the car scene with Tina, or in a scene toward the end, in which he reveals his face to Jamie. His overall appearance (the mask and so on) is also improved, and he looks more menacing than he did in Halloween 4.

There are several new and very interesting themes introduced to the series here as well. The man in black is a controversial issue in the series - but consider that his identity is not revealed and no information is given about him. While the filmmakers really didn't know what he was supposed to be (the Thorn/astrological back story was not introduced until Halloween 6, and whatever feelings people have about that shouldn't be taken out on Halloween 5), his presence does give the movie some new themes to work with - something the series was beginning to need at this point.

Of course the movie does have its weak points - and they are found mostly in its middle third. The scenes in the barn tend to drag the movie down and would be more suitable in Friday the 13th anyway. Not to mention the two goofy cops on stakeout…But the rest is excellent, right from the opening credits sequence - the best in the series - depicting a knife slashing away at a pumpkin as the Halloween Theme emerges and builds. And the ending, which is memorable and intriguing - and might have made a fine final image for the whole series, capped off with an excellent cover of the Halloween Theme over the end credits.

Right from the opening, depicting something resembling a customized mobile home floating through space, you know this is something special. A low budget space ship lands in the middle of the woods - this contains alien scientists John Carradine, Julie Newmar, and Tina Louise. Using a hospital as a base of operations, they set out to fulfill their mission; to gather blood platelets from young Earth people and send the stuff back to their home planet. Platelets, it seems, are the key to eternal life. They hire two mechanics (Aldo Ray and Neville Brand) to handle the dirty work of capturing unwilling donors. And what luck - nearby there are a group of perfect specimens on a camping trip...

First of all, the cast is amazing. Carradine and Newmar - no strangers to this terrain - actually manage to pull their roles off with style and dignity. Aldo Ray was probably used to this kind of movie as well, having already appeared in such things as Mongrel and Biohazard - while Tina Louise was `Ginger' on Gilligan's Island. Neville Brand had a distinguished record in World War 2, and afterward found his way into a major Hollywood career, specializing in westerns during the fifties - and notably played Duke, the embittered POW in Stalag 17. In this, his last film, he plays the role of Ray's lackey - and actually appears to be enjoying himself, even while unpleasantly ogling and pawing his captured female victims. Also worth mentioning is the fact that the victims and potential victims are not just cardboard cut-outs, and you actually like them.

Is this movie any good? Well, let me put it this way - it's dumb and cheap and sleazy - but that's exactly what it's intended to be. It would have been a perfect feature on the late, great USA Up All Night, as it's very much in that "style". For the people who consider that a recommendation, dive right in.

Promising another great action drama!

Richard Fleisher's tight direction, Bronson's sheer force of presence, and above all Elmore Leonard's excellent dialog combine to make this one terrific piece of entertainment – and one of Bronson's best films. Also worthy of note is Al Lettieri as Frank Renda (another excellent performance), a fearsome, explosively violent antagonist who perfectly compliments Bronson's cool-yet-tough demeanor. Bronson plays Vince Majestyk, a watermelon farmer who wants nothing more than to get his harvest in and mind his own business. He is interrupted by the weasel-like Bobby Kopas, who is quickly set straight by Majestyk – but Kopas soon joins forces with the vengeance-seeking Renda, whom Majestyk tried to send back to jail. Renda is just itching to get at Majestyk, and what follows is an action packed battle of wits between two determined foes – with only one left standing at the end…

Mr. Majestyk also manages to combine great action with some especially sharp, funny dialog. For instance, Majestyk overhears a gas station attendant claim the bathrooms are out of service: `Hey, I was the last one to use that men's room - you saying I busted the toilet?' Overall, Mr. Majestyk is highly recommended to fans of the great Charles Bronson, action movies, or just great movies in general.

Unabashedly, this movie is a sadomasochistic spectacle. The nominal plot dealing with the social/political forces behind the witchcraft hysteria of the Middle Ages is just present to provide some `historical' respectability. Behind this pretense we find such scenes as sitting on a seat of spikes, prolonged water torture, unfortunates locked in the stocks, a damsel in distress stretched on a rack, and the usual burnings at the stake – all carried out with incredible relish by the witch finders (as well as the filmmakers). In the first ten minuets alone we get execution, mass rape, and public humiliation.

The cast is strong – particularly Reggie Nalder as Albino the local witch finder, whose genuinely unsettling visage hides an even more malignant soul. Albino longs for the affections of Vanessa the beautiful waitress, but is spurned and marks her as a servant of the Devil. He is interrupted in his torturing spree by Lord Cumberland (Herbert Lom) and assistant Christian (Udo Kier); they are representatives of the state who soon take the mayhem to new heights. And Cumberland, it seems, has some very personal reasons for this…

All in all, Mark of the Devil has quite a nasty tone – and it's sharp as the probing needle that is driven into Vanessa's back. Do I recommend it? Of course - for those with similarly refined tastes.

Why would anyone want to live in the Amityville house? It's got a bilious basement with a bottomless pit, a lethal living room, and feral flies that swarm in the attic. The sinks don't work either. In fact, this house is going straight to Hell - literally!

Into this questionable piece of real estate moves Tony Roberts, a skeptical journalist who doesn't believe the horror stories concerning the house (or hasn't learned anything from the first two movies) and is determined not to let `superstition' get the better of him. But get the better of him it does…

This is in no way a great movie – but it keeps me entertained every time I watch it, the hallmark of good low-budget horror fun. And dig that neat poster – great horror movie graphics! There's also some amusement to be had due to the presence of a few future stars in the cast – such as Lori Loughlin as the daughter of the journalist, who would trade in her haunted house for a Full House. And then there's Meg Ryan, touring the Amityville residence and pondering the joys of sexual relations with ghosts. Whatever floats your boat, Meg!

Gangsters have bullied and murdered a woman. Now they had better watch out, because her fiancée is none other than Paul Kersey – and it's time for Mr. Bronson to dispense some more swift justice!

While this entry in the Death Wish series doesn't have the highest body count (see part 3 for that) and isn't the most grim and gritty (see part 2), it is the most sadistic. You see, in previous films Bronson got his wrathful business done with his trusty sidearm – but we get some variation in this one. Here he breaks out a marvelous assortment of deadly amusements such as the exploding soccer ball and poisoned pasta mentioned in other reviews – all seen in graphic detail as they work their murderous magic. Add to that the stress on facial disfigurement and scenes involving torture by steam press, plastic wrapping machine, and radial saw – and you have a new and wonderfully vicious formula for more Death Wish mayhem.

This is not the best in the series, but Bronson's presence alone gives it distinction, and it manages to make the most of the obviously very limited budget. If you're a fan of the series like me, you'll enjoy it in all its unpleasant, uncompromising glory.

How could I not love this movie? It is a rare cinematic occurrence indeed to find such delightfully sleazy ingredients as chainsaw massacres, disco aerobics, on screen vomiting, pornographic jigsaw puzzles, a girl wetting her pants, and a guy salivating over a woman's feet all in one place. Only from the combined minds of Joe D'Amato, Dick Randall, and J. Piquer Simon could such a thing spring forth – and judging from the number of reviews here, I'm not alone in my fondness for this movie.

Many of the cast members will be familiar to fans of these kinds of movies. Christopher George (having already been through Graduation Day and a trip to the Mortuary) is a strong lead as the no-nonsense detective on the case, while Jess Franco veteran Jack Taylor creeps around the increasingly decimated campus as an anatomy professor. Of course the victims are just anonymous dead meat, but then that's all they need to be.

Say what you will about the overall quality of the film, but one thing's for sure - Pieces doesn't suffer from a lack of blood and guts. The crimson stuff flows freely once the chainsaw starts up, and the movie actually lives up to the surprisingly honest tagline - `it's exactly what you think it is' - take it or leave it. And the ending - what an ending!

This film is, as the other reviewers said, rather like watching a dream. It is interesting to note the subtle changes this film makes on the usual Jekyll/Hyde movie formula: Udo Kier's Dr. Jekyll is not really a benefactor of humanity, but a man who revels in being able to commit horrendous crimes in the guise of his alter ego - actually moving the story closer to R. L. Stevenson's original idea. He preaches a philosophy of going beyond good and evil through science.

Likewise, Hyde commits actually repellent crimes of rape, child abuse, and sadism - making him closer to the idea of "unchained evil" than the more genteel transgressions of other movie Hydes.

Overall - a memorable, beautiful, shocking, film. Well worth seeing.

While I didn't enjoy this one as much as the original, it's still great fun. The big action scene at the climax is well done, with Jackie Gleason in some nice moments as he plays different members of the Justice family in doomed "hot pursuit" of the Bandit. Burt and Jerry Reed are fun as well.

Just kick back with a beer to get in the right mood and enjoy.

Frightmare is an interesting attempt to combine the old thirties style horror with eighties slasher. Ferdinand Mayne stars as Conrad Ragzoff, an arrogant old ham horror actor who dies of a stroke. Some of his fans steal his body from his tomb(what fans!) and all heck breaks loose. Mayne is lots of fun, appearing on a special monitor in the tomb and taunting his soon to be victims. The opening parts of the movie are wonderful; showing Conrad's old movies, him taking care of an unlikeable director, etc. The scenes in the old house, where Conrad stalks the kids, are a little more basic, but still entertaining.

Jeffery Combs is good, but the movie really belongs to Mayne. He seems to enjoy himself and makes the movie lots of fun. So basically, it's not one of the great horror movies or anything like that, but still well worth seeing for fans of eighties horror.

And that's not an exaggeration. I searched for this movie for a long time, and I'm glad I found it. Marcel Marceau plays Shanks, a deaf puppet maker, and Walker, an old scientist who has discovered the secret of reanimating the dead. He plays both beautifully, using his pantomime skills to achieve silent movie style acting. In fact, that's what this movie reminds me of - a silent fairy tale (the use of title cards to introduce scenes further suggests this), with a little George Romero thrown in! It's incredible that something this abstract and individualistic was made; I wish more movies would be as bold. The opening credits sequence, with tinted photos of kids watching Shanks' puppet show while the weird Oscar nominated (!) music plays is incredibly strange, memorable, and disturbing.

William Castle, of all people, directed. This movie shows, more than any other, that he was more than just the "King of Gimmicks". To see such an expressionistic and disturbing vision.......is to regret that this was his final film as director.

Death Wish 3 features lots of shootings, explosions, car crashes, mutilations, and Charles Bronson being Charles Bronson! The main reason to watch these movies is for the action and violent content, and this one delivers. Bronson puts a guy's head through the bars of a jail cell, fixes up a trap that knocks another's front teeth out, and in the end leads a war through the streets!