A Trailer a Day Keeps the Boogeyman Away! Halloween A-Z


The Leech Woman 1960

Men Were Her Prey For Eternal Youth!

The Leech Woman is a 1960 American sci-fi/horror hybrid film, the tragic parable about the steep spiritual toll extracted in the relentless pursuit of immortality. directed by Edward Dein (Shack Out on 101 (1955) and Curse of the Undead 1959). The film follows the story of a wealthy but aging woman named June Talbot, portrayed by Coleen Gray (Nightmare Alley 1947), who is desperately seeking a way to regain her youth and beauty. Her husband, Dr. Paul Talbot, played by Phillip Terry, is a research scientist who discovers a remote African tribe that practices a ritual involving a special elixir made from the secretions of male pineal glands. This serum has the power to temporarily rejuvenate and transform the person who consumes it.

The film begins with Dr. Paul Talbot and his wife June in the middle of a heated argument.

Dr. Paul Talbot confronting his alcoholic wife June:  “It’s interesting to watch a “bottle baby” defend her weakness. One thing I can say for you, your approach is always different. Today, it’s complete submission. I can’t even get a rise out of you. You know, I think I like you better when you’re sloppy drunk, and violent. That’s the real you, and that’s the one I like, the one that hates me and gives me a chance to hate back.”

Dr Paul Talbot Old women always give me the creeps!

She has been driven to drink herself into a stupor and is now an emotional wreck because of his vicious emotional abuse. An arrogant scientist obsessed with his work in rejuvenation, Talbot encounters the 152-year-old Malla and it changes everything. She and her tribe’s preternaturally driven magic hold the key to everlasting youth. He follows Malla back to the remote part of the African jungle and beholds a mystical ritual that transforms Malla the ancient old woman into a breathtakingly beautiful goddess with just a few drops of fluid extracted from a sacrificed man’s pineal gland.

Old Malla You will never escape me, you are the one in my dreams of blood!

Naturally, Talbot wants to steal the secret formula and cunningly tries to get back together with his wife so he can use her as a guinea pig in his experiments with the serum. But June has other ideas about her devious husband. Once her youth is restored she must choose a man to sacrifice in order to keep her perfection going, so who does she choose to sacrifice? Of course, it’s her dirty rat of a husband. Furthermore, she must continue to resort to a series of grisly murders, killing male strangers to extract the elixir from their pineal glands.

Grant Williams plays the hero and amorous attorney Neil Foster, Gloria Talbott is Neil’s girlfriend – the pert, pretty, and envious nurse Sally, John Van Dreelan plays the sneaky jungle guide Bertram Garvay, Estelle Hemsley is wonderful as the sage Old Malla, and the stunning but malevolent Kim Hamilton is the youthful Malla.
Universal (then Universal-International) made this low budget horror film because they needed a second feature to play with their U.S. release of the Hammer production – The Brides of Dracula 1960
The interior set of the Talbots’ ranch house living room was also used in the 1958 Universal spookfest- The Thing That Could Die 1958

The Living Skeleton 1968

The Living Skeleton is a Japanese horror film released in 1968, directed by Hiroki Matsuno, and is his sole cinematic endeavor, known for its eerie atmosphere and unsettling themes.

The story revolves around a young woman named Saeko (Kikko Matsuoka), living in a seaside town, as a child, who survived a shipwreck that claimed the lives of her parents. Now haunted by the unearthly phantoms of a ship’s crew murdered by modern-day pirates. Saeko is bedeviled by the traumatic memories of that night and the loss of her sister Yoriko, who went missing during the same incident.

As Saeko grows older, she becomes involved in a series of mysterious and gruesome murders along the coastline. These murders are connected to a group of pirates who have been using a ghost ship to lure victims to their deaths.

As Saeko delves deeper into the mystery, she uncovers disturbing secrets about her sister’s fate, the true identity of the pirates, and the supernatural forces at play.

The Living Skeleton is celebrated for its atmospheric black-and-white cinematography (Masayuki Katŏ), eerie soundtrack, and its ability to create a sense of dread and unease. It is considered a cult classic of Japanese horror cinema and is known for its unique and unsettling storytelling.

The Living Skeleton (1968) is a haunting mediation on vengeance and grief that is deeply steeped in the darkly poetic style of American noir of the 1940s. It stands as a lesser-known classic, made all the more intriguing by the fact that Notably, screenwriter Kyuzo Kobayashi, who also penned “Goke, Bodysnatcher from Hell,” brings a unique blend of social commentary and jarring storytelling.

The film features eerie underwater sequences creating a surreal and otherworldly mood. It can be described as a ghost ship movie with a Japanese title that, when literally translated, resembles something along the lines of “Bloodsucking Skeleton Ship” or “Bloodsucking Pirates.”


The Legacy 1978

Read my Katherine Ross tribute Here: The Women of The Alfred Hitchcock Hour

The Legacy is a 1978 British-American horror film directed by Richard Marquand with a screenplay co-written by Jimmy Sangster and starring Katherine Ross alongside her real-life husband Sam Elliott. The film follows the story of a successful American fashion model named Margaret Walsh, portrayed by Katherine Ross, and her boyfriend, Pete Danner, played by Sam Elliott.

Margaret and Pete are invited to an English country estate for a weekend getaway. However, upon their arrival, they discover that the mansion’s eccentric owner, Jason Mountolive (John Standing), has passed away, and they are unexpectedly drawn into a sinister and supernatural inheritance ritual. The inheritance involves a group of wealthy and influential individuals, each with unique abilities, who must compete for the right to claim Jason’s vast fortune and power.

As Margaret and Pete become embroiled in the strange, bizarre, and deadly events at the estate, they must navigate a web of dark secrets, occult rituals, and supernatural forces.

Long Weekend 1978

Long Weekend is a 1978 Australian horror film directed by Colin Eggleston is a cautionary tale. At the root of the story is a troubled couple, Peter (John Hargreaves) and Marcia (Briony Behets), who decide to take a camping trip in a remote and picturesque coastal wilderness for a long weekend to try and salvage their deteriorating relationship. However, as they embark on their journey, they exhibit a lack of respect for nature and the environment, acting reckless and indifferent – littering and animal cruelty.

As the couple’s disrespect for nature continues, the wilderness seems to retaliate in eerie and inexplicable ways. They encounter a series of increasingly bizarre and terrifying events, including strange animal behavior, unexplained sounds, and unsettling visions. It becomes apparent that the very forces of nature are conspiring against them.

The Lost Boys 1987

Because of its slick, stylish, and tongue-in-cheek black comedy due to Schumacher’s direction, Tom Duffield’s production design (Ed Wood 1994), and Michael Chapman’s cinematography (Taxi Driver 1976, Raging Bull 1980) The Lost Boys is so very worthy of a Saturday Nite Sublime treatment. Stay tuned for a full commentary on the film here at The Last Drive In!

The Lost Boys is a 1987 American horror-dark comedy film directed by Joel Schumacher. (St. Elmo’s Fire 1985, Flatliners 1990).

Following a challenging divorce, a mother Lucy Emerson (the marvelous Diane Wiest) relocates her teenage sons Michael (Jason Patric) and Sam (Cory Haim) to the fictional coastal town of Santa Carla, California, where they will reside with their taxidermist grandfather played by the always engaging Barnard Hughes. However, Santa Carla bears the unsettling reputation of being the “Murder Capital of the World,” with unexplained disappearances plaguing the town. When the elder brother, Michael becomes entangled with a rebellious and charismatic band of outsiders led by David (Kiefer Sutherland), it falls upon his younger brother, Sam (Corey Haim), to rescue him from the clutches of a dangerous gang of motorcycle vampires, after he becomes seduced to join the undead and the object of his desire, Star (Jamie Gertz) The vampires are:  Kiefer Sutherland, Jamie Gertz, Billy Wirth and Alex Winter. The film also co-stars Edward Herrmann as Max and Corey Feldman as Edgar Frog.

With the help of the brothers Frong (Corey Felman and Jamison Newlander), they uncover the truth about the town’s vampire infestation and go on the hilarious yet deadly serious mission to save his brother from the clutches of the badass undead and save their family.

The Lost Boys is known for its 1980s nostalgia, memorable soundtrack by Thomas Newman, and the mesmerizing performances of its cast. It has become a cult classic in the horror genre, known for its blend of vampire lore and teen rebellion, making it a beloved and enduring film.

This is your EverLovin’ Joey Sayin’ See ya ‘L’ater when I bring you the macabre letter M!

A Trailer a Day Keeps the Boogeyman Away! Halloween A-Z


The Flesh and The Fiends 1960

Flesh and the Fiends is a 1960 British horror film directed by John Gilling. The movie is a fictionalized account of the real-life Edinburgh murderers, Burke and Hare, who infamously sold corpses to medical schools in the 19th century.

The film follows Dr. Robert Knox (played by Peter Cushing), a respected anatomy lecturer at the University of Edinburgh. Struggling to acquire enough cadavers for his anatomy classes, Dr. Knox becomes involved with two grave robbers, Burke (George Rose) and Hare (Donald Pleasence). Instead of just robbing graves, they escalate to murder to provide fresh bodies for Dr. Knox’s dissections.

As the duo’s gruesome activities continue, they become increasingly brazen and careless. Suspicion grows in the community, and an investigation is launched to uncover the source of the bodies. The film delves into the moral dilemmas faced by Dr. Knox as he turns a blind eye to the origins of the corpses and the increasing brutality of Burke and Hare’s actions.

Flesh and the Fiends is a dark and atmospheric horror film that explores themes of moral corruption, the consequences of desperation, and the ethical boundaries of science. It is known for its chilling portrayal of the Burke and Hare story, with Peter Cushing and Donald Pleasence delivering memorable performances. The film’s unsettling and macabre narrative makes it a notable entry in the horror genre.

Frogs 1972

Frogs is a 1972 American International eco-horror film directed by George McCowan who was prolific in made-for-television movies and TV series. Frogs is set in a remote and swampy area in the American South, where a wealthy and environmentally insensitive family gathers for Independence Day celebrations at their island mansion.

The film opens with a poetic sequence featuring Sam Elliott gliding through the swamp in a canoe, capturing photographs of the wildlife. As the exquisitely framed scene unfolds, the landscape initially appears serene, but soon, the camera reveals the grim sight of polluted water and scattered refuse.

The story follows Pickett Smith (Sam Elliott), a nature photographer and environmentalist who has come to the island to document the local wildlife on Crocket Island. After he is thrown from his canoe by a speedboat manned by Clint Crocket (Adam Roarke) and his beautiful sister Karen (Joan Van Ark) they come to his rescue and get him out of the lake. Clint apologizes and offers Pickett a chance to dry off back at his family estate. Finding Karen charming, he agrees to go back with them. Once there, he meets the cantankerous patriarch, Karen’s grandfather, Jason Crocket played by a now bilious and paunchy Ray Milland who has since had his share of cheap exploitation and horror flicks. He torments the family with a tyrannical iron fist. Gathered around are guests who have been invited to celebrate the Fourth of July.

Among the partygoers are Clint’s wife Jenny (Lynn Bordan) and son and Jason’s other son Michael (David Gilliam). There’s eccentric Aunt Iris played by Hollis Irving, cousin Kenny, and his girlfriend Bella (Judy Pace). They all dread spending time with Jason but they also all stand to inherit some of the family fortune one day when the old bastard finally kicks off. As Jason Crockett announces arrogantly “We are the filthy rich!”

Picket soon discovers that the island’s ecosystem has been dangerously disrupted by pollution and pesticides used by the family. The delicate balance of nature is upset, and as a result, the island’s animal population, led by an army of aggressive frogs, begins to revolt against the human intruders.

As the eerie and deadly attacks by various creatures intensify, the family members and their guests find themselves in a fight for survival against the relentless and vengeful forces of nature.

Grover, one of the family employees suddenly goes missing somewhere in the woods and this infuriates Jason, not to mention he’s got a bellyful of frogs. Pickett offers to go search for Grover and try and figure out what is inciting the frogs to overrun the place. He pokes at Jason that the island’s wildlife, including the frogs, reptiles, and insects seem to be rallying their forces against the Crocket family… and their tradition of not giving a damn about the environment, polluting it, poisoning it, and essentially treating like their own personal dumping site.

When Pickett finds Grover, Jason insists that his family not hear about the death in order not to ruin not only the Fourth of July celebration but also his birthday party. But inexplicable deaths start to occur. Michael is killed in the woods by large spiders, covering him with a network of deathly webs. Kenneth is killed in the greenhouse by lizards who knock over bottles of poisonous fumes. Then while chasing a butterfly, she is killed by snakes. Whoever is left tries to escape the island but Jason refuses to allow anything to ruin his festivities and won’t leave his island. When Bella tries to escape she and Crocket’s servants are slaughtered by birds who violently attack them. Then Clint is killed by poisonous water snakes trying to get to his boat.

With a highly intuitive intellect, the frogs sense that Pickett is about to torch them all with gasoline and they all clear out. Pickett takes Karen and her two kids and they grab a canoe all while battling various creatures along the way, including crocodiles.

The film inevitably ends with an eerie curtain call as Ray Milland is surrounded by the natural world closing in on him. The cacophony of frogs – like an ancient plague consumes the old iron-handed bully, crashing and vaulting through the windows, until they cover him while he dies of a heart attack with no one left to help him.

Frogs 1972 is a cautionary tale and a classic example of the eco-horror subgenre, one of the first ‘nature strikes back’ films where nature itself becomes the antagonist. When the balance of nature is disrupted by avaricious and self-indulgent individuals who contaminate their surroundings, it incites a revolt by a coalition of wildlife who rise up and challenge humanity’s reckless exploitation of the planet’s ecosystem, the consequences of environmental negligence and the potential for the natural world pushed to its limits – to strike back and vie for dominion over mankind.

From Beyond the Grave 1974

See my tribute to MARGARET LEIGHTON here:

From Beyond the Grave 1972 was produced by Amicus Productions, a British film production company known for its horror anthology films during the 1960s and 1970s. The film was released by Warner Bros. in the United States and by British Lion Films in the United Kingdom. Amicus Productions was notable for its contributions to the horror genre, producing several successful anthology films that featured well-known actors and engaging, often interconnected, horror stories. I have a particular affection for the works put out by Amicus. They have a darkly lyrical sensibility, all infused with delicious irony and surreal and sardonic-centered storylines.

From Beyond the Grave is a 1974 British horror anthology film directed by Kevin Connor. The film is structured as a portmanteau or anthology, consisting of four separate but interconnected stories, all linked by a sinister antique shop run by the enigmatic and mysterious proprietor, played by beloved horror icon Peter Cushing.

Throughout the film, the antique shop Temptations Ltd. and its proprietor serve as the central thread that ties these tales of terror together. As each customer falls victim to the sinister objects they’ve stolen, it becomes clear that the shop is a purveyor of cursed items with a malevolent agency of its own.

The quintet of customers who have questionable ethics enter the shop and think they are swindling the shop owner out of his collectibles and antiques. They each obtain a seemingly innocuous item, only to discover that it is cursed and carries a dark and malevolent supernatural force. These stories explore the consequences of the characters’ interactions with the cursed objects, leading to chilling and often fatal outcomes.

The cast includes Ian Bannen, Ian Carmichael, Diana Dors, Margaret Leighton, Donald Pleasance, Nyree Dawn Porter, David Warner, Ian Ogilvy, Leslie Anne Down, Jack Watson, and Angela Pleasance.

The first customer in “The Gate Crasher” is Edward Charlton (David Warner) who thinks he is conning the proprietor out of a valuable mirror, insisting that it’s a reproduction. Once he gets home, after holding a séance with friends, an evil spirit emerges from the mirror and takes possession of him. The evil specter forces Edward to commit murder in order to release him from his glass prison. After carrying out the bloody deeds, Edward himself is trapped inside the mirror until the next person comes along to set him free.

Next is the segment “An Act of Kindness” Ian Bannen plays Christopher Lowe a meek and downtrodden husband who steals a war medal from the shop and goes on to befriend a straggly pauper Jim Underwood (Donald Pleasance) selling matches and shoelaces. Lowe becomes intoxicated by Underwood’s daughter Emily (Pleasance’s real daughter Angela). Lowe also presents the medal as something he was awarded after WWII. When he wants out of his marriage to Diana Dors, he murders her so he can be with Emily, but in the end, he discovers to his horror that the whole thing has been set up by his son and the Underwoods to get rid of him.

The third customer of the story “The Elemental” Reggie Warren (Ian Carmichael) cleverly switches the price tags on two snuff boxes in order to purchase the one he wants at a cheaper price. He thinks he’s gotten away with it and boards the train and heads home. On the train, a kooky occultist Madame Orloff (Margaret Leighton in fabulous form) excitably tells him that there is an ‘elemental’ an invisible supernatural entity sitting on his shoulder feeding on him. He readily dismisses her but soon after it is evident that something is making Reggie act out in ways that people accuse him of hurting them, though he hasn’t touched them at all. Even his wife Susan (Nyree Dawn Porter) claims that he has touched her when he hasn’t. Reggie now believes that this uncanny spirit, the elemental is vexing him. So Reggie calls upon Madame Orloff to come and exorcize this volatile spirit. However, the thing jumps out of Reggie and leaps onto Susan instead, with deadly consequences for Reggie.

In the fourth and last installment ”The Door”, William Seaton (Ian Ogilvy) buys a massive antique door and brings it home, which opens a portal to a decaying blue room. Seaton and his wife Rosemary (Lesley-Anne Down) go inside and explore the space until they realize that it is a realm where a sadistic warlock named Sir Michael Sinclair (Jack Watson) dwells. The room is in the liminal space between both worlds and Seaton learns that he must destroy the door before Sinclair comes through.

From Beyond the Grave is a classic anthology horror film that blends supernatural elements with tales of moral comeuppance. With its atmospheric storytelling and memorable performances, it remains a cult favorite among horror enthusiasts and fans of portmanteau films.

The Fury 1978

The Fury is a 1978 supernatural thriller film directed by Brian De Palma and a screenplay by John Farris. The movie follows the story of a young man named Robin Sandza (played by Andrew Stevens), who possesses psychokinetic powers, which allow him to move objects with his mind. These abilities make him the target of a secretive government organization led by Ben Childress (played by John Cassavetes). Underneath and surrounding the charismatic hybrid horror/science fiction pageantry is John Williams’s evocative score. The film features quite an impressive cast. John Cassavetes, Kirk Douglas, Charles Durning, Carrie Snodgrass, Carol Rossen, Fiona Lewis, and the two Furies, Amy Irving and Andrew Stevens.

The film also centers on Gillian Bellaver (played by Amy Irving), a girl with psychic abilities, including telepathy, who becomes connected to Robin. She escapes from Childress’s organization and seeks refuge with Robin’s father, Peter Sandza (played by Kirk Douglas), a former government agent.

As the story unfolds, it becomes clear that the government’s interest in individuals with psychic powers is not benevolent. They seek to harness and weaponize these abilities for their own purposes, often resorting to unethical and brutal means.

In the covert world of espionage, Peter Sanza, a dedicated American agent played by Kirk Douglas, finds himself facing the ultimate betrayal when his long-time partner, Childress, portrayed by John Cassavetes, turns against him. As the government becomes aware of Peter’s son, Robin, who possesses extraordinary telepathic abilities, they see an opportunity to wield this untapped power for their own purposes. In this ruthless pursuit to harness Robin’s unique gift, Peter becomes a dispensable pawn in their quest for control.

When they try to take Peter out he survives the attempt to assassinate him. But he emerges from the shadows determined to find his son and driven by a burning desire to wreak vengeance on those who betrayed him. Meanwhile, Robin is devastated by the belief that his father is dead. He has been secreted away by his new guardians and held in a secret government facility, held by the clandestine organization that wishes to exploit him.

Almost a year later, another teenager Gillian (Amy Irving) shows that she has the same telepathic abilities. Peter sees an opportunity for help by enlisting Gillian to find his son by connecting with him telepathically. Both Gillian and Robin also have the power to move objects by way of telekinesis. But when she triggers this force, her powers cause people to bleed uncontrollably. But Gillian, who has a gentle spirit is frightened and disturbed by this uncanny power of hers. She is placed at the Paragon and put in a school with other gifted telepathic students where they research and help develop their skills. This is run by Dr.McKeever (Charles Durning).

Peter is joined by his girlfriend Hester (Carrie Snodgrass) who infiltrates the Paragon so she can contact Gillian. It’s not long after that Childress and the powerful cabal of the government take Gillian to their secret lab. She can now draw a mental image of Robin being put through a series of experiments, and soon enough he becomes aware of Gillian. Robin begins to emerge as a volatile monster who has gone to the dark side, jealous of Childress’s attention he’s been giving to Gillian. He now has a murderous evil streak that the power has unleashed in him… a fury. He causes havoc wherever he goes and can siphon the blood out of people just by piercing their physical bodies with his mind. In one scene he uses his telekinetic powers to dislocate a Ferris wheel filled with passengers. Richard Kline who did the cinematography for Soylent Green in 1973 and The Andromeda Strain in 1971 creates a pyrotechnic display amidst the carnivalesque carnage.

Hester breaks Gillian out of the Paragon but gets killed, and Peter and Gillian try to hunt down Robin, which leads them to Childress’s estate, where they face the ultimate showdown with the monstrous Robin who no longer has any humanity. Once the confrontation between Robin and his father leaves Robin dead and his father committing suicide, Gillian is left in the hands of the menacing Childress. When he attempts to seduce her she goes full-blown ‘fury’ on him and rips him to psychic pieces.

The Fury is known for its stylish direction by Brian DePalma, who infuses the story with his signature cinematic flair. It offers a compelling narrative with a mix of supernatural and espionage elements, making it a memorable entry into the thriller and horror genres of the late 1970s. Many film critics consider DePalma’s work to favor style over substance, but the collection of films has a significant presence and his stylish vision has created some of the most compelling visual narratives and beautifully developed – that they stay with you whether substantive or not.


“…in fits and starts, the kind of mindless fun that only a horror movie that so seriously pretends to be about the mind can be. Mr. DePalma seems to have been less interested in the oeverall movie than in pulling off a couple of spectacular set-pieces, which he does.” -Vincent Canby, New York Times, March 15, 1978

This is your EverLovin’ Joey Sayin’ F is the letter that goes with FRIGHT! next is the letter G for GOOSEBUMPS in the night!