Repulsion, 1965. 9/10


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= ) still on my list. Say, what is DeadbeatAtDawn impression of Replusion?

The mood of this film is magnificent! Beauty and ugliness filmed side by side.
I looked at everything in each frame, shadows, cracks, broken pieces.. hidings in the dark.. just beautiful. You almost feel like you, yourself are descending into madness. ::love::

Carnival of Souls, 1962. 8/10

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Abbott and Costello Meet Frankenstein 10/10

I need to get the Blu-ray. It's always on discount but I keep missing it.

Creature From the Black Lagoon

Night of the Living Dead, 1968. 10/10


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House on Haunted Hill, 1959. 7/10


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Carnival of Souls, 1962. 8/10


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I Bury The Living, 1958. 6/10


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The Invisible Man, 1933. 9/10








The Wolfman, 1941. 8/10

Frankenstein Meets the Wolf Man
House of Frankenstein
Horror of Dracula

Some really good Marathons some of You have here::smile::

SPIDER BABY (1964). Very strange but effective horror with comedy that isn't intentional. Very good late career turn by Lon Chaney JR (like his singing too!) with good support by Carol Ohmart (HOUSE ON THE HAUNTED HILL), Manton Moreland and the incomparable Sid Haig. Would almost consider this a FREAKS/PSYCHO hybrid. ***1/2

The Nanny, 1965


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The Beast Of Yucca Flats.

Starred Tor Johnson as the beast.

Well this one was sort of yucca. Not much of a film. Pretty bad.

Yeah, I couldn't even make it through the whole film

I watched that movie once.






Once.

THE FLY (1958). This has aged quite well and found I really enjoyed this, much more so than the gooey Cronenberg remake. Love Vincent Price, but he really doesn't have much to do here but look perplexed-good performances by Herbert Marshall and David Hedison, who was nice as could be when we met him. However, I think Patricia Owens really carries the film-she is very good. ****

Totally agree, one of the best horror films of all-time, and it has aged well. (While not in my top ten, it's always in the running.)

I would consider the ending (spiderweb scene) in the top ten of best horror film endings.

The opening of the film with the press scene is truly horrifying. And of course the film is an excellent example of the "prelude" or "frame story" (begin with the ending) story telling technique.

Patricia Owens really does carry the film well, and she kind of has too... although I must say David Hedison does excellent dramatic mime acting.

I did enjoy Cronenberg's The Fly even more than The Fly 1958, and wouldn't call it a remake... as I think it's on the far end of a "re-imagining"... I think the themes are very different.

Night of the Hunter, 1955. 8/10

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No review? But because you posted a good image I'll look that one up and see what it's about.

I SAW WHAT YOU DID (1965. Love William Castle, but he sometimes delivered a dud and this is certainly one. Inappopriate music score and truly annoying girls. However, a pretty effect tive murder scene and Joan Crawford is SO predatorily horny towards John Ireland that You almost feel sorry for him. **

Signpost to Murder (1965)

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Alex Forrester, convicted of murdering his wife, fails to gain his release after spending 5 years in a British asylum for the criminally insane. Dr. Mark Fleming informs him of an old law which provides for the reopening of a trial if the prisoner escapes and remains at large for 14 days. Forrester escapes and takes refuge in the home of Molly Thomas, who claims that she is awaiting the return of her husband from a trip to The Hague. Things doesn't look right when he discovers a man's body by the mill wheel of Molly's house. After stumbling down a flight of steps, he regains consciousness and finds that the body is missing.

A pretty decent murder-mystery-drama with an added flavor of psychological thriller starring Joanne Woodward, Stuart Whitman & Edward Mulhare. Joanne Woodward looked eerily a lot similar to the rising Swedish actress Rebecca Ferguson (MISSION IMPOSSIBLE - ROGUE NATION).

>>: B+

THE BRAIN THAT WOULDN'T DIE (1959). Audaciously cheesy sleazy film is, nonetheless, so off the wall that it's sheer joy checking this out. A little ahead of it's time. ***

Daughter of the Mind, 1969. 6/10



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Psycho (1960)
10/10

A young woman gets into some trouble, only to stumble into far more dangerous situation. Is that too vague?

Alfred Hitchcock directs a suspenseful, twisty, scary and psychologically interesting tale. Quite a directorial example of how to focus on suspense-horror.

I remember way back when Japan made Godzilla...That movie was so campy, not scary at all...was very funny to me actually...I believe that one must of been made like in the 60's...::cool::

Say, Crim, watch (or re-watch) Gojira (1954) and tell me what you think. I'm confident you won't find it campy. That's the original Godzilla film. You don't want "Godzilla, King of the Monsters (1956)", that's an Americanized version.

Hey Sculpt---Thanks for the tips...I will definitely have to check out what you suggested...will try to come back tomorrow and write down what you said so i can go look it up on youtube...::wink::

THE FLYING SAUCER (1950). Not quite what it implies and hard going with a guy who is so obnoxious You wish for bad things to happen almost immediately as he smokes in almost every scene then throws his butts in the water::mad::. *1/2

Environmental Horror... hmm... ::big grin::

BRIDE OF THE MONSTER 91955). Like most Ed Wood films, this is bad, but also pretty good in parts, especially when Bela Lugosi is on. Really like his scene with Prof Strowski...You feel such empathy for him, then the little hairs standing up as He reveals what he plans to create. Probably Bela's last great Moment. **1/2

They Came From Beyond Space (1967)
6/10

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Meteors fall in formation, causing government and scientists to investigate, but the scientists in contact with the meteors start acting strangely.

This film is sort of James Bond (more so 60's British espionage TV series "The Avengers") meets a sci-fi horror TV serial. The music, story and direction remind me of the Japanese TV sci-fi serials Space Giants (Ambassador Magma) and Ultraman (Urutoraman) which aired a year before the film.

The first few minutes start out a bit slow and clunky in direction, but then it really gets going, and it's always moving and entertaining in a fun way. It captured my interest really well. I'm afraid the last quarter of the film lacks the creativity of first three quarters and is a bit unsatisfying (although some may find the wacky ending the most creative part of all), but the film certainly stands out from other horror/sci-fi.

Shadow of a Doubt (1943) Alfred Hitchcock
8/10

If you like 'family horror', this is it. This is a very uncomfortable film, giving plenty of warm family moments, as contrived as they are, and then pouring the icy poison into its defenseless veins.

The story is of a warm small town suburban family who happily receives their mysterious rich Uncle Charlie (Joseph Cotton). Carrying his namesake, the bright eldest daughter, Charlie, (Teresa Wright) idolizes her uncle with an irrepressible curiosity.

With all the contrivances and implausibilities, it's more of a visual film experience than an enticing story. In that regard, though the direction, cinematography and two leads are textbookly effective, the film isn't paced quite fast enough to sweep us off our mindful feet. By the end of the film, we're very ready to wrap it up, wishing there had been some quick twists and turns some time ago.

I know what You mean...this really had Me and then just petered out. Sadly, a lot of Hitchcock these days does that...SPELLBOUND, SUSPICIOUS, THE MAN WHO KNEW TOO MUCH.

SON OF FRANKENSTEIN (1939). So many good points in here (Sets, Music, Splendid cast), but WAY too long, the Monster really doesn't have much to do and that Mushmouth Kid has GOT to go::mad::! Lionel Atwill is very good here and Bela is just fantastic...for Me, he really is the reason to watch this. Finally, I could not believe how hammy Basil Rathbone was in here...think LOVE FROM A STRANGER with a high dose of caffeine. Worth seeing, but too lethargic...even the HOUSE films had more zip. **1/2

Did you say "Sadly, a lot of Hitchcock these days does that"? That was really funny! But I guess you meant "those days"? Yes, I noticed that too. I think Hitchcock is best used when the story plot thickens to the end (Dial M for Murder, Vertigo, Psycho), rather than where there's just some sort of obvious physical conclusion (North by Northwest's house and monument climbing).


That kid yelping, "Well, hellooo!" is the funniest delivery of the 30's! Son of Frankenstein is so fun to watch. To me, it's just the ending that really wrecks the experience.

I mean really, basically everything written having to do with the experimenting, science and action sequences of the Monster is ridiculous, unimaginative and quite dull. They needed to bring in a hardcore sci-fi-horror writer to deal with that aspect of the film. Can you imagine if Son of Frankenstein had a hardcore science and horror side to balance out the rich characters?

ISLE OF THE DEAD (1945). Probably the least of the Lewtons, but considering the troubled production (Boris needing Medical time off, script re-writes), it does have some good moments. However, the followup of THE BODY SNATCHER leaves this in the dust. **

Day of the Triffids (1962)
7/10

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Almost everyone views a spectacular meteor shower which leaves them blind. With the shower sprouts deadly carnivorous mobile plants with a taste for humankind. Two groups deal with the aftermath. One, a husband and wife scientific team on a small lighthouse island off Britain. The other a merchant navel officer who assists a young orphan girl, as they travel through Western Europe.

Based on the novel of the same name, the film boasts classic scenes oft repeated in future sci-fi and horror films, as so, for those who haven't seen it, the film will surely seem familiar. The killer plant special effects are visually effective, though at the same time a bit static and somewhat unconvincing. Film has a traditional classical soundtrack, and by the numbers shot direction of the time period. The concepts are the draw here, whereas the dramatic relations of the characters are rather bland.

The male leads were quite grumpy and frustrated before everything goes haywire. Once they have something to do, they are quite protective of the ladies and they're mission, while only mildly dialing down their surly dispositions. The weakness of the film is we don't know the characters well before, nor after, their experiences, and any change in behavior is elusive. The interactions remain, either rather dull, or even when emotions boil-over, they're seemingly tepid and inexplicable.

The Mysterians (1957)
6/10

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Space aliens arrive on Earth, cause some destruction, take some hostages, and explain they want peace, a small plot of land and some Earth women (don't we all?). Directed by Ishirō Honda.

Listening to some of the film's Commentary of a recently released DVD, this was only the second color, and first widescreen film, in Japanese film history. As with many films where the main draw is it's state-of-art visual effects, it becomes dated very quickly. And this film was indeed state-of-art Japanese film artistry in 1957. There is quite a bit of film beauty, and if you knew the skill they used to achieve it, you'd be as impressed as so many were at the time. Fortunately, these film techniques would go on to be used in great films such as Mothra Vs Godzilla (1964).

Unfortunately, The Mysterians is almost completely devoid of basic human characterization and meaningful interpersonal interaction. Along with a lack of suspense, even the science fiction plot is over-simplistic and dull.

One thing that struck me was the film would often repeat the same shot two, three or more times within the same scene sequence (jet fighters breaking formation). As aficionado of Japanese sci-fi and kiaju film/TV of the era, the repetition of shots was a sign of stock footage, run-time filler, laziness and cheapness... ironically, there was nothing cheap about the film, as it had a large budget (exceeding Gojira/Rodan), and it was one of the highest grossing films in Japan that year. The shot repetitions were unnecessary, but certainly not its worst drawback.

And most importantly, if you ever watch the film, don't view with the (current) Tokyo Shock English dub! It's one of the worst dubs I've ever heard. It seems to be mocking of the material. As an example, it gives some Japanese "dumb hill-billy" accents. I don't know if the original RKO English dub exists anymore, but that would be only one I'd risk.

SHE FREAK (1967). Quite sleazy partial remake of FREAKS by the producers of BLOOD FEAST (and the film has that ambiance to it) involving a Hash slinging waitress trying to move on up. Lots of footage showing carnivals being assembled , obviously this is filler. Acting OK and if not mistaken, this is the first film of Bill McKinney who went on to cinematic infamy as the overly amorous Mountain Man in DELIVERANCE a few years later. **1/2

BEDLAM (1946). Karloff is good in here and a couple of decent scares, but find this very lacking, especially in comparison to Lewton's earlier works. And Anna Lee's "Material Girl" is annoying in the extreme. **