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Peter Cushing, who is good as ever, considers this the worst film He ever made and He may not be wrong. A mysterious string of murders around the countryside, all evolving good looking men (for a change) killed in a bestial fashion. It turns out a nearby scientist has a lovely daughter doomed to transform into -I kid You not- a Giant moth in search of a mate or prey. Heavy shades of THE REPTILE and the face of the Moth-Woman (maybe based on the West Virginia legend of The Mothman) truly resembles that of THE WASP WOMAN.

Just seriously silly, with a lot of filler (The play being the worst example), so approach with caution. *1/2

The Killer Shrews (1959) ★★★

The first thing that struck me was how a large chunk of this film could just as well function as a stage play. Little set changes, lots of*dialogue.

I was also touched by the lack of gore. Savini and Stavrakis are still years away, that's for sure. When we do see the killer shrews, they look silly by today's standards. As if someone glued some hair on a dog or a similar animal. Kind of reminiscent of that bit on the Simpsons on how "cows don't look like*cows".

The film, however, does have qualities as well. The idea of the killer shrews and the trope of science going where it's not supposed to go, fit well with the age of the atom. And as goofy as the premise is, they do tell it well. The hour flies by.*

Ken Curtis makes for a convincing secondary antagonist and the other cast members do their job as well. Though Ingrid Goude does not have much to work with in her damsel in distress character. Not to mention the actors portraying minority characters. They get little screen time and die*first.

Recommended for fans of vintage*horror.

The Giant Gila Monster 1959 ★★★★

What's not to love about this one? The Happy Days-vibes from the snack bar, the dashing all-American hero with the sweet girlfriend, the swinging fifties vibe and characters for whom a designated driver seemed to be more science fiction than a giant*lizard.

And I don't want to hear any complaining about lousy special effects. That's part of the charm here. Especially how the set all of sudden was filled with match box cars in order to make the gila monster look bigger. Loved*it.

I agree, there is a lot lacking from this, but one thing for sure, it certainly doesn't waste time and is a pretty damn good little picture.

EYE OF THE CAT (1969). Slacker Michael Sarrazin meets up with lovely Gayle Hunnicut (THE LEGEND OF HELL HOUSE) and plots to kill His Rich Aunt, played by Eleanor Parker. It seems like a good plan- the Aunt dotes on Michael, so no problem getting close to her- but the biggest obstacle is Michael is terrified of cats and there are a lot of them in the house.

This has great location shots of San Francisco and impressive cat training, but little else to recommend it. Sarrazin's character is such a jerk, You wonder why anyone would want to be around, much less dote on, Him. Everyone else is no
day at the beach either. Watch something else. *1/2

I Drink Your Blood (1970) ★★★½

A highly enjoyable grindhouse flick with a plot that moves along*well.

The fear of water is probably more due to the danger of the toothpaste coming off, but I'm sure more than one seventies-Dale would have appreciated the idea of hippies/construction workers being afraid of*water.

Also, it was fun to see how, in hindsight, this flick might have had a more diverse cast than some of the mainstream pictures of the*time.

It certainly is entertaining. And it stood the test of time well. I will give it that.

DAUGHTER OF DOCTOR JEKYLL (1957). Halfway through DODJ, I realized it is almost a remake of the awful SHE-WOLF OF LONDON (1946), but even worse if that's possible. I like Gloria Talbott (I MARRIED A MONSTER FROM OUTER SPACE) and John Agar (TARANTULA), but they were probably cursing their agents while making this. And what is with the gaudy jacket John wears? Just horrid all around- watch if You must, but You have been warned. 1/2

Jamaica Inn 1939 ★★

If I did not know it was old Hitchcock, I probably would not have noticed.

I love ye old timey English (What say you, mister Rogers?) and the 30s screams, but it did not do all that much for me. The suspense masterpieces are still ways away.

House on Horror Hill. Christ almighty this, like Jan inna Pan" (BTWD)", und" I Love Lucy", this fucker is playing some where 24/7. I like it. I have just seen it too many times.

"The Magician" (1927) If you haven't seen this one, it's worth a look.

DEVIL GIRL FROM MARS (1954). A group of people at a remote Scottish Inn are menaced by the title character who has some to Earth looking for breeding stock to save her planet from extinction. When coercion and intimidation don't have the desired effect, She has to resort to more drastic measures.

A very cheesy Robot and low budget don't help matters, but Patricia Laffan is pretty cool as the titular character with an almost S/M outfit. Some decent support by Adrienne Corri (MADHOUSE, A CLOCKWORK ORANGE) and the always welcome Hazel Court. ***

DEADLY FEMALE (1931). The first film adaptation of THE MALTESE FALCON follows the story more closely than the seminal 1941 effort, but not nearly is good. There is more Pre-Code sleaze, but Ricardo Cortez is a washout as Sam Spade and the rest of the cast can't match up either, although Dwight Frye isn't bad as Wilmer. If You have to watch TMF, the Humphrey Bogart one is all You will need. **

INVASION OF THE SAUCER MEN (1957). AIP programmer of Aliens invading Small Town Earth and being defeated by teenagers, despite non-cooperation and distrust by local authorities. The alien costumes are pretty cool, but the film on the whole is just putrid and a very long 70 minutes. Don't even bother to watch the 60's remake THE EYE CREATURES-I was nine when I saw and thought it was a stinker. *

COBRA WOMAN (1944). The Maria Montez/Jon Hall films get a lot of disrespect, but I must say, I found CW to be quite entertaining: Certainly no classic, but loads better than much of what Universal was cranking out. A lovely woman (Montez) is abducted to a dangerous island and her fiancee (Hall) follows her with help from Sabu. All sorts of campy dangers arise, including a mute Lon Chaney Jr! ***

The Curse of Frankenstein, 1957. 7/10

Directed by Terence Fisher

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THE REVENGE OF FRANKENSTEIN (1958). Decent sequel to CURSE OF FRANKENSTEIN that has a rather nasty subplot thrown in and a great climax. As usual, Peter Cushing shines and a very good performance by him. ***

Witchfinder General, 1968. 7/10

Directed by Michael Reeves

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BLOOD OF DRACULA (1957). A continuation of "Teen Monsters" AIP was turning out and should have been called I WAS A TEENAGE DRACULA. A rebellious and unhappy teenage girl (Nancy) is shipped to a Boarding school by her father and new stepmother. While trying to fit in, she is noticed by an instructor who has a theory and realizes Nancy would be the perfect subject to try said theory on. Very much like I WAS A TEENAGE WEREWOLF, but not nearly as good. Sandra Harrison doesn't evoke much sympathy and a lackluster makeup job doesn't help. We are also "blessed" by a song...when the guy begins singing "Puppy Love", use the time to make yourself a snack or take the garbage out...awful stuff! *1/2

Earth vs. the Spider 1958 ★★½

I can make a fifties horror movie and make it not look campy.

No you can't, mister Simpson! No one can!

You also can't make a group of obviously age 30 and over actors look like teenagers playing rock music...cool payoff in the scene, anyway.


ISLAND OF TERROR (1966). A small island is besieged by murders involving the corpses being without bones, how the menace has the ability to multiply and how can it be stopped?

While it sounds kind of goofy, IOT really is a pretty good little flick and if Peter Cushing is involved, I'm certainly in! While watching it, my wife remarked how it reminded her a lot of a Star Trek episode, while all I could think of were the monsters in THE GREEN SLIME! Check it out. ***

The Creature Walks Among Us 1956 ★★

How about that? A creature feature where the actual creature is often pretty much an aftertought.

Based on the cover, one would expect a lot of campy carnage. But here, it takes a backseat to a love triangle with the juicy taste of day-old bread.

What gains the second star? The few bits of action with amongst other a stunt where they set a stunt man on fire. Knowing how people raved on how about the fire stunts in ANOES and The New Blood in the eighties, I can imagine this must have been quite the feat in the fifties.

I also love the almost synchronized swimming way in which the monster moves through the water. Or how one character one moment seems to have the bends or something similar, and then literally thirty seconds later, she's fine. Up and smoking. Proving once again that there's no camp like fifties camp.

Frankenstein 1931 ★★★★★

What better time than october to revisit one of the all time classics?

I love how they use small details to introduce atmosphere. Like the cast at the start. The actor playing the Monster? A mistery, just a question mark. Who is this damnable fiend? We do not know. Atmos immediately set. Excellent.

I had the time to fully immerse myself in the movie and I most of all noticed the humour. This movie is a lot funnier than one would give it credit for. What with the fysical antics of comic relief Fritz of other instances of slapstick.

I also love the portrayal of The Monster. This is not a run to the hills type of monster. This is a genuinely misunderstood creature who himself does not understand the world that surrounds him. How could he? He has only been alive for a few days. Or his childlike wonder and happiness when he reaches out for the light the first he sees it. Showing the parallel with children and adolescents explained at great length in the extras that came with this DVD.

That also brings us to the tragedy of the story. The Monster is not aware of his own strength or the effect of his actions on other people (Side note: Could one consider It's Alive as echoing Frankenstein?). Bringing us to the tragic death of Maria. The one person that reached out to him. But not unnatural since, based on testimonies, children of all people are the ones least afraid of The Monster. I also love how the makers' attempt at censorship only resulted in making things worse. Thus making them have more in common with The Monster than you would think at first glance.

A five star classic for all ages and all eras.

Ps: I keep writing The Monster, since we all know Frankenstein is the scientist and not the monster. But keeping that up is pretty damn hard.

Nosferatu 1922 ★★★★

Say what you will, but nothing tops the experience of seeing a classic like this in a theatre, especially in the version the theatre owners came up with, accompanied by a magnificent score.

The story itself is as wonderful. Ground breaking for its time, introducing what we now call clichés. Or the overacting that was par for the course in silent movies. Some of the facial expressions are downright hilarious.

Orloch looks part scary and part funny. He does not have the charisma that Lugosi brought to the table when playing, but he is definetily creepy at times. And his assistant looks like he (partly) inspired later incarnations of Scrooge. Perhaps even mister Burns?

"The Thing From Another World" from 1951 is the original black and white version of John Carpenter's "The Thing" from 1982. It tells a different story with basically the same idea like "The Fly" from 1986 does with the original film with Vincent Price. It also has a lot of similar scenery, only in black and white format, and the story is taking place up in Alaska, instead of the Antarctic. It is currently steaming for free on TubiTV, and is highly recommended that those with accounts check that one out soon if they are into John Carpenter's version and/or its prequel from 2011. Those who like Carpenter's version and its prequel should definitely find the original black and white version worth a look, at the very least ::cool::::cool::

I recently saw it on Tubi. Good stuff.

Yes. I think it's one of the better and scarier of the older black and white horror films. I am definitely glad I finally got to see it. I hope more people into Carpenter's version get to see the original black and white version as well.

THE TEN COMMANDMENTS (1923)>>>>>>>>>>>>>>>>>>>>>>>>>
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I have seen the 1956 version (with a very hammy Charlton Heston, even outdoing Vincent Price and John Carradine), but had never heard of this version until a couple of weeks ago when my wife and I saw it on the big screen with live musical score to compliment the film.
This adaptation also directed by Cecil B DeMille follows the story, but in a shorter format, beginning with the Israeli slaves building a temple for Egyptian masters-and how amazing are the sets! After they begin their exodus in the desert and are pursued by Egyptians is when the special effects come into play. The wall of fire is cool enough, but the business with The Red Sea is pretty damn impressive, as is the Commandments coming out of the sky.
After that, the story switches to the present involving two brother; one a virtuous type (albeit poor) and his devil may care brother who breaks all the commandments for wealth, but then finds his life going to hell in a hand basket.

While some of the silent film acting can be called excessive, consider the point had to come across without sound, I enjoyed this very much and if You get the chance, go see it! ****

DEVIL GIRL FROM MARS (1954)
8/10

I just recently was able to see Devil Girl from Mars on youtube colorized. The colorization is a bit too red in the warm scenes, but overall looks quite nice.

I was able to enjoy a fun riffing viewing with a buddy; the film begs for it. Devil Girl from Mars plays more like a completely unself-aware parody.

A film is sometimes described as: it's so bad it's "good" or "it's so bad" it's good. This would be the later, as I don't think there's a dull moment in its 1hr 13m runtime.

The jewel of the film is the black-leather clad Martian named Nyah played like a fusion of a cold, cruel, commanding, snazzily dressed, self-satisfied Gestapo agent, Bella Lugosi's Dracula and a sultry Soviet spy. She's powerful, determined, on a mission, and worst of all, she is thoroughly amused.

The film is rich with historical imagery evoking classic moral idioms. I sense an anti-eugenic theme. I love the overt condemnations of dark human history contrasted with the salvatory force of individual righteous indignation, and the selfless protective instinct. And I think you'll find it hard not to laugh at the presentation.

There are couple of nicely written romantic scenes for two of the couples. The brief narrative backgrounds for the cast of characters succinctly sets up the mix of motivations inside the simple sci-fi plot. I think more robust actors could delightfully liven up the room.

SHACK OUT ON 101 (1955). Extremely campy flick involving a run down restaurant which seems to have very few customers, but may be a meeting place for communist agents. Terry Moore (MIGHTY JOE YOUNG) plays a dim bulb waitress who every guy seems to be hitting on, especially Lee Marvin, who is great as "Slob", a lecherous violent short order cook. ***

A Bucket of Blood,1959. 7/10

Directed by Roger Corman

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CURSE OF THE SWAMP CREATURE (1968). While COTSC is better than most of Larry Buchanan's films, it's still a Larry Buchanan movie and still mind numbingly bad. A scientist's attempts to create an "Indestructible Fish man" in the Texas swamps are hindered by constant failures, the hysteria of his trophy wife (Francine York, who was in lots of TV and films, is lovely and about the only good thing here) and the showing up of a group led by John Agar searching for oil in the area. Good for insomnia. *

The Pit and the Pendulum (Vincent Price)

20,000 LEAGUES UNDER THE SEA (1916). Based on the Jules Verne novel. For a film barely scratching the 90 minute mark, a lot is thrown in here; the original source, Verne's MYSTERIOUS ISLAND and much more. While the performances may seem antiquated, they certainly aren't bad. The highlight of the film for Me is, I believe, the first film to utilize underwater filming and I can only imagine the reactions of audiences at the time. The world certainly was smaller and more innocent then-how little We knew of the oceans then and how little We still don't know. ***

Die, Monster Die, 1965. 6/10

Director: Daniel Haller

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Queen of Blood, 1966. 6/10

Director: Curtis Harrington

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Indestructible Man 1956 ★★★

One of the later Lon Chaney Jr pictures, although the real star is the narrator who I can only describe as Posh Jerry Orbach.

One of these fifties sci-fi horrors with the type of campiness that will never not be fun.

The Pit and the Pendulum 1961 ★★★★

A great vintage classic with Vincent Price in prime shape.

Well recommended.

Invasion of the Body Snatchers 1956 ★★★★

One of the occasions where the remake improved on the original.

Don't let this fool you, though. This fifties sci fi horror perfectly manages to capture the mounting paranoia and dread. You feel for doctor Winnell and you hope he and Becky will escape. Also, I am sure that the "you're next"-shot had a way bigger impact on the public in that time.

And, mind you, for a fifties movie, the special effects hold up pretty damn good too.

One side note: while open, the ending leaves at least a glimmer of hope. Especially when compared to the soul crushing ending of the seventies version.

At least, humanity still has a fighting chance, even if victory is far from certain.

Well worth seeing.

Equinox 1970 ★★★★

Equinox was a great ride. A rollercoaster of weird monsters, posessions and sixties styled acid trips. Or at least, what I would imagine them to be.

I will get back to this in the future and write a more extensive review, but for now I will suffice by highly recommending it.

"The Lon-Ster" isn't bad is this, although He was really beginning to decline. I do laugh at the part where He chases the guy on the crutches::big grin:: that guy is flying!

FUEGO (1968). I had never heard of Isabel Sarli until reading about Her on the great JR-Sploitation site (which may be gone as not seen it the last month). She was "Miss Argentina" in the 50's, met director Armando Bo and became the constant in his films which featured ample nudity from Isabel and always near water as well. Being no fool, Armando normally cast himself as her love interest, although some later films used his son, which is kind of off putting. One thing for sure, she ws stunning; almost Salma Hayek times 2.

The story focuses on a nymphomaniac who falls in love and marries a rich older man. While her love is true, her hyper sexuality cannot be contained with all sorts of situations; a phone repair man, her rather masculine maid and one shake-head worthy scene where she walks through town propositioning wearing only a fur coat and boots. Is there any hope for her salvation?

Extremely campy and I was not really surprised when I found out John Waters was a big fan of this; in fact, I think He modeled leading performer Divines look based on Bo's film. ***

The Bride of Frankenstein 1935 ★★★★½

I was struck by how much happens in the short runtime, since the actual Bride part is kept until the very end. For the slow pace some of the vintage films are known for, this one has quite a lot going on.

The opening bit explaining the origin of the story was okay. Even if they lived in the same era, putting Lord Byron and Mary Shelley in the same room came across as a bit forced. Also, while I'm sure it was meant well at the time, stressing the idea that one of the all time horror classics was written by a woman, the dialogue cannot help but look dated by current standards. The overstressing of the frail little woman. We got it.

For a horror movie, this film also has one or two touching moments. Like when the monster strikes up a friendship with a blind man. Masterfully linked to the ensuing tragedy.

Or how the monster at first comes across as rough around the edges. But then at the end, of all people, he has the wise insight that he and Pretorius are better off dead. In fact, his whole story arc in this film is a testament to personal growth. Learning how to speak, gaining insight in life and human relations,...

I also liked how they entered Pretorius and made him out to be more of an explicit villain. And make him really mean and heartless. Thus making and well understanding one of the big sequel rules: go big or go home. The other side characters were fleshed out well too. With the gossipy busy body as a well done comic relief.