Category Archives: Cult

The Devil’s Honey (1986)

Posted on December 9, 2023 | 1 comment

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By Richard Winters

My Rating: 4 out of 10

4-Word Review: Revenge on a doctor.

Jessica (Blanca Marsillach) is madly in-love with Johnny (Stefano Madia) who’s a famous saxophonist. The two share many kinky moments and have sex in the wildest of places. Wendell (Brett Halsey) is a surgeon who no longer has sex with his wife Carol (Corinne Clery) and instead seeks out prostitutes though even here the arousal is brief as he can’t achieve an erection for any extended period of time. Carol finds out about his philandering and asks for a divorce, which sets Wendell into a panic as he still enjoys having his wife around as a support system even if it isn’t for intercourse. As this is happening Johnny falls unconscious during one of his recording sessions due to a bump he got on his head while falling off his motorcycle earlier. He gets rushed to the hospital where Wendell is on-call, but he’s unable to concentrate on the surgery due to the stress of his marriage and Johnny ends up passing away. Jessica is outraged by this and sets a vendetta on Wendell to punish him for killing her boyfriend. It begins by her calling him constantly, but eventually she kidnaps him by taking him to her place and tying him up. She tortures him sexually, which strangely both of them begins to enjoy.

This was cult director Lucio Fulci’s return to a sex themed film, which he had started his career out as and away from the gory giallos he had become most known for. The attempt is not without merit as the sex is explicit and almost like a porn film with brief interludes of dialogue before it goes right back to the sexual imagery. Unfortunately on the erotic end it’s not all that titillating. The scene where Johnny blows his saxophone up Jessica’s vagina looked more laughable than kinky. The segment where he tries to get her to fondle his penis while they’re riding on a motorcycle, which almost gets them into a bad accident, I found genuinely cringey and not sexy at all. The fact that she’d be so into a guy that’s rather controlling and degrading to her seemed a mystery though it might’ve been meant as a quirk to her personality, but never explained sufficiently.

Outside of the sex the drama is weak. The moment inside the studio where he complains about having a headache, but the producer tells him to keep on playing anyways, so he blows out a few weak notes before tumbling to the floor came-off as unintentionally funny and had me laughing. Jessica’s distraught reaction where she bangs on the glass that separates the control room from the studio was ridiculous as she should’ve run into the studio to try to physically come to his aid, which had a better chance of actually helping him than just pounding on a window. I also got sick of hearing Johnny play the same piece over and over until it became nauseating.

Things improve with the presence of Halsey an American actor who appeared in many B-pictures during the 60’s and 70’s, but eventually went abroad by the 80’s when the film offers here began to dry up. While his face is chiseled and good-looking the hollow look in his eyes perfectly fits the character and thus becomes  a memorable image. Watching Jessica harass the hell out of him is kind of fun though no explanation for what the substance was that she used to knock him out, nor where she managed to attain it.

Spoiler Alert!

The third act has some tension though it gets ruined by all the flashbacks. Wendell’s wife also disappears completely and no scenes showing her reaction to the news that her husband’s been kidnapped. She had figured prominently in the first two acts and therefore we should’ve seen some sort of response from her in the third. Whether she was happy to have him gone, or had a change-of-heart and became upset is something we should’ve seen. There’s also no answer to what ultimately becomes of the new couple who end up liking the abuse that they give to each other. Do they go on cohabitating and if so does Wendell go back to being a surgeon and if not how do they survive financially? There needed to be more of a conclusion and just leaving it all hanging is not satisfying.

My Rating: 4 out of 10

Released: August 21, 1986

Runtime: 1 Hour 23 Minutes

Rated R

Director: Lucio Fulci

Studio: Selvaggia Film

Available: DVD-R, Blu-ray

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Posted in 80's Movies, Cult, Erotica, Foreign Films, Italian Films, Kidnapping Movies, Movies with Nudity, Sex, Thrillers/Suspense

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Smokey and the Bandit Part 3 (1983)

Posted on November 15, 2023 | Leave a comment

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By Richard Winters

My Rating: 0 out of 10

4-Word Review: Where is the Bandit?

Buford T. Justice (Jackie Gleason) announces his retirement as sheriff after more than 30 years of service. He decides to spend his time in Florida where he expects to get some rest and relaxation. However, once he becomes a part of the senior community he doesn’t enjoy it and feels the need to get back to what he liked doing most, which was chasing after the elusive Bandit. Big Enos (Pat McCormick) and Little Enos (Paul Williams) offer him a deal to get back into the swing of things. They bet that he can’t drive his police car from Miami, Florida to Austin, Texas, a total of 1,400 miles, in two days with a stuffed fish tied to the top of the car. If he’s able to succeed at the challenge he’ll make $250,000, which Buford readily accepts. To keep him from getting there the two Enos brothers set-up traps along the way in order to stymie his progress, but Buford and his dim-witted son Junior (Mike Henry) manage to get out of each predicament that gets thrown at them, so the Enos brothers decide to call-in Snowman (Jerry Reed) to help them. Snowman is a trucker, but in this instance he gets to pretend he’s the Bandit and even dress in his get-up and drive Bandit’s fancy black and gold Pontiac Trans Am. The new Bandit, who picks-up Dusty (Colleen Camp), a disgruntled used car sales woman along the way, soon catches up with Buford and son and steals their stuffed fish, which turns-the-tables and forces Buford to go after them.

By 1982 both Hal Needham, who had directed the first two installments, and Burt Reynolds, who had played the Bandit in the first two go-arounds, were no longer interested in getting involved in the project for another time as both were already busy working together on Stroker Ace. The studio though didn’t want to give up on the idea of a third installment since the first two had made a lot of money, so they signed-on Gleason to reprise his role as Buford with the promise that he’d have full script approval, which proved difficult as he didn’t like any of the scripts that were handed to him and at one point made the glib remark “with scripts like these who needs writers?’. After going through 11 rejections the writers finally hit on the idea of letting Gleason play dual roles of both the Bandit and the sheriff. Initially Gleason didn’t like this either, but the prospect of hamming up two different characters, which he had already done in Part 2 where he played Buford’s two cousins Gaylord and Reginald, got the better of his ego, so it received the green light.

In October of 1982 the script with Gleason in both roles was shot, but with no explanation for why he was playing the Bandit and everyone else in the story playing it straight like they didn’t see the difference. Eventually upon completion it was sent to a test audience in Pittsburgh where they gave the film unanimously negative feedback convincing the studio that the experimental novelty wasn’t going to work. They then hired Jerry Reed, who wasn’t even in the project before then, and asked him to reprise his role as Snowman who would then disguise himself as the Bandit. Then every scene that originally had Gleason in the role as Bandit was reshot with Reed now doing the part, but all the rest of the scenes that had already been filmed without the Bandit remained intact. The reshot Bandit segments were filmed in April of 1983 and the film eventually got its release in August of that year where the response of audiences and critics alike remained just as negative.

For years this was considered by many to be an urban myth as no footage with Gleason as the bandit was ever seen, but then in 2010 a promo of Gleason playing Buford, but talking about becoming the Bandit, or ‘his own worst enemy’ appeared on YouTube with the title of Smokey IS the Bandit Part 3 and Jerry Reed’s name not appearing anywhere on the cast list. Then in 2016 the actual shooting script that was shot in October of 1982 was downloaded to IMDb’s message board (back when they still had them), which plainly detailed Gleason as the Bandit, but had no written dialogue for those scenes since Gleason was routinely allowed to ad-lib his lines. The lost footage of Gleason in the Bandit scenes is purportedly in the control of the Gleason estate where it’s kept under wraps never to be shown to anyone again by apparently Gleason himself who felt humiliated by the test audiences negative reaction.

As it is the movie is not funny at all and unsurprisingly did not do well at the box office. Nothing much makes sense and the humor is highly strained including a drawn-out segment featuring the Klu Klux Klan, which I found downright offensive. Having a Blu-ray release of the lost footage of Gleason in dual roles would most likely be a big money maker as through the years it’s built up a lot of curiosity. It might be confusing and weird just like the original test audiences said it was, but it couldn’t be any worse than what we ultimately get here, which is as bottom-of-the-barrel as they come.

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My Rating: 0 out of 10

Released: August 12, 1983

Runtime: 1 Hour 25 Minutes

Rated PG

Director: Dick Lowry

Studio: Universal

Available: DVD, Blu-ray

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Posted in 80's Movies, Campy Comedy, Crude Comedy, Cult, Fast Cars/Car Chase, Movies that take place in the South, Movies with Nudity, Road Movies, Sequels

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The Woman Inside (1981)

Posted on November 8, 2023 | Leave a comment

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By Richard Winters

My Rating: 3 out of 10

4-Word Review: From man to woman.

Hollis (Gloria Manon) is a Vietnam Vet. whose suffers from gender dysphoria and decides to begin the process of gender transition with Dr. Rosner (Dane Clark). The first part of the procedure works perfectly as Hollis, who changes the name to Holly, resembles a woman physically and even takes voice lessons so that her voice is higher pitched. She still has a penis, but that doesn’t prevent her from beginning a relationship with Nolan (Michael Champion) though they don’t sleep together and she’s reluctant to tell him about her condition. Eventually she schedules the surgery while telling Nolan she’ll be gone for a couple of months, but when she returns they’ll be able to fully consummate their relationship. In the meantime she begins to question her decision when she joins a therapy group with other people who’ve had the procedure while also enduring verbal abuse from her Aunt (Joan Blondell) who doesn’t agree with the transition and openly mocks Holly for going ahead with it.

While on the surface this may seem like a groundbreaking film it really isn’t as two movies The Christine Jorgensen Story, which came out in 1970, and I Want What I Want, which starred Anne Heywood and released a year after the other one all preceded this movie by a good decade. It also suffers badly, much like with the Heywood film, where the protagonist doesn’t really resemble a guy even though technically that was what he was biologically born into. Instead Hollis looks much more like a woman with short hair and padded outfits and in a lot of ways kind of like Nancy Kulp the actress best known for starring in ‘The Beverly Hillbillies’ TV-show. Her attempts to speak in a lower voice doesn’t sound authentic and I felt it would’ve worked better had a biological male actor been cast in the part as the scenes with Manon trying to come-off as a guy is awkward and not believable.

The scenes where she goes back to the gas station, where she once worked when she was still a guy, and trying to get-it-on with Marco (Michael Mancini), a man she had a confrontation with earlier while she was Hollis, is ridiculous as well. Marco apparently doesn’t recognize her as the person he knew when she was a man, which I just couldn’t buy into, as Holly’s face is essentially she same as it was when she was Hollis except her hair’s is longer and she has a very distinctive facial structure, so there’s just no way someone that knew her in the past wouldn’t at the very least jog some Deja vu if ultimately connecting the two at some point and for him to go to bed with her without a single inkling is just not plausible.

Holly’s relationship with Nolan, particularly the way it begins, is highly problematic too. She works as a taxi driver and literally picks him up on a street corner at random while he’s in a drunken state, but why on earth would she suddenly fall for a guy, especially in that condition? She also comes upon him right after having a very scary and violent confrontation with another male passenger (Louis Basile) making me think she’d be so traumatized that the last thing she’d want to do is allow another male stranger into her car. Their relationship moves too quickly as they’re already talking about ‘love’ and long term commitment by only the next day. Nolan also transforms from a bum to a well-spoken respectable member of society overnight. The scene where they try to ‘outrun an approaching storm’ is stupid too as we see them madly riding their bicycles in an attempt to escape while above them is sunshine and blue skies.

Things improve a bit by the third act particularly the scenes involving the therapy group, which the movie should’ve had more of. Some commenters on YouTube, where the film is currently streaming for free, that also suffered from gender dysphoria seemed to appreciate the movie more than others, so if you personally connect to the subject matter you’ll most likely like it better, but on a technical end it’s botched.

This too marks, at least in most reference sites, as being Joan Blondell’s final film appearance though that’s not completely true. While this was the final film to be released with her presence, in fact it came out after she had already passed away, it was filmed in March, 1978 while The Glove, another movie she was in, was shot in April of that year, so technically that was her last film appearance even though it got released before this one.

My Rating: 3 out of 10

Released: September 15, 1981

Runtime: 1 Hour 34 Minutes

Rated R

Director: Joseph Van Winkle

Studio: 20th Century Fox

Available: VHS, DVD-R (J4HI.com)

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Posted in 80's Movies, Cult, Drama, Movies with a Hospital setting, Obscure Movies

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The Baby (1973)

Posted on October 28, 2023 | Leave a comment

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By Richard Winters

My Rating: 7 out of 10

4-Word Review: Family harbors man-baby.

Ann (Anjanette Comer) is a social worker who, still tormented by the car accident that has left her husband severely brain damaged, decides to throw herself into her work by focusing on a bizarre case in which a mother (Ruth Roman) and her two daughters (Marianna Hill, Susanne Zenor) take care of a third sibling (David Mooney, but billed as David Manzy) that is a grown man, but permanently trapped in an infant state. As Ann meets with the family she becomes convinced that ‘the baby’ has potential for intellectual capacity and it’s only because of the abuse that he receives from his embittered mother, who harbors a grudge for men after her husband walked out on her and is now taking out that anger on her son, that is holding him back. She devises a plan to kidnap the son, so that she can take him out of that toxic environment in order to help him, but when she does the mother and her two daughters plot a violent revenge in order to take him back.

It took many years for screenwriter Abe Polsky to get his friend Ted Post, who appears onscreen during the party scene, to agree to film his script as he insisted that it was, in his words, ‘too negative’. His ambivalence for the material shows as visually it’s given the TV-movie treatment that lacks atmosphere, or a visually provocative approach the would help accentuate the darkly quirky elements of the story. While this has still attained a cult following it’s mainly because of the offbeat story and might’ve gotten more fans and attention had the direction been equally offbeat instead of so basic.

The acting on the other hand is a stand-out. Ruth Roman, a one time leading lady during Hollywood’s Golden Age, but by the 70’s was relegated to low budget horror, is terrific with her raspy voice and chain smoking making her like a snarly version of Suzanne Pleshette. The caustic confrontations between her and Comer, who initially seems like the angelic, law abiding one, helps accentuate their contrasting personalities. Comer of course is quite good too. She’s played many offbeat characters, but here comes-off as the noble, straight one and does so convincingly, which is detrimental for pulling off the stories plot point. Hill, as Roman’s twisted amoral daughter, is interesting as well though there was no need for two daughters as they both shared seemingly the same personality and could easily have been merged into one and since Hill gives her part a little better nuance she should’ve been cast while Zenor cut out completely.

Mooney as the man-child though is the scene stealer. He got into his part by observing special needs children and his infant mannerisms is on-target to the extent it’s creepy. Having him put into a crib though that he supposedly couldn’t get out despite being a grown man physically doesn’t really gel as even toddlers can ultimately figure out a way to get out of one. Putting him into a big cage that would sit in the middle of the ‘nursery’ would’ve been more sinister visually as well as realistic. The source of his infantile state, that he’s seemingly been abused by a cattle prod all these years to not grow up, or to even learn to talk, or walk, is equally ridiculous. Explaining that his condition was caused by being in a car accident when he was an actual baby, which then trapped him in that state forever due to brain damage would’ve been far more easier to swallow while also tying it in to Comer’s husband’s condition that eventually becomes a key element.

The scene with the young babysitter, played by Erin O’Reilly, didn’t make sense either. She’s portrayed as being just this average teen taking care of the baby like she would a real one for extra money, but there’s no way any teen would be comfortable changing the diaper of a grown man, as it’s still a man’s body no matter how he behaves, and not come away feeling sick and perverse. by doing it Thus the part should’ve been played by some kooky older woman, perhaps a friend or cousin to the mother, who was lonely and liked taking care of the ‘baby’ due to sharing the same man-hating instincts, or had a secret quirk where she enjoyed having a male in a subservient condition.

Spoiler Alert!

The third act had holes in it as well as Comer kidnaps the ‘baby’ and brings him home with her, but the mother and sisters don’t call the police to get him back. Supposedly this is because the mother is afraid the years of abuse, that Comer has become aware of, would come to light, but it would still be her word against theirs and I felt they should’ve responded more aggressively maybe even hiring a lawyer to take the case to court and then becoming impatient with the slow legal process and then finally deciding to take matters into their own hands, but just having them sit around the house for several days/weeks waiting to see what Comer does next doesn’t really jive.

The ultimately twist though I did like and took me by surprise. I’m usually able to guess where movies are going and can get it right most of the time, but this one is novel and for that gets high marks despite its other issues.

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My Rating: 7 out of 10

Released: March 4, 1973

Runtime: 1 Hour 24 Minutes

Rated PG

Director: Ted Post

Studio: Scotia International

Available: DVD, Blu-ray, Fandor, Tubi, Amazon Video, YouTube

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Posted in 70's Movies, Cult, Horror, Kidnapping Movies

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Who can Kill a Child? (1976)

Posted on October 26, 2023 | Leave a comment

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By Richard Winters

My Rating: 6 out of 10

4-Word Review: Children kill the adults.

Tom (Lewis Fiander) and Evelyn (Prunella Ransome), who is pregnant, travel to an island off the coast of Spain in order to find some peace and quiet while on vacation. Once they arrive they find the place conspicuously devoid of any adults with many of the shops and bars looking like they’ve been abandoned. The only people around are children who behave strangely and will not talk to Tom, or Evelyn even when spoken to directly. They then come upon an adult survivor named Padre (Antonio Iranzo) who describes to them how the night before the children suddenly went crazy and began killing all the adults on the island without any provocation. Can Tom and Evelyn escape, or will they become yet another victim?

While there’s been other movies detailing children, or even groups of kids, who murder the adults around them this one is considered the granddaddy of all of them and, though not ever verified, the possible inspiration to Stephen King’s Children of the Corn. The film’s creepiness comes not so much with scares, as there’s very little of that, but more through its quiet atmosphere and isolation that grows increasingly more ominous as it goes. Violence-wise it’s scarce with only the minimum of gore though the sequence done over the opening credits, which has grisly real-life footage of victims of the Holocaust as well as both the Korean and Vietnam Wars is not for the squeamish and may be too explicit and grim for some to sit through.

The script was written in only a matter of 4 short days and it shows with character motivations that aren’t particularly well thought out. For instance I didn’t understand why Tom wouldn’t tell Evelyn about what he saw, in regards to the child beating up and eventually killing an old man, and wanted to somehow play down and even lie about what was going on. This is a pregnant woman who has a right to know about the dangers lurking about. Shielding her from the horrifying realities isn’t going to help her be alert and put up her defenses and if anything just make her more vulnerable to be taken advantage of by the kids. What kind of husband lies to his wife about such urgent matters? Does he think because she’s female she won’t be ‘strong enough’ to handle the truth? If so it makes him sexist and not particularly likable because of it.

Tom also is too slow to respond to things. Even after witnessing first hand the children’s atrocities he doesn’t immediately try to arm himself, get off the island, or board him and his wife off in some sort of safe room with a fortified door. Instead they remain pretty much out in the open in an abandoned hotel with both the entrances and exits wide open for anyone to come into. At one point he even gives his wife a sedative and tells her to take a nap inside one of the hotel rooms while leaving the door open as he goes downstairs to speak to the male survivor, but how does he know a kid won’t sneak into the room while he’s gone?

It’s strange too how the children kill a Dutch woman and even strip off her clothes, but when Tom walks in they all scurry away. If they’ve already killed a vast number of adults why would they fear Tom when he comes in and instead not just attack him too? For that matter why does Tom feel so emboldened to walk in on these kids to begin with? He’s seen what terrible things they can do, so why does he risk exposing himself to them? These clearly aren’t normal kids, so he should remain at a safe distance and view what they’re doing from a hiding spot.

While there’s creepy moments and imagery it all mainly comes during the third act and some more scares and action earlier could’ve helped. The special effects aren’t too great either with the shot of the bloodied old man, whose supposedly just been killed, clearly still breathing as his chest heaves up and down, though Tom carries him away like he’s now nothing more than a corpse. Having Padre describe the violent attacks of the children onto the adults from the previous night was disappointing as this should’ve been played out visually, even if through flashback, as it would be much scarier to see this instead of just being told about it.

Spoiler Alert!

The ending has its fair share of suspenseful moments, but again more logic loopholes. When Tom and Prunella are trapped in a room behind a wooden door a small child crawls through the window space and tries to shoot at them, but Tom manages to hit the kid with a bullet first with a rifle he’s found. The other kids then quit trying to break the door down the couple are in once they hear the shot and all go filing away. Tom says this is because none of the other adults responded with aggression and violence towards them like he did. Once they realized, by hearing the gunshot, that Tom meant business they all backed off knowing that he might kill them as well. However, the kids could not see through the door, the tiny window on it was too high up for them to look through, so for all they knew the gunshot was the sound of the small kid shooting the couple with his gun and therefore they should’ve continued the attack and not immediately stopped.

The children are also able to somehow brainwash their peers into doing their evil bidding by simply looking into their eyes, which somehow puts them under a spell. They even use this power to get the fetus inside Evelyn’s womb to attack her, but where do they get this power from? What kind of entity is behind all of this? Nothing gets answered, which leaves too many questions open and thus not as effective as it could’ve been.

My Rating: 6 out of 10

Released: April 26, 1976

Runtime: 1 Hour 53 Minutes

Rated R

Director: Narciso Ibanez Serrador

Studio: Penta Films

Available: DVD (Region 0), Blu-ray (Region B/2)

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Posted in 70's Movies, Cult, Foreign Films, Horror, Movies with a Hotel setting, Movies with Nudity, Mystery, Obscure Movies

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Sisters (1972)

Posted on October 24, 2023 | Leave a comment

sisters

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Model has evil twin.

Danielle (Margot Kidder) is a young French-Canadian women from Quebec who aspires to be a fashion model and actress. She takes part in a TV-show styled after ‘Candid Camera’ where unsuspecting people find themselves caught up in a prank, which is where she meets Phillip (Lisle Wilson). The two go out on a date, but while at the restaurant she gets harassed by Emil (William Finley) her ex-husband. Then when they get back to her apartment Phillip overhears her arguing with another woman, which Danielle says is her twin sister Dominque. Since it is both of their birthdays Phillip decides to go out to get them a cake, but when he returns he gets viciously stabbed by the psychotic Dominque, but just before he dies he’s able to scribble the word ‘help’ onto the window with his own blood that Grace (Jennifer Salt), a journalist that resides across the street, sees. She immediately calls the police, but when they arrive into Danielle’s apartment there’s no sign of a body, or a struggle and Grace gets written-off as being a kook whose been imagining things, but she refuses to relent and begins her own investigation where she uncovers some dark details about Danielle and her sister who were once conjoined.

This was writer/director Brian De Palma’s first attempt at horror after completing many successful comedies that had gained a cult following. The story was inspired by real-life conjoined twins Masha and Dasha Krivoshlyapova who’s sad upbringing where they were taken away from their mother and had abusive medical experiments done on them at a secret hospital in the Soviet Union, and which was chronicled, much like in the movie, in a story in Life Magazine in 1966, which after reading it De Palma couldn’t get out of his head. Visually it’s excellent with great use of editing and superior score by the legendary Bernard Herrmann, who was semi-retired at the time, but enjoyed the script so much that he agreed to be the composer.

Many of De Palma’s famous directorial touches are apparent including his use of the split-screen. While it’s been used, and some may say overused, in many films from that era, it gets worked to perfection as we get to see Danielle and her ex busily cleaning-up the crime scene while Grace gets held up by the detectives and they’re not able to go into the apartment right away. My only complaint here is that with the blood splatter all over I’m just not sure they would’ve been able to wipe it all away in such a short time frame, basically about 8 to 10 minutes, which should’ve more likely taken them several hours. Not showing the clean-up and having Grace and detectives arrive to find the place spotless with no body would’ve actually added more intrigue and thus in this case the use of the split-screen, while done adequately, I don’t think was needed.

Spoiler Alert!

The script leaves open a fair amount of loopholes, for instance we see Danielle walk into a bedroom and the shadow of her head on the wall along with another one, which is supposed to represent Dominque’s, but we learn later that Dominque died years early during the surgery to separate them, so we’ve should’ve only seen one head shadow and not two. Also, Danielle is told point-blank by Grace that she’s been spying on them from across the street, so you’d think later that she and Emil would make damn sure to close the blinds on their windows when they try to remove the sofa, which has the dead body inside, but instead they continue to leave the shades wide open and allow Grace, now back in her own apartment, to continue to peer in while the couple show no awareness to the possibility and don’t even bother to look out the window to see if they can catch Grace looking in. Another head-scratcher is why there was no blood splatter on Danielle’s clothing, since she ultimately is the one that killed Phillip, when Emil walks into the apartment.

The most confusing thing though is the ending in which Grace becomes hypnotized while inside a mental hospital and begins to see herself, through a long dream sequence, as being Dominque and attached to Danielle. When I first saw this, back in the 90’s, I thought it meant that Grace was the long lost twin and that they had been separated years earlier. While Grace doesn’t look exactly like Danielle most twins don’t, and she was still around the same age, hair color, and body type, so it seemed like a legitimate explanation and I wouldn’t blame anyone else who came to this same conclusion. Apparently though that’s not the case as Grace comes back out of it only convinced, through the hypnotism, that she didn’t see the murder of Phillip, but I felt they should’ve taken it one step further by convincing her that she was Dominque, whether it was true, or not, and then brain washed to take credit for all the murders while Danielle could then get off scot-free and this would’ve then been the ultimate twist.

Granted Grace’s character is shown as having a mother (Mary Davenport), but the script could’ve been rewritten to have her taken out and Grace could’ve instead been portrayed as being an orphan, or adopted, which could’ve left open the possibility. In either case the dream segment, which is creepy and stylish done, would’ve had more of a payoff then it does had it taken this route.

My Rating: 7 out of 10

Released: November 18, 1972

Runtime: 1 Hour 33 Minutes

Rated R

Director: Brian De Palma

Studio: American International Pictures

Available: DVD, Blu-ray (Criterion Collection), Amazon Video

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Posted in 70's Movies, Black Comedy, Cult, Horror, Movies that take place in the Big Apple, Movies with a Hospital setting, Slasher/Gore

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Sleepaway Camp III: Teenage Wasteland (1989)

Posted on October 23, 2023 | Leave a comment

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By Richard Winters

My Rating: 3 out of 10

4-Word Review: Angela commits more murders.

When Maria (Kashina Kessler), who has the words ‘milk’ and ‘shake’ tattooed to her breasts, goes off to camp, she is impeded by a truck driven by Angela (Pamela Springsteen) that runs her over and allows Angela to take on her identity. Angela then returns to the same campsite where she committed her atrocities from the last film, but which is now run by husband and wife Herman (Michael J. Pollard) and Lilly (Sandra Dorsey), who have turned it into a place to help reform teens with a criminal record and renamed Camp New Horizons. It doesn’t take long though for Angela to revert to her old ways and soon both campers and counselors begin disappearing with a frightening regularity.

While Part II was filming producer Jerry Silva was so impressed with what he was seeing that he immediately authorized another sequel with a script for this one being written while that one was still being shot and then only one weekend for pre-production. This also pushed the filming date back into October where not only were the leaves already changing, but in one segment you can see the breaths of the actors when they speak, which certainly does not give the viewer a summery feel.

The second installment had an okay balance between the black comedy and horror, but this one goes overboard into silly season. The initial killing is especially problematic as it has the victim chased down by a big truck in broad daylight. Yes, she eventually gets run over when she runs into a back alley, but the semi starts barreling down on her when she’s walking on an busy road with other cars, so other people would’ve witnessed what was happening and reported it making the odds of Angela getting away with it quite slim. Also, where does a woman, who was 13 when she got locked up into a mental hospital and been there most of the time until her recent release, find the time and money to learn how to drive a big rig and how was she able to steal one?

While Springsteen’s performance was slightly tolerable in the second installment I felt it got plain annoying here. She isn’t scary and even though this is meant as a dark comedy the villain should still have some frightening presence and she has none making for no suspense at all. She also has her hair dyed blonde, in order to resemble Maria, which has her looking even less like Felissa Rose who played the character in the first one and further way from the original concept making this seem like its own little movie with name-only connections to the other two.

The murders though are an improvement and the only thing that saves it. Part II put no creativity or imagination into the killings, but here we get a couple of memorable ones including Angela roasting marshmallows on a fire that’s burning two of her victims. Killing one of the campers via tying them up to a flagpole and then allowing them to drop many feet to the hard cement below was my favorite though the death by lawnmower, which apparently made some of the women members on the MPAA board, who were hired to give the movie its rating, physically sick, deserves honorable mention. Even here though there’s problems like when Angela stands over the body of a man and swings an ax on him, but then returns to the campsite wearing the same clothes she had, which would’ve been highly doubtful as they would’ve most assuredly been covered with blood splatter.

The only element I found interesting was the appearance of Michael J. Pollard who was at one time starring in Hollywood classics like Bonnie and Clyde and was even given a couple of leading man roles in  studio produced films, but here relegated to low budget direct-to-video fare. He isn’t even in it all that much as his character is one of the first to be killed though he does at least get to make-out with a hot young chick (Stacie Lambert), which may have made it worth it.

My Rating: 3 out of 10

Released: August 4, 1989

Runtime: 1 Hour 20 Minutes

Rated R

Director: Michael A. Simpson

Studio: Double Helix Films

Available: DVD, Blu-ray, Freevee, Pluto TV, Tubi, Amazon Video

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Posted in 80's Movies, Black Comedy, Cult, Horror, Movies that take place in the South, Movies with Nudity, Sequels, Slasher/Gore

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Sleepaway Camp (1983)

Posted on October 19, 2023 | Leave a comment

sleepaway

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Somebody’s killing the campers.

In 1975 two children are out on a lake with their father when the boat they’re in capsizes. As they are swimming in the water another boat that is being recklessly driven rams into them killing both the father and one of the children. Fast forward to 1982 one of the surviving children, Angela (Felissa Rose), is now living with her eccentric Aunt Martha (Desiree Gold) and Martha’s son Ricky (Jonathan Tiersten). Because Angela is very shy Martha has decided to send her off with Ricky to summer camp so that she can learn to socialize better. Once there Angela’s quiet nature causes her to be bullied by the other kids, which soon leads to all sorts of violent deaths amongst both the campers and counselors. The camp owner, Mel (Mike Kellin), wants to keep the deaths out of the press and insists they’re all just been accidents, but while he does this he becomes convinced that it’s Ricky who’s behind it and resolves to teach the kid a very brutal and violent lesson.

Initially this was a low budget film made near the end of the golden age of slasher flicks that was not intended to do all that well as most studios had considered this type of horror film to have gone out of style. The critics at the time savaged it, but since then it has gained a strong cult following and considered even ground breaking for its gay subtext and gender identity roles. Writer/director Robert Hiltzik shot it at a camp in upstate New York that he used to attend when he was growing up. The camp atmosphere is very authentic and I was impressed with how many kids they were able to bring on to make it seem like a genuine camp day with tons of kids running around everywhere and all of them age appropriate to the role versus having older kids over the age of 18 trying to look younger than they are, which is what you get in most other teen flicks. The only caveat is that it was filmed in September/October of ’82 and seeing some of the trees in the background changing colors does not help give off much of a summer time feel.

The film is noted amongst slasher aficionados for its grisly deaths. When I first saw this movie back in the 90’s I hadn’t seen as many slasher movie so I wasn’t aware of how the killings here are much different  than what you usually see. In most other films of this nature the victim dies usually by a quick slash of a knife, or strangulation, which isn’t either creative or memorable, but here you get all sorts of novel deaths. Two of the best is when an overweight man (Owen Hughes) has his entire body doused with scalding water and the throbbing blisters on his skin look realistic. He also doesn’t die, which is unusual because usually the victim passes away without that much of a struggle. The death by bee hive in which the victim has his face covered by hundreds of stinging bees is equally vivid and well played-out.

The acting is impressive too as not only do you get to see Christopher Collet in his film debut, and witness his bare behind in a brief bit, but also Felissa Rose, whose quiet stare is quite penetrating and becomes the film’s most lasting impression. She apparently got the part because during the audition they were asked not to convey any lines, but to simply stare off in space while pretending to eat some candy. Prolific character actor Mike Kellin, this was his last film and he was already dying of lung cancer when he did this, is fun particularly his incredibly unfashionable choice of clothes that bring out the worst styles of the 70’s and are reminiscent of a what a middle aged suburban dad of that era might wear when attending a neighborhood backyard BBQ.

Spoiler Alert!

On the negative end I didn’t find Angela, who we learn at the very end is really a boy, to be able to realistically pull-off the murders that she does. I don’t believe she (he) would’ve had the strength to pull out the chair from underneath a heavy-set man, nor dunk the head of a bigger boy under the water, or be able to force a knife through a metal wall of a shower stall. The argument that she’s really a boy doesn’t work as her (his) body type is quite small no matter the sex and the arms are scrawny. The film does well in coming up with novel deaths, but they should’ve worked harder at thinking up killings that a small fame teen could accomplish and still be in the realm of reality, which I don’t feel these are.

With that said it’s still a cool ending. I enjoyed the weird facial expression that Angela gives off once she’s caught and the camera freezes on it while morphing into a green backdrop. The final song that gets played is creepy too, so all in all the film succeeds though it will require some suspension of belief in order to be fully enjoyable.

My Rating: 6 out of 10

Released: November 18, 1983

Runtime: 1 Hour 24 Minutes

Rated R

Director: Robert Hiltzik

Studio: United Film Distributors

Available: DVD, Blu-ray, Freeve, Pluto, Tubi, Amazon Video, 

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Posted in 80's Movies, Cult, Horror, Movies with Nudity, Slasher/Gore

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Hellbound: Hellraiser II (1988)

Posted on October 18, 2023 | Leave a comment

hellbound

By Richard Winters

My Rating: 7 out of 10

4-Word Review: The cenobites come back.

The story begins immediately where the first installment ended with Kristy (Ashley Laurence) in the hospital recovering from her injuries while she pleads with Dr. Channard (Kenneth Cranham) and his assistant Kyle (William Hope) to destroy the bloody mattress that her stepmother Julia (Clare Higgins) died on for fear that it might bring the woman back to life. Dr. Channard finds this possibility intriguing, so he brings the mattress back to his home and then has one of his mentally ill patients bleed on it, which brings Julia, minus her skin, back from the other dimension. She feeds on the patient, which gives her strength and Dr. Channard supplies her with more of them until she is able to take human form. Kristy finds out about it and travels to Channard’s home along with Tiffany (Imogen Boorman), a mental patient at the hospital whom she meets that cannot speak, but has a gift for solving puzzles. When they confront Julia and Channard all four get taken to the other dimension known as the labyrinth that houses the cenobites.

While Clive Barker wrote the script and produced he did not direct and instead handed over the reins to his friend Tony Randel. Randel wanted to turn into more of a dark fantasy and the transitions works making it visually arresting. The mazes that make up the other dimension, which are captured from a bird’s-eye view as we see tiny dots, which represent the characters running, are amazing and I enjoyed Tiffany’s brief foray into a circus like freak show that had a giant fetus with its lips sewn shut, that was creepy and I wished extended further. The scene where Julia bursts out of the mattress to attack the patient I found genuinely horrifying and a dare say one of the scarier moments in horror film history. I also liked the backstory revealing how pinhead (Doug Bradley) came into being. Supposedly this backstory was supposed to take up a major part of the runtime, but due to budget limitations it had to be scrapped and we only see a brief snippet of it through quickly edited segments, which to me was probably best.

The script though does seem a little weak in the way it sets up the premise as it’s way too convenient that the patient in the neighboring room to Kristy’s would have this fixation to solving puzzle boxes, which just makes it highly predictable where its going to go. Have her Dr. show an equal fascination with the puzzles and the cenobite world is again betting long odds and having someone with this dark obsession from outside the hospital track Kristy down would’ve been more believable. The way the mental patients are housed looks dated like we’re seeing an asylum from the 16th century though it still works, if you suspend your belief a bit, with the film’s over the top style.

I was glad that at least Andrew Robinson’s character from the first one doesn’t appear here. He was asked to reprise his role, but refused, which was good because if he had returned the script would’ve had a scene where he and Frank where together in the same body like Siamese twins, which sounded ridiculous. I also don’t like movies that have a character die-off, like Robinson’s did in the first one, and then magically come back to life later, which seems to defeat the purpose. If someone dies then they should stay dead otherwise it’s really not that horrifying seeing anyone get killed if we know that somehow they can still find a way to exist.

Spoiler Alert!

The Julia character, which was already poorly defined in the first installment, gets worse here. Supposedly, she was so madly in-love with Frank that she was willing to kill for him, which meant they must have some sort of special and perverse bond, but in this one she gleefully rips his heart out, literally. In the first one she showed signs of being conflicted over what she was doing, but here she becomes one-dimensionally evil and very boring.

The only cool thing about her is the way she sheds her skin off, but this proves problematic when Kristy puts on the skin in order to disguise herself. The women had different body types and heights, so the skin should not be able to fit her. Also, the inside of the skin was lined with blood from Julia, so putting it on should make Kristy suffocate and quite frankly gag at the grossness of having someone else’s blood seep all over her and thus not be able to wear it for more than a few seconds, or at least that’s how I would respond if I were in that situation, which makes the ending here a bit problematic.

My Rating: 7 out of 10

Release: December 23, 1988

Runtime: 1 Hour 37 Minutes

Rated R

Director: Tony Randel

Studio: New World Pictures

Available: DVD, Blu-ray, Amazon Video, Plex, Pluto, Tubi, YouTube

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Posted in 80's Movies, British Movies, Cult, Foreign Films, Horror, Movies with a Hospital setting, Sequels

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Hellraiser (1987)

Posted on October 16, 2023 | Leave a comment

hellraiser

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Former lover needs blood.

Frank Cotton (Sean Chapman) purchases a puzzle box and brings it home to solve it. When he does he finds that it brings out demons known as Cenobites who enjoy inflicting pain on others for their own pleasure. After tearing Frank apart they reset the box and return to their own dimension. Larry (Andrew Robinson), Frank’s brother, moves into the house along with his wife Julia (Clare Higgins), who at one time, unbeknownst to Larry, had a brief affair with Frank. While moving in some boxes Larry cuts his finger and bleeds onto the attic floor where Frank was killed. Pieces of Frank still exist under the floor boards and the blood allows him to regain life though his body still needs more blood to regain its full form. He convinces Julia to bring in strangers from the bar home, so that she can kill them and allow Frank to drink their blood and regain more strength. Julia agrees to do this, but then Kristy (Ashley Laurence) becomes aware of what Julia is doing and is determined to put a stop to it by confronting Frank and taking away his puzzle box.

This was the first movie directed by Clive Barker and is based on his 1986 novel ‘The Hellbound Heart’. After being dissatisfied with how Rawhead Rex, based on another novel Barker had written, he became determined to direct the next feature in order to give it, in his words, some ‘directorial oomph’, which he had felt was missing in the previous film. Special effects wise the film hits all marks and is a precursor to what’s called Horror Porn today with a lot focus put on the effects that are both realistic and cruel. Watching Frank’s body slowly take form by growing out of the floorboards is quite impressive, but my only complaint are the close-ups of the skin particularly when a hook slices it open, which to me resembled more silly putty.

While the effects are great the characters aren’t. All of them come-off as dark and mean and there’s really no one to cheer for, or side with. Supposedly it’s Kristy the viewer is intended to get behind, but she came-off looking older than college aged and more like she was in her late 20’s. She’s also worldy-wise and seems able to handle herself, as is seen when she comes into contact with a couple of lecherous movers, quite effortlessly, so there’s no real character arch. Having her start-off as shy and sheltered and then grow stronger and confident as she learns to take on the cenobites would’ve been much more interesting and would’ve allowed for tension as you would initially question whether she had to guts to confront the evil like she eventually does.

The Julia character is weak too. I didn’t understand what drew her to Frank. Maybe in the novel this gets better explained, but in the movie it’s nebulous. Her brief fling with Frank, in the few backstory scenes that get shown, makes it seem like it was rather cold and distant and Frank doesn’t necessarily treat her all that well, so why would she bother helping to bring him back to life? Maybe she had a sadomaschistic bent, but if that was the case why would she marry Larry who treats her differently almost like he’s the passive and she’s more in control. If the woman prefers the man to be in control then that’s what she looks for in her next relationship not the opposite.

Spoiler Alert!

The twist near the end where Frank kills Larry and then begins to wear his skin gets botched too. It’s intended to be a surprise reveal for the viewer who, like with Kristy, initially think it’s the real Larry though it’s pretty obvious something isn’t right as blood is seeping out on the edges of his face, which Kristy should notice, but apparently because she’s so upset she doesn’t. It would’ve been better though to have the killing played-out and shown the final shocked expression on Larry’s face when he realizes he’s been betrayed by not only his brother, but wife too, which would’ve been priceless.

What’s even more perplexing though is why is Frank speaking in Larry’s voice? He may have his skin, but not the voice box. Even if he had tried to disguise it, in an effort to trick Kristy, I don’t think it would’ve come-off so convincingly. Then, once the gig is up and Kristy realizes it’s Frank, he still continues speak with Larry’s voice by why bother at that point since he no longer needed to fool her?

My Rating: 6 out of 10

Released: September 11, 1987

Runtime: 1 Hour 34 Minutes

Rated R

Director: Clive Barker

Studio: New World Pictures

Available: DVD, Blu-ray, Amazon Video, Pluto TV, Tubi, YouTube

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Posted in 80's Movies, British Movies, Cult, Foreign Films, Horror, Movies Based on Novels, Movies with Nudity

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