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


Terror is a Man 1959

Terror Is a Man is a 1959 film directed by Gerardo de León and Eddie Romero. The film is a loose adaptation of H.G. Wells’ classic novel “The Island of Dr. Moreau.” Set on a remote island in the Philippines, a shipwrecked survivor William Fitzgerald (Richard Derr) finds himself washed ashore, marooned on an island where the population on the island has been driven away by irrational fears surrounding the reclusive Dr. Charles Girard an enigmatic scientist played by Francis Lederer.

Now, the sole inhabitants of the island are Fitzerald, Dr. Girard, his alluring wife (Greta Thyssen), his dubious assistant, his servant, and her young son. But there is someone else lurking. Dr. Girard has been experimenting with transforming a panther into a violent human being.

As Fitzgerald gets settled he begins to suspect that  Girard is conducting these gruesome experiments, to turn animals into human-like creatures through surgical procedures and genetic manipulation. These humanoid hybrids are the result of his obsession with pushing the boundaries of science and evolution.

Torture Garden 1967

The carnival sideshow is the perfect tableaux for a portmanteau film, both offer the opportunity to explore a variety of oddities, strange narratives, and macabre fables. In the case of Amicus Productions’ Torture Garden (1967), director Freddie Francis and screenplay by writer Robert Bloch (Psycho) curate a sideshow that offers just such astonishments. Torture Garden also features a wonderful ensemble of mostly British actors –  Jack Palance, Peter Cushing, Niall MacGinnis, John Standing, Beverly Adams, Michael Bryant, Barbara Ewing, Nicole Shelby, Catherine Finn, Bernard Kay, Ursula Howells, Michael Ripper, and Maurice Denham.

Dr. Diablo, portrayed with gleeful malevolence by Burgess Meredith, assumes the role of an eccentric ringmaster of a mystifyingly peculiar and kitschy carnival sideshow – a role Meredith gushes with relish as the master of ceremonies for this devilish pageantry. With an unapologetic zeal, he adorns himself with oversized gloves, a dastardly cartoonish moustache and goatee, and a generous smear of theatrical eyeliner. Amid his sideshow, the majority of attractions revolve around cliché-ridden waxworks showcasing a macabre array of torture devices and modes of death and execution.

After the main spectacle, hewing to the old tradition of carnival mystique, Dr. Diablo presents a captivating offer to only five of his patrons.

For a trifling sum of £5, he entices them with the chance to see something ‘truly terrifying.’ As their curiosity deepens they follow toward the back of the ceremonial tent, where Dr. Diablo sheds his dramatic facade, setting their admittance on fire as it vanishes into thin air and so begins the clandestine twist to his captivating carnival act.

Once inside Diablo reveals an uncannily lifelike statue of Atropos, the Goddess of Destiny brought to life by British actress actress Clytie Jessop. Atropos holds the sharp golden shears. Atropos is most frequently represented with scales, a sundial, or a cutting instrument, described by John Milton in Lycidas as the “abhorred shears” with which she “slits the thin spun life.”

Dr. Diablo mesmerizes these five captive listeners with the moral about the Goddess who has the power to reveal the true nature of evil within each person- their inner-secret horrors and the grim fate that awaits them. At first, they are all skeptical yet, one by one they are beguiled as they gaze into the gleaming shears beckoned by the statue of Atropos, delivered to prophetic visions of what lies ahead—a glimpse into the hidden abyss of their own malevolence, and the bleak fates awaiting should they neglect to change course.

In the narrative of Enoch’s story, Colin Williams (portrayed by Michael Bryant) cunningly engineers the downfall of his affluent Uncle Roger (Maurice Denham) with the aim of securing access to his curious fortune. Yet, his elation turns to dread when he unearths that this fortune comes with a stipulation of servitude to a mystical feline deity, conceivably a witch’s trusted familiar. Now, he stands face-to-face with horrors far more formidable than the specter of destitution.

Within the narrative of “Terror Over Hollywood,” Carla Hayes (Beverly Adams), an up-and-coming starlet, resorts to sabotaging her roommate Millie’s (Nicole Shelby) rendezvous with Hollywood producer Mike Charles (David Bauer) in a bid to ensure her own romantic liaison with him. This maneuver propels her into the exclusive inner sanctum of Hollywood’s elite, known as the Top Ten, where like others, Carla is fascinated by actors like Bruce Benton (Robert Hutton) who never seem to age. However, Carla’s journey swiftly unravels the shocking truth.

In “Mr. Steinway,” Dorothy Endicott (Barbara Ewing) is involved with a concert pianist Leon Winston (John Standing), but makes the tragic mistake of trying to drive a wedge between his love affair with his ‘grand’ piano.

In this truly macabre tale, “The Man Who Collected Poe” Jack Palance plays Ronald Wyatt, an obsessive collector of Edgar Allan Poe memorabilia who hunts down Lancelot Canning (Peter Cushing) who is the foremost collector of Poe ephemera. But Wyatt will stop at nothing to get his hands on Canning’s most prized possession and ultimately brings him to a shocking revelation.

When the fifth and final player in this fateful excursion  Gordon Roberts (Michael Ripper), faces the imminent unveiling by Dame Fortune, it takes an unexpected turn and defies Dr. Diablo’s initial expectations, is there an unforeseen twist of fate that changes the course of things

When I saw it during its theatrical release in 1967, the gimmick was to hand out seeds to each moviegoer, so you could grow your own torture garden! Now that’s worth going to the movies for…

Terror at the Red Wolf Inn 1972

They’d love to have you for dinner!

The American Horror- Terror at Red Wolf Inn, aka Terror House suggests an adult fairytale. Released in 1972 and directed by Bud Townsend (Nightmare in Wax 1969 starring Cameron Mitchell and Anne Helm), It winks at us with its homey touches yet this darkly humorous film is a delirious and claustrophobic horror story that creates a sense of unease. Especially the use of the song “(There’ll Be Bluebirds Over) The White Cliffs of Dover” is a popular World War II song composed in 1941 by Walter Kent to lyrics by Nat Burton. It is used as a satirical motif in the film, eventually coming full circle when Regina sings it to Baby John.

The film features Linda Gillen, John Neilson, Mary Jackson, and Arthur Space. A college student unexpectedly wins a vacation to a secluded countryside retreat managed by an elderly couple. Unbeknownst to her, the hosts have a gruesome secret – they serve meals made from human flesh. While the movie incorporates significant horror elements, into the horror genre, marked by its “tongue-in-cheek” humor. Interesting tidbit- David Soul, Bruno Kirby, and Richard Dreyfuss all auditioned for the role of Baby John.

Regina (Linda Gillen) is a solitary college student who gets a strange letter telling her that she has unexpectedly won a free vacation to a quaint seaside bed and breakfast called the Red Wolf Inn. What’s even stranger is she has a private plane waiting at the airport to take her to her destination. When she arrives at the remote island, she is met by a curious guy who tells her his name is Baby John Smith. (John Neilson). He takes Regina on a joy ride speeding through town outrunning the police Jonathan the Deputy on his tail. Instead of being frightened by Baby John, she is thrilled by the excitement and this pleases him a lot.

They get to the Red Wolf Inn she is greeted by Baby John’s grandparents Henry and Grandma Evelyn Smith (Arthur Space and Mary Jackson), the nice old couple who own the little resort home. There are two other guests staying there – Pamela (Janet Wood) and Edwina (Margaret Avery). When Regina asks to use the phone to call her mom and let her know where she is, she finds it’s out of order. First red flag at the Red Wolf Inn. As if invited to a glorious meal set out like a feast that includes finger-licking good barbecue. the seemingly kind old grandma and grandpa enjoy pampering their guests with good food, encouraging them to eat more.


Regina: It’s really good. What is it?

Evelyn: Filet, dear. Filet.


Henry: A butcher’s work is never done.

Fattening them up we’d expect. After that delicious meal, Regina goes in search of something to calm her stomach and stumbles on Baby John in the kitchen coming out of a large walk-in fridge, he seems like a butcher holding his large carving knife. Seeing Baby John startles her and she screams waking everyone up. Regina admits to Edwina that she and Baby John are drawn to each other and that she finds him attractive. We they awaken in the morning they are told by Henry and Evelyn that their other guest Pamela has moved on, yet Regina has found the girl’s beautiful black dress that she loved, hanging in the closet of the carriage house behind the Smith’s mansion. A sweet romance begins to blossom between Regina and Baby John. But he exhibits the oddest behavior, while on the beach where they share a kiss, Baby John reels in a small shark and proceeds to bash its head in against the rocks screaming Shark! In a panic. Afterwards, he exclaims to Regina that he’s in love with her then he runs away.

Baby John -[reeling a small shark in on his fishing line] SHARK! SHARK! SHARRRRK

[picks it up by the tail and repeatedly bashes it against a rock]


[calms down and turns to Regina]

Baby John {says to Regina then runs off}: I think I love you.

That night, a party is thrown to celebrate Edwina’s upcoming departure. Following a lavish dinner, as everyone retires to bed, the Smiths enter Edwina’s room, incapacitating her with a cloth soaked in chloroform. They then deliver her to a chilling fate – inside a meat locker the sounds within confirm their gruesome motives.

The next day, Regina becomes alarmed when Evelyn informs her that Edwina has left without saying goodbye. Regina attempts to contact her mother but is abruptly disconnected by Evelyn. A police car arrives at the mansion, and Regina rushes outside for help, only to discover that the officer is another Smith family member, portrayed by producer Michael MacReady.

Regina now realizes that she is captive yet does not realize the extent to which this insane family is actually cannibals. The Smiths leave Baby John in charge of guarding Regina to make sure she doesn’t escape, while they go into town. This is an opportunity to go explore that creepy off-limits fridge. But horrified she finds Edwina and Pamela’s heads, and that’s where they store their ‘meat’, the same human meat she has been consuming for days. She tries to make a desperate run for it, but Baby John follows after her. The two have fallen in love. But It is too late, Evelyn and Henry get home and grab her before she can escape. Now it’s inevitable that Regina will become their next meal, but Baby John like a true child, is depending on his grandparents (who aren’t really kin) to welcome Regina into the family.

Theater of Blood 1973

Theater of Blood is a 1973 British horror-drollery starring Vincent Price who of course is perfect in the role of  Edward Lionheart, a tour-de-force for Price in a stylish, irresistible horror angle. It was the tenth film Vincent Price made in Britain since 1964, and director Douglas Hickox’s first horror film, having mastered his dark comedy Entertaining Mr. Sloane in 1970. He considered this to be his personal favorite of all of his films, followed closely by Dr. Phibes in 1971 directed by Robert Fuest who was originally asked to helm this film. ”I think that was the best feeling of achievement and satisfaction that I ever had from a film.” Early on Vincent Price”s greatest desire was to be a proficient Shakespearean actor on stage in England.

Frustrated by how his film career had ultimately pigeonholed him into horror film roles, he relished the chance to quote Shakespearean prose in this film and jumped at the chance when approached. He was also very pleased to be cast opposite so many well-known Briitish character actors, several of which had the experience of previously being in the RSC.

It was also considered by Dame Diana Rigg who plays Price’s daughter Edwina, to be her best film. Theater of Blood includes an ensemble of the best British actors cast with the most marvelous personas, including Jack Hawkin, in what would be his last role, as Solomon Psaltery, Ian Hendry as Peregrine Devlin, Harry Andrews as Trevor Dickman, Coral Browne as Chloe Moon, Robert Coote as Oliver Larding, Michael Hordern as George Maxwell, Arthur Lowe as Harris Sprout, Robert Morley as Meredith Merridew, Dennis Price as Hector Snipe, Milo O’Shea as Inspector Boot, Eric Sykes as Sgt. Dogge, Madeline Smith as Rosemary, Joan Hickson as Mrs. Sprout, and Diana Dors as Maisie Psaltery.

Robert Morley starred five years later in Who is Killing the Great Chefs of Europe? 1978 a film with a very similar topic in which he also played a gourmet. Oddly enough, Robert Morley played a gourmet in the Alfred Hitchcock Presents TV episode “Specialty of the House” (1959) where he was not only the lover of food who frequented an exclusive restaurant but he was also the main course for a secret society of cannibals.

A once-respected Shakespearean who has spent twenty glorious years on the British stage is now a fallen actor -Edward Lionheart believes himself to be one of the greatest thespians of his time. But the ultimate betrayal and humiliation come when he is passed over for the Critics Circle Actor of the Year Award, losing it to a mumble-mouth method actor!

Lionheart has been consistently panned by the critics for his performances, but this was the bitter end. His ego is shattered when this group of critics consistently berates his performances publically, ultimately leading to his apparent suicide. This despair and humiliation set the stage for his descent into madness and vengeance.

However, Lionheart manages to survive, and aided by Diana Rigg and a band of seamy homeless folk, initiates a theatrical and grisly quest to exact his vengeance against the critics who heartlessly maligned him.

Peregrine Devlin (Ian Hendry): You begin to resent an actor if you always have to give him bad notices. Ian Hendry and Dame Diana Rigg appeared together on The Avengers in 1961.

However, Lionheart survives and, with the help of a group of homeless people, begins a gruesome and elaborately staged campaign of revenge against the critics who wronged him. Each murder is styled after a death from a Shakespearean play, with Lionheart delivering lines from the Bard’s works before committing the murders. Lionheart’s transformation from a broken artist to a vengeful and diabolical figure is central to the flamboyant story of vengeance. He fakes his own death and embarks on a twisted mission to exact revenge on the critics who drove him to the brink

As Lionheart’s hit list grows, Inspector Boot (Milo O’Shea) takes on the case, and he becomes determined to catch the dramatic executioner.

In Theater of Blood, Vincent Price delivers one of his most over-the-top and unforgettable performances as Edward Lionheart. Lionheart is a character who embodies the quintessential Vincent Price role—a charismatic and tormented figure with a flair for the dramatic.

The cast included a remarkable array of actors including future wife Coral Browne, who initially had turned down the film twice. “No, no I can’t be doing that, one of those scary pictures with Vincent Price – don’t be ridiculous.” However, after Robert Morley called her up and said, “We haven’t been together since The Man Who Came to DInner (on stage in 1941). I’ll do Theater of Blood if you’ll be in the Theater of Blood.”  Vincent Price and Coral Browne insist that they met in a graveyard, when the critics gather to bury the first of the victims executed by Lionheart. “As the gravedigger, Price was kitted up in muddy Wellies, sleeves rolled up, a battered hat on his head, face smeared with grime. The elegant Miss Browne eyed him askance: And I though, ‘Oh, this man, oh, this dirty-looking old creature,’ and took absolutely no notice a’tol.” But coexecutive producer and longtime friend Sam Jaffe remembers that the two artists were quickly ‘very friendly.” (source: The Complet Films of Vincent Price by Lucy Chase Williams.

This campy horror flick is a thing of grandeur, and Vincent Price’s portrayal of Lionheart is characterized by his theatricality and grandiose delivery. Price fully embraces the character’s melodramatic flair and relishes the opportunity to recite Shakespearean lines while dispatching his victims. Lionheart’s appearance is also noteworthy, as Price undergoes a transformation to embody the character’s flamboyance. He wears extravagant costumes, dons theatrical makeup, and adopts various disguises, all of which contribute to the character’s larger-than-life presence. Dame Diana Rigg as Edwina Lionheart also cloaks herself in theatrical affectations in order to sidekick Lionheart’s plot.

Once Peregrine Devlin suspects that someone is killing the theatre critics of London, he confronts Edwina who denies the implication it’s her thespian father and assures him that the great actor died of a broken heart.

Vincent Price’s performance as Edward Lionheart in Theater of Blood remains one of the highlights of his illustrious career. His ability to balance the character’s tragic backstory with his increasingly unhinged and malevolent actions creates a character that is both unforgettable and emblematic of Price’s status as a legendary figure in the world of horror cinema.

In “Theater of Blood” (1973), each of the murders is meticulously staged to resemble a death from a different Shakespearean play. These theatrical killings add a unique and darkly comedic element to the film. Here are some of the scenarios of death in the movie:

  1. Julius Caesar: Lionheart murders one of the critics by recreating the famous death of Julius Caesar from Shakespeare’s play. The victim is stabbed to death by a group of people wearing Roman attire.
  2. Cymbeline: Another critic meets his demise in a bathtub filled with wine, mirroring the death of the queen in Shakespeare’s “Cymbeline.”
  3. Titus Andronicus: A critic is fed a pie made from his own pet dogs, reminiscent of the gruesome events in Shakespeare’s “Titus Andronicus.”
  4. Henry VI, Part 1: A critic is drowned in a barrel of wine, inspired by a death in “Henry VI, Part 1.”
  5. The Merchant of Venice: One critic faces a punishment similar to Shylock in “The Merchant of Venice” by having his pound of flesh extracted.
  6. Othello: Another critic is smothered to death, echoing the tragic fate of Desdemona in “Othello.”
  7. Romeo and Juliet: In a twist on the famous balcony scene from “Romeo and Juliet,” one critic is killed by a group of hooligans.
  8. Hamlet: A critic meets his end in a fencing match, referencing the duel in “Hamlet.”


This film was shot entirely on location in and around London. No scenes from it were shot in a studio.
Price fell in love with and married Coral Browne following the film’s production, which lasted from July 10 to August 17, 1972. This film was released after Price’s March 18, 1973 appearance as the subject of “This is Your Life”, his last public appearance with his second wife Mary, who knew nothing yet about his affair with Coral, set up by Dame Diana Rigg who noticed the chemistry between the two.

The name of Dame Diana Rigg’s character in the film was derived from that of Edwina Booth, daughter of Edwin Booth (1833-1893), considered by many to be the greatest Shakespearean actor of his day, and the brother of John Wilkes Booth, the most infamous actor of his day. When this film was adapted for the London stage in 2005, Dame Diana Rigg’s role was filled by her real-life daughter Rachael Stirling.

Edward Kendal Sheridan Lionheart’s Vincent Price’s theater hideout was the Putney Hippodrome, built in 1906. It had been boarded up for 14 years when it was chosen as a location for this film. The filmmakers rented it for $127.00 a week and set parts of it on fire for the film’s ending. The building was demolished in 1975 and housing was erected on the site.

Due to Jack Hawkins’ speech loss from laryngeal cancer (he could only speak through an artificial voice box), his voice in the role of theatre critic Solomon Psaltery in the film was dubbed by Charles Gray.

Vincent Price said this was one of the best scripts he had ever read and jumped at the chance to make the film. He was excited by the Shakespearean theme to the film and loved the black comedy in it. He was also pleased that the film was going to get a mainstream theatrical release in the UK and Europe (via United Artists) rather than the drive-thru theaters and B movie theaters that many of his US made horror films had been having in the US for several years.

Renēe Asherson and Eric Sykes appeared in The Others 2001

“Some of the do-ins are funnily horrible as director Douglas Hickox uses his DeLuxe color cinematography to emphasize Robert Morley’s outrageously blonde hairdo as well as all the blood flowing… If you know the Shakespeare plots, you’ll get some fun trying to guess how scripter Anthony Greville-Belle has adapted them for each murder.” – Deirdre Mack, Films in Review, Volume XXIV, Number 6, June-July 1973.

“Few horror films are written with English majors in mind, but… Theatre of Blood surely can make such a claim… Director Douglas Hickox skillfully handels the material, allowing his camera to bear witness as Price steals the show, gliding between delightfully over the top camp and sheer irony… But what is most interiguing about Theatre of Blood is the extent to which it can be said to have influenced some of the best modern offerings.” Gina McIntyre, Wicked, Volume 3, Number 1, Spring 2001.


To the Devil a Daughter 1976

To the Devil a Daughter is a 1976 British-German horror film directed by Peter Sykes and Don Sharp. The film is loosely based on the novel of the same name by Dennis Wheatley with a screenplay by Christopher Wicking and John Peacock. The film stars Richard Widmark, Christopher Lee, Honor Blackman, Denholm Elliot, and Nastassja Kinski as Catherine Beddows.

The story follows an American expatriate and occult novelist named John Verney, portrayed by Richard Widmark. Verney is asked by his friend, Henry Beddows, played by Denholm Elliott, to help rescue Beddows’ daughter, Catherine (Nastassja Kinski), from the clutches of a sinister and demonic cult led by the charismatic and enigmatic Father Michael Raynor, portrayed by Christopher Lee.

As Verney delves deeper into the investigation, he discovers that Catherine is being prepared to serve as the vessel for a demonic entity. The cult believes that this entity will grant them immense power and immortality. Verney must race against time to save Catherine and thwart the cult’s diabolical plans.

Christopher Lee’s performance as the charismatic and sinister cult leader is a standout, and the film’s themes of satanic cults and demonic possession were in line with the occult and horror trends of the 1970s.

Tentacles 1977

Tentacles 1977 is directed by Ovidio G. Assonitis (produced and directed Beyond the Door 1974 with Juliet Mills)

Set in a coastal town in California, (although this was an entirely Italian production, it was shot in California) people have vanished mysteriously in the water their remains were discovered stripped down to the bone.

Then it turns up as a series of mysterious and deadly accidents that occur in the waters off the coast. When boats and swimmers go missing, a determined Dr. Ned Turner (John Huston) who is married to Tillie (Shelley Winters) starts digging for answers. He begins to suspect that the deaths are related to a giant, octopus-like creature, a monstrous threat lurking in the ocean depths. As the death toll rises and panic grips the community, Ned joins forces with marine biologist Will Gleason (Bo Hopkins) to track down this aquatic menace and they embark on a perilous mission to stop the giant creature before it claims more victims.

Dr. Turner begins to suspect this beast has been created by the company building a tunnel beneath the bay which has most likely contaminated the water causing this mutation to occur. While all this is unfolding Turner’s nephew Tommy is taking part in a sailing regatta which puts the kids at risk of becoming appetizers for the colossal killer octopus.

The cast also included: Henry Fonda as Mr., Whitehead, Claude Akins as Robards, Cesare Danova, Delia Boccardo, and Sherry Buchanan. While truly a schlocky B movie entry into nature vs. humans in the 1970s horror subgenre like many horror films of that decade, Tentacles features prominent Hollywood actors.

The production spent nearly $1 million on a life-sized replica of a giant octopus, which promptly sank when it was put in the water.

Trailer narrated by Percy Rodrigues. The movie was sold as an alternate take on Jaws, and bringing in Rodriguez, most famous for narrating all Jaws trailers, was part of this campaign

Terror Train 1980

Terror Train is a 1980s slasher film starring Scream Queen Jamie Lee Curtis. The film is set in the dark and eerie atmosphere of a New Year’s Eve costume party on a moving train.

A group of college students decided to celebrate the holiday by hosting a costume party aboard a chartered train. Little do they know that their festive evening will take a gruesome turn. A masked killer begins stalking and murdering the partygoers one by one, using various disguises and costumes to conceal their identity.

As the body count rises and paranoia spreads among the passengers, Jamie Lee Curtis’s character, Alana, becomes a central figure in the fight for survival. Alana must use her wits and courage to uncover the identity of the killer and put an end to the bloodshed before it’s too late.

In this 1980s slasher film, the killer’s motivation for seeking revenge on the victims is revealed as a result of a traumatic event that occurred several years prior to the events of the film.

The killer, who eventually takes on various disguises throughout the movie, seeks revenge on a group of college students because of a horrifying prank they played on him during a previous New Year’s Eve party. During that earlier celebration, a cruel and dangerous prank orchestrated by the students goes horribly wrong, resulting in severe emotional and physical trauma to the individual who would later become the vengeful 80s stalker. He holds the group responsible for the pain and suffering he endured due to their thoughtless prank.

Terror Train is a notable entry in the 1980s slasher genre, and possesses several stylistic and campy elements that were characteristic of many films in this era:

One of the film’s distinctive elements is the use of costumes and disguises. Since the story is set during a New Year’s Eve costume party on a train, characters frequently change outfits, leading to an air of mystery and confusion about the killer’s identity. This creates a sense of unpredictability and tension, adding to the film’s campy atmosphere.

There are also a number of creative kills and staged murder scenes. The killer employs various props and methods associated with their disguises and costumes to carry out his revenge. These deaths often involve a combination of surprise, gore, and dark humor. Terror Train also stars Ben Johnson, Hart Bochner, magician David Copperfield, Sandee Currie, and Timothy Webber.

This is your EverLovin’ Joey Sayin’ T is a Terrifying letter but U… haven’t seen nothin’ yet! The Letter U is coming for U!

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


Supernatural 1933

Supernatural (1933) is directed by Victor Halperin and stars Carole Lombard as Roma Courtney, a young woman who finds herself entangled in a web of eerie supernatural events. After a strange encounter with a fortune-teller Madame Gourjan (Beryl Mercer), Roma’s life takes a dark turn. She becomes connected to the mysterious and malevolent spirit of Ruth Rogan (Vivienne Osborne), a black widow murderess who returns to life in Roma’s body, her evil spirit wants to exact revenge on her former lover, a phony spiritualist Grant Wilson (Randolph Scott) who betrayed her.

As Roma investigates the circumstances surrounding Ruth’s death, she becomes increasingly convinced of the supernatural forces at play. The film weaves a tale of suspense and eerie occurrences as Roma races against time to uncover the truth behind the threat that is haunting her.

The Slime People 1963

The Slime People is a 1963 science fiction/horror film directed by actor Robert Hutton. The movie is set in Los Angeles, where a thick, mysterious fog suddenly engulfs the city. As the fog dissipates, it reveals a group of grotesque creatures known as the Slime People who have emerged from the underground. These slimy and subterranean beings begin to terrorize the city’s residents.

The film primarily follows the efforts of a small group of survivors who band together to combat the Slime People and find a way to escape the city. Along the way, they must navigate the treacherous streets of Los Angeles, evade the Slime People’s attacks, and uncover the mystery behind the creatures’ origins. It also stars sci-fi regular Les Tremayne. The Slime People was photographed by William G. Troiano who did the cinematography for the exploitation film Scream of the Butterfly 1965, The Devil’s Messenger 1962, and Horror of the Blood Monsters 1970. Tom Hollan is the guy in the slime suit.

Scars of Dracula 1970

Scars of Dracula is a 1970 Hammer horror directed by Roy Ward Baker. In this installment of the Dracula series, the infamous vampire Christopher Lee’s Count Dracula returns to terrorize a small Eastern European village.

Paul (Christopher Matthews) seeks refuge in the village after escaping from Dracula’s castle. However, as Dracula sets his sights on Paul’s girlfriend Sarah (Jenny Hanley), the villagers become increasingly desperate to rid themselves of the vampire’s curse. The battle between good and evil intensifies as the villagers and a fearless priest attempt to confront the immortal Dracula and put an end to his malevolent reign. Scars of Dracula stars Dennis Waterman, Michael Gwynn as the priest, and beloved Michael Ripper as the Landlord.

Simon King of the Witches 1971

Simon, King of the Witches is a 1971 cult film directed by prolific television scriptwriter Bruce Kessler (Chopper ep. Kolchak). The film follows the surreal journey of the enigmatic Simon Sinestrari, a modern-day, self-proclaimed witch and occultist who lives in the counterculture of Los Angeles. Simon, portrayed by Andrew Prine, uses his mystical knowledge and psychedelic experiences to navigate the tumultuous world of the 1970s. Simon is deeply involved in mysticism and practices witchcraft.

Simon’s quest for enlightenment and his desire to harness supernatural powers lead him to experiment with various rituals and mind-altering substances. Along the way, he encounters a colorful cast of characters, including a fellow witch named Linda (real-life love Brenda Scott), and a police officer who becomes obsessed with him.

As Simon delves deeper into the occult and his own psyche, the film blurs the lines between reality and hallucination, taking viewers on a bizarre and psychedelic journey into the world of magic, mysticism, and countercultural rebellion.

Simon is a complex character who combines elements of mysticism, rebellion, and a sense of being an outsider in society.

Andrew Prine captures Simon’s eccentric nature with a charismatic and unconventional performance as a nonconformist who rejects societal norms, and Prine embodies this by delivering his lines with a mix of intensity and whimsy. His portrayal of Simon’s oddball behavior, such as his penchant for wearing outlandish clothing and embracing a bohemian lifestyle is superb.

Read my tribute to Andrew Prine HERE:

Sugar Hill 1974

Sugar Hill 1974 is an American International film, a unique and potent blend of blaxploitation and horror directed by Paul Maslansky. It’s known for its stylish and gritty portrayal of 1970s New Orleans. The story is centered by Diana “Sugar” Hill, portrayed by Marki Bey whose performance is marked by her charisma, confidence, and undeniable screen presence. a nightclub owner in the vibrant city of New Orleans. When Sugar’s boyfriend, Langston (Larry Don Johnson), is brutally murdered by a group of gangsters led by the ruthless Morgan played by Robert Quarry, she becomes determined to seek revenge. Bey effortlessly manifests Sugar’s journey from a nightclub owner into a vengeful force of supernatural retribution. The Black culture magazine Jet asked the question of why Black horror films drew their inspiration from the Christian vision of the Dracula mythos, ”when there was Voodoo in the Black experience.” Sugar Hill, attempts to rescue the legitimacy of Voodoo. ‘‘If most Blaxploitation celebrated a ‘bad N…’ who challenges the oppressive White system and wins, then Sugar Hill celebrated the ”Baad Bitch who did the same.” (Robin R. Means Coleman)

Mama Maitresses ‘‘How strong is your hate?’’

Sugar Hill ‘‘As strong as my love was, my hate is stronger.”

However, Sugar doesn’t turn to conventional methods of retribution, she uses supernatural forces to combat her adversaries. Instead, she seeks out the assistance of Mama Maitresse (the wonderful Zara Cully), a voodoo priestess, to help her get vengeance through supernatural means. With the guidance of Mama Maitresse and the power of voodoo, Sugar raises an army of undead, zombie-like enforcers to take down Morgan and his criminal empire one by one.

Sugar Hill [after feeding a man to a sounder of starving pigs in a pig pen] I hope they’re into white trash.


Sugar Hill ”Hey, Whitey! You and your punk friends killed my man.’

Tank Watson ‘‘You know, you got one of the prettiest asses in town. I’d sure hate to see it kicked in for accusin’ people.’

Sugar Hill ‘‘I’m not accusin’ you, Honk. I’m passin’ sentence”

Marki Bey’s performance as Diana “Sugar” Hill in “Sugar Hill” is a standout in the blaxploitation genre. She brings a captivating mix of strength, determination, and vulnerability to her character. As Sugar, Bey portrays a woman who transforms from a grieving girlfriend into a fearless avenger, seeking justice for her murdered lover. Sugar Hill also co-stars Don Pedro Colley as Baron Samedi, Richard Lawson as Valentine, and Charles Robison as Fabulous.

The zombies in this film more closely resemble the creatures of voodoo legend – i.e., the walking dead who do the bidding – than the flesh-eating “living dead” popularized by Romero. According to the film, the zombies are the preserved bodies of slaves brought to the United States from Guinea, Africa.

“Much like the White Final Girl, Black women stare down death. However, these Black women are not going up against some boogeyman; rather, often their battle is with racism and corruption. In this regard, there is no going to sleep once the ”monster” is defeated, as the monster is often an amorphously coded as ‘Whitey”, and Whitely’s oppressions are here to stay. From Horror Noire Blacks in American Horror FIlms from the 1890s to Present by Robin R. Means Coleman


Strange Behavior 1981

Strange Behavior 1981  is a disturbing and uneasy atmosphere that fills this science fiction/horror film directed by Michael Laughlin (Strange Invaders 1983, produced The Whisperers 1967 and Two-Lane Blacktop 1972). Set in a small American town, the film follows a series of gruesome murders that seem to be connected to a mysterious research project. The film explores the exploration of mind control, innocence lost, the terrifying realization that they may be capable of committing heinous acts against which they have no free will, paranoia and the juxtaposition of innocence all played out with graphic violence.

The story centers around a teenager named Pete Brady ( Dan Shor), who becomes entangled in the investigation when his friends are brutally murdered. As Pete delves deeper into the case, he discovers that the murders are linked to a behavioral experimentation program led by the enigmatic Dr. Le Sange (Arthur Dignam).

What makes the killings even more chilling is that the perpetrators are seemingly ordinary townsfolk who have been turned into mind-controlled killers on a homicidal rampage.

The film is known for its eerie and atmospheric cinematography, as well as its unique take on the horror genre. It explores themes of psychological manipulation, the consequences of unethical scientific experiments, and the dark side of human behavior.

With its combination of a small-town setting, a mysterious conspiracy, and a rising body count, Strange Behavior is a cult classic that offers a distinctive and unsettling take on the horror genre of the early 1980s. The murders are gruesome, one scene in particular still makes me queasy, not so much for its gore but for the naked realism that it conveys with its cold and mindlessness, and I don’t mean unapologetic, I mean somnambulistic viciousness. The brutal, violent acts of controlled killing, like homicidal puppets, still have a quite shocking effect. This intelligent visual construction of gore and violence diverges from the work of the father of the splatter genre -Hershell Gordon Lewis.

Strange Behavior is set in a small, seemingly peaceful town, which enhances the sense of isolation and vulnerability. The idea that such disturbing events can occur in an otherwise idyllic setting creates a feeling of unease and an atmosphere of mystery and paranoia as characters try to unravel the enigmatic events taking place in their community. The sense of not knowing who can be trusted and who may have succumbed to mind control adds to the film’s tension. The film stars Louise Fletcher, Michael Murphy as Pete’s dad John Brady, and Fiona Lewis as Gwen Parkinson Le Sang’s assistant.

This is your EverLovin’ Joey Sayin’ S’eeee Ya at the snack bark to grab me a tray of the letter T for terror with some cheese on top!

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


The Raven 1935

Dr. Vollin ‘Your monstrous ugliness breeds monstrous hatred. Good! I can use your hate.’

The Raven is a 1935 classical American horror film directed by Lew Landers, and it features two iconic horror actors, Bela Lugosi and Boris Karloff, in starring roles. This would be the second film that featured the pairing of both great horror stars after the success of The Black Cat. Along with its Gothic atmosphere and Poe-inspired storyline, it is a memorable entry in their respective filmographies. Read my feature on The Black Cat HERE:

Vollin ”Death is my talisman!

Dr. Richard Vollin (Bela Lugosi) is a brilliant but eccentric surgeon with a morbid fascination for Edgar Allan Poe’s works, particularly “The Raven.” Vollin is also known for his expertise in plastic surgery and a questionable reputation for performing radical procedures.

Judge Thatcher “I’ll pay you any amount of money, Dr. Vollin’’
Dr Vollin “Money means nothing to me.”
Judge Thatcher “But someone is dying! Your obligation as a member of the medical profession”
Vollin “I respect no such obligation. I am a law unto myself!’’
Thatcher “But you have no human feeling? My daughter is dying!’’
Vollin “Death hasn’t the same significance for me as it has for you.”

Lugosi as Dr. Richard Vollin is a complex character who is both brilliant and deeply disturbed. Lugosi’s portrayal captures the character’s descent into madness and obsession. Vollin’s fascination with Poe’s works is conveyed through Lugosi’s mesmerizing, sinister, and theatrical performance.

When a young woman named Jean Thatcher (Irene Ware) is critically injured in a car accident, her desperate father seeks out Dr. Vollin’s assistance to save her life. Vollin agrees to perform intricate neurosurgery, but his growing obsession with Jean veers off into a deadly obsession. As Vollin’s obsession with Jean Thatcher grows, Lugosi skillfully portrays the doctor’s psychological unraveling. His fixation on Jean is palpable, and Lugosi’s performance is marked by dramatic facial expressions and body language that highlight Vollin’s increasing mania. This doesn’t bode well for her father, Judge Thatcher {Samuel S. Hinds}, and her fiancé, Dr. Jerry Holden (Lester Matthews).

Meanwhile, Edmond Bateman (Boris Karloff), a criminal mastermind who seeks to change his appearance to evade the authorities, approaches Vollin for his surgical skills. Vollin agrees but insists that Bateman becomes his loyal servant in return. Edmond Bateman is a criminal mastermind who seeks to change his appearance through plastic surgery. Batman becomes a  victim of Dr. Vollin’s monstrous cruelty and becomes a sympathetic character despite his criminal past. Throughout the film, Bateman’s loyalty to Dr. Vollin is only through necessity, even as he undergoes a shocking transformation, horribly disfigured at the hands of Vollin’s knife, and depends on Vollin to restore his face.

A standout moment in the picture is when Lugosi peers through the door and watches Karloff with sadistic orgasmic glee as the poor man discovers the horrors that Vollin has inflicted on him,  as the image of his face in a myriad of mirrors stares back in fright. During the gallery of mirrors reveals, when Bateman yells “NO!” that is not Boris Karloff’s voice but a post-production dub-over.

Bateman ‘‘I’m saying, Doc, maybe because I look ugly… maybe if a man looks ugly, he does ugly things.’’
Vollin ‘‘You are saying something profound.”

As Vollin’s infatuation with Jean deepens and his madness takes a darker turn, he uses his surgical talents to transform Bateman into a grotesque visage resembling a raven, reminiscent of Poe’s poem. The doctor’s sinister plans culminate in a chilling and macabre climax, with Poe’s themes of obsession, madness, and revenge at the forefront as Lugosi employs his Poe recreations of the instruments of torture.

In the film’s denouement – it all gets wrapped up with Karloff’s twisted visage & sympathetic grotesqueness as he endeavors to end the deadly pendulum that comes a whisker away from Irene’s father getting sliced in half, as he shuts off the mechanism and saves his life. Lugosi shoots Karloff for rebelling and proceeds to trap his prisoners in a claustrophobic chamber with its walls triggered to close in and crush them. At this point, he is stark raving mad – as his maniacal amusement fills his gallery of torture. Yet Karloff takes his last breath and frees the prisoners, instead leaving Lugosi in the chamber to be milled instead.

Belu Lugosi and Boris Karloff’s performances in “The Raven” showcase their abilities to bring nuance and depth to their characters in the horror genre. Lugosi’s theatricality and intensity complement Karloff’s subtler and more sympathetic portrayal, resulting in a memorable and chilling cinematic experience. Their on-screen chemistry adds to the film’s enduring status as a classic of 1930s horror cinema.

For the B.B.F.C, The Raven was the final straw. The British film censors decided to withdraw any further horror movies from being shown in the U.K.

Return of the Vampire 1943

Return of the Vampire is a 1944 American horror film directed by Lew Landers. The movie features Bela Lugosi in a role reminiscent of his iconic portrayal of Dracula.

Set in London during World War II, the story revolves around the resurrection of a malevolent vampire named Armand Tesla (Bela Lugosi). Tesla had been destroyed by Professor Walter Saunders (Gilbert Emery) years earlier, but a bomb during an air raid accidentally uncovers his tomb, allowing him to return to life.

With the help of his loyal werewolf servant Andreas Obry (Matt Willis), Tesla resumes his reign of terror. He seeks revenge against those who thwarted him in the past and sets his sights on a young girl named Nicki Saunders (Nina Foch), the granddaughter of Professor Saunders.

Determined to stop Tesla once and for all, Professor Saunders enlists the assistance of a fellow scientist, Lady Jane Ainsley (Frieda Inescort), and a vampire expert, Sir Frederick Fleet (Miles Mander). Together, they confront the resurrected vampire and his supernatural powers in a battle between good and evil.

Rodan 1956

Rodan, also known as “Sora no Daikaijū Radon” in Japan, is a 1956 Japanese science fiction kaiju film directed by Ishirō Honda. The movie features one of Toho Studios’ iconic giant monsters and is a classic of the kaiju genre.

Synopsis: The story is set in the mining town of Kitamatsu, Japan, where a series of mysterious and deadly events begin to unfold. Miners are disappearing deep underground, and strange fossils are discovered in the depths of the mine.

As the investigation into these anomalies deepens, it becomes evident that a prehistoric creature, a monstrous pterosaur known as Rodan, has been awakened from its long slumber by underground nuclear testing. Rodan, with its supersonic flying ability and deadly strength, emerges as a catastrophic threat. As the military and scientists race to confront the colossal menace, Rodan’s destructive power becomes apparent. The creature’s rampage and aerial attacks on cities lead to widespread devastation and loss of life.

The Reptile 1966

The Reptile is a 1966 British horror film produced by Hammer Film Productions, with a folklorist and Gothic flair. The movie combines elements of Gothic horror and mystery directed by John Gilling and written by Anthony Hinds.

The story is set in the remote village of Clagmoor Heath in Cornwall, England. Newlyweds Harry Spalding (Ray Barrett) and his wife Valerie (Jennifer Daniel) move into a cottage previously owned by Harry’s late brother, Charles.

Strange and unsettling events begin to occur in the village, including a series of mysterious deaths. The local doctor, Dr. Franklyn (Noel Willman), is secretive about the cause of these deaths, and the villagers are filled with fear and suspicion.

As Harry and Valerie investigate the sinister occurrences, they discover that a deadly and supernatural secret haunts the village. A curse transforms one of the villagers into a reptilian creature, a half-human, half-snake entity, and this monstrous creature is responsible for the deaths.

The Spaldings must uncover the truth behind the curse and confront the malevolent force behind it before they too become victims of the reptilian terror that stalks Clagmoor Heath.

This is you EverLovin’ Joey Sayin’ Rrrrrrrgghhh!!! don’t look behind you, I think it’s the letter Ssssss!

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


Queen of Blood 1966

Read my older piece on Queens of Blood HERE:

Director Curtis Harrington became known in later years for his excursion into psychological ‘horror of personality’ films depicting broken people who commit frightful acts of violence and murder. Before that, he made a really colorful & weird bordering-on psychedelic science fiction/horror movie Queen of Blood in 1966.

Queen of Blood features a bargain basement spaceship and laboratory – with sets by Leon Smith and in charge of the art department were John Cline and Carl Schnazer. The Queen’s sexy queasy was designed by makeup artist William Condo and hairstylist George Spier.

The movie blends elements of both science fiction and horror, offering a unique and atmospheric take on vampiric-extraterrestrial encounters. The film was produced by Roger Corman, Sam Arkoff, George Edwards, and Stephanie Rothman. Queen of Blood was photographed by Vilis Lapenieks who worked with Harrington on his extremely poetic Night Tide 1961 a meditation on the mermaid mythos, also starring Hopper.

Read my piece for NIGHT TIDE 1961 HERE:

The story is set in the near future when Earth receives a distress signal from an alien spacecraft that has crash-landed on Mars. A team of astronauts Dr. Farraday (Basil Rathbone) Allan Brenner (John Saxon), Paul Grant (Dennis Hopper), and Laura James (Judi Meredith)  embark on a rescue mission to the red planet.

In 1990, as Earth readies itself to launch manned spacecraft toward Mars and Venus, our planet receives an extraordinary message from an alien civilization. They express a desire to send ambassadors of peace to meet us, generating immense enthusiasm within the International Space Agency. Driven by this unexpected development, astronauts Allen Brenner (played by horror/sci-fi pro -John Saxon), Paul Grant (portrayed by Dennis Hopper), and Laura James (acted by Judi Meredith) undergo rigorous training under the guidance of Dr. Farraday (portrayed by Basil Rathbone) to embark on a journey into the depths of space. Rathbone’s assistant is none other than the renowned curator of everything horror and fantastical Forest J. Ackerman.

Before they can reach Earth, they receive a distress call that the alien ship has crashed on Mars. In response, Paul, Laura, and a third astronaut, Anders Brockman (played by Paul Boon), are dispatched on a rescue mission. However, their rocket is damaged by a powerful ‘sunburst,’ leaving them stranded on the enigmatic red planet. Meanwhile, Allen and Tony (portrayed by Don Eitner) take off in an attempt to rescue their stranded comrades. As they journey to Mars, they land on Phobos, one of the moons of the red planet. To their astonishment, they encounter a mysterious green-skinned alien woman, while (as all the other aliens have unfortunately perished).

Upon reaching Mars, the astronauts discover that the alien ship has been severely damaged, and its crew is dead. However, to their shock, they also find one survivor—an enigmatic and alluring female alien (Florence Marly) with green skin, a white bee-hive hairdo, and ruby-red lips. The alien, initially unable to communicate verbally, appears to be in need of assistance. The astronauts decide to bring her back to Earth, unaware of the sinister secret she harbors. As the journey back to Earth her true nature and intentions become increasingly apparent. She is a Queen, a space vampire who requires plasma to survive, which she extracts from the blood of humans. The astronauts must confront the horrifying reality that they have brought a deadly and vampiric creature onboard their spacecraft.

Determined to bring her back to Earth along with Paul who is fascinated with the strange alien Anders, and Laura. But on their way home they are shocked to find out that the viridescent green beauty is actually a space vampire who kills Paul while the others are sleeping.

Paul “She’s a monster… We ought to destroy her right now.”

However, despite the danger she poses to the crew, mission control considers her to be an astonishing scientific find and insists the crew bring her back to earth. They are told to feed her the blood plasma she needs, but once the plasma runs out, they are at the mercy of this alien bloodsucker.

Following Harrington’s poetic debut Night Tide 1961, he wound up collaborating with Roger Corman who put together this film that used recycled footage from Russian science fiction films. The first one was Voyage to the Prehistoric Planet 1965 which is the Americanization of Pleneta Bur or Planet of Storms 1962. And then Queen of Blood 1966 which combines scenes from other Nebo Zovyot (The Sky Calls 1960 which he and Coppola trimmed down and dubbed it as Battle Beyond the Sun 1962 and Mechte Navstrechu) Encounter in Space 1963 with the newly shot scenes starring Saxon, Hopper, Rathbone, and Meredith.

The beautiful menacing ‘queen’ alien woos both Paul and Anders to their deaths with a seductive grimace and her flaming blue eyes. It is Florence Marly who actually makes the film work even considering she never utters a work, it is all conveyed with the sinister smile and her vampiric movement like a slow alluring visual communication.

Finally, it’s heroine Judi Meredith who vanquishes the Queen of Blood by scratching her with her fingernails and she bleeds to death – she is a hemophiliac. The twist ending shows that back on earth Alan and Laura discover that she has hidden hundreds of her eggs on board the ship, and while Alan warns they must destroy her brood before they hatch, Rathbone is the archetypical scientist who is excited to study them. Ackerman leads us out of the movie while smiling over the tray of blood-red alien eggs in aspic.

Q The Winged Serpent 1982

Q: The Winged Serpent is a 1982 American creature feature film written and directed by Larry Cohen, known for infusing dark humor and social commentary into his horror films and television scripts. The movie combines elements of horror, fantasy, as well as the crime genre and is considered his favorite of all his work.

The story is set in New York City, where a series of gruesome ritualistic murders have struck fear into the hearts of its residents. These murders appear to be connected to an ancient Aztec cult, and the police are baffled by the brutality of the crimes.

Simultaneously, an enormous, winged serpent-like creature, compared to the ancient god Quetzalcoatl, begins terrorizing the city. It nests atop the Chrysler Building, and its presence in the skies adds a layer of fear to the already panicked city.

Jimmy Quinn (Michael Moriarty), a small-time crook, stumbles upon the creature’s lair while attempting to evade the police. He realizes that the giant winged serpent may be the key to his escape and potentially a means of acquiring a substantial ransom.

As the city descends into chaos due to both the serial killings and the winged serpent’s reign of terror, a group of investigators, including Detective Shepard (David Carradine), desperately tries to solve the puzzle and stop the creature before it causes more death and destruction.

Q: The Winged Serpent is known for its blend of horror and dark humor, as well as its creative use of practical effects to bring Quetzalcoatl to life. The film pays homage to classic monster movies while also offering a gritty and urban take on the genre, set against the backdrop of New York City. The film also stars Candy Clark and Richard Roundtree.


Writer-director Larry Cohen according to interviews, once looked at the Chrysler Building and said: “That’d be the coolest place to have a nest.” This single thought was the idea which began the creation of this movie.The film poster’s glossy monster illustration was painted by science fiction/fantasy artist Boris Vallejo. (I love the guys work. Been a fan since the ’70s!)

They couldn’t fit the giant egg and nest into the Chrysler Building’s attic, so they shot these scenes in an old, abandoned police building. When they were finished shooting the crew removed everything except the nest. “Close to a year later there was an article on the front page of the New York Times,” Larry Cohen said detailing a flurry of activity from anthropologists flying into town to examine a mysterious nest found in the old, abandoned police building. “I wasn’t about to say anything about it, I didn’t know what the liability might be.”When they shot the scene with people firing machine guns at the beast from the top of the skyscraper the ejected shells fell eighty stories towards the streets below, but luckily they were caught by a canopy installed to prevent construction debris. Larry Cohen expected and hoped to get footage of real people reacting in shock to the gunfire, but the civilians barely gave the commotion a glance. That didn’t stop the New York Daily News from reporting a more colorful story about poor behavior by the production. It led to Cohen being told that he couldn’t fire any more guns in the movie.

The special effects for the flying serpent were done using stop-motion animation by Randall William Cook and David Allen.Writer/Director Larry Cohen and David Carradine were old friends since serving in the army together. They were part of the army transportation corp although they “never did any transportation work.” Instead the duo managed to get assigned to the chaplain’s office where Cohen wrote sermons and Carradine painted the walls. “He spent most of his time at the dentist’s office getting new teeth. Except for the time he was court martialed for shoplifting from the PX but acquitted, of course.

Michael Moriarty became the focus of LarryCohen’s praise several times and suggested viewers check out his single scene in The Last Detail. “If you’ve never seen anybody steal a scene from Jack Nicholson you will see it in The Last Detail.” Cohen worked with Moriarty five times, Q, The Stuff, A Return to Salem’s Lot, It’s Alive III: Island of the Alive and an episode of Masters of Horror, and he believes there’s no one better.

They had an early preview of the film prior to distribution, and a rumor started that it was a sneak preview of Steven Spielberg’s Close Encounters of the Third Kind. Half the audience got up and left when they realized it was a Samuel Z. Arkoff production instead. “Nobody even gave the picture a chance. Actually except Carl Reiner and his wife. They stayed for the first scene.”Larry Cohen credits the original stage play of Wait Until Dark for “inventing” the cliche of the supposedly deceased bad guy jumping up again to scare the protagonist.

Originally announced with James Coburn and Yapphet Kotto starring.

This is your EverLovin Joey Sayin’ Q’uiet! I think I hear the Boogeyman! So QUICK watch out for the Letter R… & RUN AWAY!!!!!!!

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


Pharaoh’s Curse 1957

Pharaoh’s Curse is a 1957 American horror film directed by Lee Sholem (Tobor the Great and Superman and the Mole Men)

Character actor George N Neise plays the obsessed archaeologist Robert Quentin as part of a team of American archaeologists who unwittingly awaken a three-thousand-year-old ancient curse while excavating the tomb of a Pharaoh that is rumored to be cursed. Unlike the embodiment of the traditional mummy in the Universal franchise, one of the expedition members (Alvaro Guillot) falls prey to the vengeful spirit of the mummy seeking revenge on those who have desecrated his tomb. It needs to feed on fresh blood to sustain itself which makes it more vampiric than a mummified fiend. Rather than its victims being strangled by rotting bandaged hands, they are left with bite marks on their throats and an odd trace of mold on their necks.

The film starts off at a British outpost nestled in the heart of Egypt. An officer receives strict orders to locate an unsanctioned archaeological expedition and compel them to return to Cairo promptly. En route this small contingent of British soldiers crosses paths with an eccentric Egyptian woman who cryptically warns of dire consequences should they fail to halt the expedition in its tracks. But when they arrive at their destination it’s too late. The archaeologists have not only stumbled upon the tomb of the Pharaoh but have also dared to unseal it, unleashing a malevolent force, and one of the expedition members undergoes a ghastly transformation into a creepy old geezer in pajamas resembling a desiccated mummy-like figure that can’t seemingly be killed.

Pharaoh’s Curse stars Mark Dana as Captain Storm, Diane Brewster as Sylvia Quentin, Ziva Rodann (Macumba Love 1960) as Simira, Ben Wright, and Terence de Marney as Sgt Smolett.

Paranoiac 1963

Paranoiac is a 1963 as part of British psychological horror film produced by Hammer directed by Freddie Francis and scripted by Jimmy Sangster.

The story centers around the wealthy Ashby family, who reside in a large, secluded mansion on the English coast included are the Ashby siblings, Simon (Oliver Reed) and Eleanor (Janette Scott), who are haunted by the tragic death of their parents in a car crash several years earlier. They live under the care of their guardian, Aunt Harriett (Sheila Burrell).

Many years prior, a tragic car accident claimed the lives of two affluent parents, leaving their three children in the care of an eccentric aunt. However, just a few years later, one of the sons seemingly took his own life, leaving behind a fragile and emotionally unstable daughter and a spoiled, belligerent son who indulges in alcohol, exhibits emotional volatility, and behaves abhorrently in every way imaginable.

The sister, who was never a paragon of mental stability, becomes convinced she has encountered her dead brother, Tony, despite all evidence to the contrary. When Tony (Alexander Davion) unexpectedly resurfaces sometime later, doubt lingers over whether he is truly the lost sibling or a cunning impostor. This unexpected return sends Reed’s character spiraling further into madness, accentuating his already unstable and erratic behavior. Paranoiac co-stars Maurice Denham and Lillian Brousse.

The Psychopath 1966

The Psychopath is a uniquely creative and disturbing British horror offering from Amicus produced by Max J. Rosenberg and Milton Subotsky Released in 1966, it was directed by Freddie Francis with a screenplay by Robert Bloch. The film revolves around a series of gruesome murders that shock the tranquil streets of London. Each victim is found with a doll placed near their lifeless body, bearing a striking resemblance to the deceased and their method of execution.

Beginning with Reinhardt Klermer, a middle-aged amateur violinist is on his way to meet his friends who play together as a chamber quartet when a red car runs him down – repeatedly. The unseen murderer leaves a doll in Klermer’s likeness which even includes a miniature violin case. On the scene is Inspector Holloway portrayed by Patrick Wymark, who takes charge of the investigation and believes the murder is most likely committed by one of Klermer’s ensemble. Until, they too are killed (poisoned, stabbed, and hanged) accompanied by dolls, that are tokens of their death left at the crime scene along with their dead bodies. Holloway discovers that each of the victims had given evidence against a convicted war criminal whose bizarre paralyzed widow (Margaret Johnston -Flora Carr in Night of the Eagle aka Burn, Witch Burn 1962) and her curious son Mark (John Standing) seem likely suspects. Both the queer Von Sturms are collectors of dolls. Also under suspicion are Louise Saville (Judy Huxtable) and her fiance (Donald Loftis), because one of the victims was Louise’s father who did not approve of their getting married. Holloway even finds a doll with his likeness but that doesn’t stop him from getting at the truth.

There are some very effectively creepy moments and the art direction of Von Sturm’s doll-infested house is perfectly macabre. Perhaps there are those who will find this game of cat and mouse giallo cliche but the final scene of the film still causes a shudder in me that still seems to linger. The puzzle is solved but it’s nearly an excessively unpleasant revelation that left me with a queasy shudder at the end.

Detective Superintendent Holloway portrayed by Patrick Wymark, takes charge of the investigation, and he soon discovers that the victims are all connected to a past crime. As he delves deeper into the case, he unravels a web of dark demented secrets.

As Holloway races against time to catch the elusive killer, the film keeps the audience on the edge of their seats with its suspenseful atmosphere and a chilling score by composer Elisabeth Lutyens and pulp fiction-style layouts by cinematographer John Wilcox (The Third Man 1949).

The Possession of Joel Delaney 1972

The Possession of Joel Delaney 1972 is an unsettling American horror film directed by Waris Hussein. The movie is often noted for its exploration of supernatural and psychological horror elements, which align with the distinct characteristics of horror films from the early 1970s.

Norah Benson (played by Shirley MacLaine), is a successful career woman living in New York City. Her life takes a disturbing turn when her brother Joel Delaney (played by Perry King) becomes possessed by a malevolent spirit.

Joel, once a gentle and caring family man, starts exhibiting violent and erratic behavior. He begins to speak in a strange and menacing voice, displaying a complete personality change that terrifies Norah. Desperate to understand and help her brother, she delves into the mystery surrounding his possession.

As Norah tries to grapple with her brother’s transformation as she investigates, she uncovers a sinister connection between Joel and a mysterious woman from the city’s underworld named Alvean (played by Lovelady Powell). Alvean seems to hold the key to Joel’s possession and the dark forces at play. Like many horror films of the 1970s, the movie incorporates elements of cultural and social commentary, reflecting the anxieties that arose in that decade of filmmaking.

Phobia 1980

Phobia is a 1980 psychological thriller directed by John Huston and starring Paul Michael Glaser. Glaser plays a psychiatrist Dr. Peter Ross, involved in a radical new therapy and comes under suspicion when his patients are murdered, each according to their individual phobias. The film co-stars John Colicos, Susan Hogan, Patricia Collins, Lisa Langlois, and Alexandra Stewart.

Parents 1989

Parents 1989 is -excuse the pun – a delicious black comedy/social commentary/horror film directed by Bob Balaban. The film’s appropriately bizarre title for its Germany release was ‘Daddy ist ein Kannibale’, or ‘Daddy is a Cannibal!’

The story is set in the 1950s and follows a young boy named Michael Laemle (Brian Madorsk). Michael Laemle is the young and curious protagonist of the film. He’s a sensitive boy who becomes increasingly suspicious of his parents’ behavior. As he unravels the dark secrets of his family, he becomes the audience’s passport into the disturbing world of the Laemle household. Michael’s transformation from innocence to paranoia is a central theme in the film. Sure it’s not missed that the surname of the family in this movie is “Laemle”, a likely nod to Carl Laemmle Jr. producer of such horror classics as Frankenstein 1931, Dracula 1931, The Mummy 1932 and The Invisible Man 1933.

He starts to become suspicious of his parents, Nick (Randy Quaid) and Lily (Mary Beth Hurt), as he notices their peculiar behavior. His father works for a meat company, and the family consumes a lot of meat themselves, but Michael suspects that it might not be ordinary Grade-A choice cuts of beef. As he grows increasingly paranoid, he dives deeper into and uncovers disturbing secrets about his parents and their gruesome eating habits. They are cannibalistic murderers.

Parents is a unique and unsettling blend of black comedy and horror that delves into themes of conformity, the American family, and the dark underbelly of suburban life.

It serves as a satirical commentary on the conformist values of 1950s suburban America and portrays a seemingly idyllic family and neighborhood, which hides a disturbing and taboo theme of cannibalism. The film explores the idea that beneath the facade of normalcy, people may be repressing their darker impulses. Parent’s dark humor is at the core essence of Balaban’s film. It finds absurdity in the mundane and macabre doings of the Laemle family’s life. The contrast between the sunny, idyllic facade and the nightmarish truth is skillfully woven into the narrative to evoke simultaneous astonishment and amusement, played for both shocks and laughs. Its unconventional take on suburbia has endeared it to dedicated aficionados of offbeat, cult cinema. The eerie retro visual paintings of 50s American living, photographed by cinematographers Ernest Day and Robin Vidgeon, and the provocative score by Jonathan Elias contribute to the film’s overall sense of unease.

Nick Laemle: Michael, are you ready to behave? I thought I’d tell you a little story? Want to hear a story? I’ll tell you a little story and I want you to shut up until I’m finished.
Michael Laemle: [Tied to a chair by his father] You eat people.
Nick: I’ve been watching you, Michael. You’re an outsider, you’re not like them. You’re like us.
Michael: I don’t love you any more.
Lily Laemle: Yes, you do.
Nick: We’re bound for life, no matter how much you hate us.(as he slowly unties Michael] I’m untying, and when you’re free, you can sit down with us and eat, or you could run outside and shout your little secret to the world. And you know what they’ll do, Michael, hmm? They’ll come here and they’ll burn us. Is that what you want? You want to see them burn your parents?
Lily: Mint jelly?

One of my favorite actors who doesn’t get enough attention is Sandy Dennis. Here she has a supporting role as Millie Dew the school social worker who is worried about Michael’s behavior and is one of the outside figures who begins to sense that something is amiss in the Laemle family.

Many critical essays on Parents delve into its social commentary, particularly its critique of 1950s suburban conformity and the facade of the nuclear family. The film portrays the unsettling idea that beneath the veneer of a perfect suburban family, there may be hidden, disturbing secrets. Some essays examine the psychological horror aspects of the film, focusing on the transformation of the protagonist, Michael, from innocence to paranoia. The Laemle family serves as a metaphor for the anxieties and fears lurking in the American psyche during the 1950s. Parents also challenge traditional gender roles, with the mother, Lily, taking on a more dominant and unsettling role compared to the father, Nick. This inversion of gender expectations adds layers to the film’s exploration of identity and conformity.

This is your EverLovin’ Joey Sayin’ Phew! glad that’s over! Stay tuned for the letter Q unless that gives you the quivers!

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


Orlacs Haende – The Hands of Orlac 1924

The Hands of Orlac is a 1924 Austrian silent horror film directed by Robert Wiene (The Cabinet of Dr. Caligari 1920). The movie is based on the novel “Les Mains d’Orlac” by Maurice Renard and is known for its early exploration of psychological horror themes.

It is the story of Paul Orlac ( Conrad Veidt), a renowned concert pianist who experiences a tragic accident. During a train crash, Orlac’s hands are severely injured and must be amputated. His wife Yvonne (Alexandra Sorina) is devastated by the accident but is relieved when Dr. Serral (Hans Homma) successfully performs a groundbreaking surgery, transplanting new hands for Orlac.

However, as Orlac recovers, he begins to experience strange and disturbing phenomena and believes something is gravely wrong with his new pair of hands, that they may have belonged to a murderer. Orlac’s mental state deteriorates as he becomes increasingly convinced that the hands are influencing him to commit violent and criminal acts.

Haunted by his newfound fears and paranoia, Orlac’s descent into madness intensifies. He must grapple with the question of whether his hands are truly possessed or if his psychological trauma is driving him to madness.

“The Hands of Orlac” is celebrated for its early exploration of themes related to identity, mental anguish, and the blurred boundaries between reality and the supernatural.

Conrad Veidt’s performance in “The Hands of Orlac” (1924) begins with the physical transformation of his character. After the accident that maims his hands, Veidt effectively conveys Orlac’s torment (One need only see his Gwynplaine in Paul Leni’s expressionist masterpiece The Man Who Laughs 1928), pain, suffering, and vulnerability. His facial expressions and body language convey the anguish and despair of a once-talented pianist who has lost his ability to play. As the film progresses, Veidt masterfully delves into the psychological torment experienced by Orlac. He skillfully manifests the growing paranoia, fear, vulnerability, and confusion as he becomes convinced that his new hands are responsible for a series of murders.

Conrad Veidt was known for his expressive eyes, and in The Hands of Orlac, he uses this distinctive feature to great effect. His eyes communicate Orlac’s inner turmoil drawing the audience into the character’s psychological torture, transcending the medium of sound, it relies heavily on visual storytelling and Veidt’s ironically expressive face and body language.

The story has been adapted as Karl Freund’s 1935 film Mad Love starring Peter Lorre in an over-the-top role as Doctor Gogol and A French-British production The Hands of Orlac 1960 starring Mel Ferrer.

This is your EverLovin’ Joey Sayin’…  hold out your hands and get ready for the letter P!

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


The Nightcomers 1971

The Nightcomers is an elegant Gothic 1971 British film directed by Michael Winner who was concerned about potential censorship in the UK because of the provocative nature of the sex scenes. It serves as a prequel to Henry James’s classic novella “The Turn of the Screw” and explores the dark origins of tortured spirits of malevolent lovers and two troublesome children, Miles and Flora.

Set in a secluded countryside estate, the film introduces us to Quint (played by Marlon Brando), a charismatic and enigmatic manservant, and Miss Jessel (Stephanie Beacham), a seductive governess. They both exert a corrupting influence on the estate’s young siblings, Miles and Flora.

As the story unfolds, it becomes clear that Quint and Miss Jessel’s sinister behavior has a profound impact on the children, leading them down a path of moral decay and perverse sexuality. The film explores themes of corruption, innocence lost, and the blurred boundaries between desire and manipulation. The Nightcomers is a mix of chaos, cruelty, and a peculiar kind of fascination between the players and us, the spectators.

Winner’s The Nightcomers possesses a  chaotic gothicness and a provocative and unsettling examination of the origins of the psychological and supernatural horrors found in Henry James’s original story. It’s known for its bold and controversial themes and its exploration of the dark forces that can shape the lives of the young and impressionable and Marlon Brando as Quint the ill-fated gardener, lends an imposing presence that is alluded to in Jack Clayton’s earlier masterpiece.

Henry James’s The Turn of the Screw is a timeless classic, which was brilliantly adapted in 1961 with The Innocents starring Deborah Kerr who turns in an astounding performance of repressed sexuality. A decade later, director Michael Winner, known for films like Death Wish (1974) and The Sentinel (1977), (READ MY PIECE HERE:)presented an original prequel.

from Film School Rejects:

He (Winner) received the script from playwright Michael Hastings and thought it was brilliant. “It really doesn’t mean much as someone else has to not only think it’s brilliant but also put up the money, and nobody wanted to put up the money for this film.”

While looking for funding a producing partner asked if if he thought Marlon Brando could play the Irish gardener Peter Quint, and Winner replied “Marlon could play the two children, the dog, the cat, the neighbor from the Caribbean, he can do anything.” and Brando was surprised to learn that Winner was making the film nearly free of charge, and when he asked why Winner replied “for the honor of working with you.”

The role of Miss Jessel was originally intended for Vanessa Redgrave, and she was locked in for the production. She had to drop out, though, when another film ran over schedule. Winner recalled Stephanie Beacham — she had a single line in his film The Games (1970) — and offered her the role, at first objecting to doing the role’s nude scenes but eventually ‘she caved in’.

While Beacham went nude for Jessel’s S&M-themed sex scene with Quint, Brando of course refused to do the same. “He wore underpants, and for some extraordinary reason Wellington boots.”

Flora is meant to be twelve years old but is played by nineteen-year-old Verna Harvey as the role gets weird. On the last day of filming Brando told him that “she’s got a very nice ass, I wish I’d noticed it earlier.”

One of the scenes shows a drunk Quint telling stories to the children Flora and Miles (Christopher Ellis), and Brando tells Winner he wanted to actually be drunk for the performance — “so please shoot it at the end of the movie.” Winner complied, Brando was intoxicated, and he nailed the scene.

Jessel’s death scene required Beacham to be in the water which was extremely cold, but while she was advised to wear the thickest wet suit available she instead went with the thinnest as it kept her figure the best. “She went totally rigid, her face went blue, and we all really thought she was dead. She was carried ashore and some fellow gave her mouth to mouth, and eventually, she survived. That’s actresses, bless ’em.”

Necromancy 1972

Read my tribute to Pamela Franklin Here:

Necromancy also known as “The Witching,” is a sinister 1972 American horror film directed by Mr. Big himself – Bert I. Gordon. The movie centers on a young widow named Lori Brandon (played by Pamela Franklin) who becomes entangled in a web of dark supernatural forces when she moves to the small town of Lilith. Lilith is the mythic goddess and misunderstood primordial she-demon feared because of the threat of her powerful agency as a woman.

Directed Bert I. Gordon leaves behind gigantism for a moment to delve into satanism. Orson Welles is Mr. Cato a practitioner of the dark arts and leader of a coven in the small town of Lilith who wants desperately to bring his dead son back to life. He seeks out Pamela Franklin who plays Lori Brandon, a girl who has the power to help him raise the dead. When she and her husband Frank played by Michael Ontkean move to the seemingly idyllic town of Lilith they think they’re starting a new life, guided by the lure of a new career for Frank.

However, she quickly discovers that the townspeople are deeply involved in witchcraft and the occult. Lori’s arrival is met with suspicion and hostility from the locals, who view her as an outsider and finds out much to her horror the true reason behind Cato’s motives. Some very atmospheric moments, with the ghost of a little boy that taunts Franklin and some eerie exterior camera work. Also co-stars Lee Purcell as Priscilla.

As she delves deeper into the mysteries of Lilith, Lori uncovers a sinister plot involving Cato’s coven of witches, determined to initiate Lori into their dark practices, believing her to possess unique powers. Necromancy’s growing sense of dread and peril permeates the film as Lori is trapped in a sinister world of witchcraft and dark forces and comes to a suffocating and violent end.

Nothing But the Night 1973

Nothing But the Night is a 1973 British horror film directed by Peter Sasdy and features Christopher Lee. The movie revolves around a series of mysterious deaths and a secret organization. Three rich trustees are murdered – appearing as suicides. When a bus filled with orphans and three other rich trustees have “accidents.” but come to learn they are ritual murders.

Over the past few months, three trustees responsible for the Van Traylen fund have met their demise in circumstances resembling suicides. Yet, following a puzzling bus incident involving the last three trustees and dozens of orphaned children, Police Colonel Bingham, portrayed by Sir Christopher Lee, initiates an inquiry. The initial query revolves around the inexplicable burning of the bus driver, who perished in the accident, despite the absence of any fire. To unravel the enigmatic events, Dr. Ashley, played by Peter Cushing, employs hypnosis to unveil the truth.

The story begins with the unexplained deaths of several prominent members of society, all seemingly unrelated. The victims include a judge, a doctor, and an industrialist. Colonel Bingham (played by Christopher Lee) is assigned to investigate these baffling cases, suspecting foul play.

As the investigation deepens, Bingham becomes increasingly convinced that there is a sinister connection between the deaths. It leads him to a strange Scottish orphanage and he discovers that a clandestine group is involved. An organization with a hidden agenda and a willingness to go to great lengths to protect its secrets.

The plot takes a more eerie turn when a young girl named Mary Valley (played by Gwyneth Strong), who has been orphaned and is under the care at a London hospital and the watchful eye of Dr. Haynes (Keith Barron) as the child exhibits strange and unsettling behavior. Sir Mark Ashley (played by Peter Cushing), a psychiatrist, becomes involved in Mary’s case, and together with Colonel Bingham, they begin to uncover the dark and supernatural forces at play.

Nothing But the Night is known for its suspenseful and atmospheric storytelling, as well as the presence of horror legends Christopher Lee and Peter Cushing. The film also co-stars Diana Dors as Anna Harb, Georgia Brown as Joan Foster, Fulton Mackay, Shelagh Fraser John Robinson, Morris Perry, Duncan Lamont and Kathleen Byron as Dr. Rose.

Night School 1981

Night School is a 1981 American slasher film directed by Ken Hughes and a screenplay by Ruth Avergon. The movie is set in the city of Boston and revolves around a series of gruesome murders that occur within the city’s nightlife.

A Boston police detective Judd Austin (Leonard Mann), investigates a series of gruesome decapitations of various college coeds committed by a helmeted, black-leather-clad serial killer which leads him to suspect a well-known anthropology professor as well as his female live-in assistant/lover Eleanore (Rachel Ward). As Detective Austin delves deeper into the case, he discovers a dark secret involving the night school and its students. The killer, shrouded in mystery and wearing a motorcycle helmet, continues to strike, leaving a trail of terror, carnage, and decapitated heads.

The film appeared (as “Terror Eyes”) on the UK’s list of video nasties. Both the cinema and 1987 Guild Home Video releases were cut by 1 minute 16 secs by the BBFC to heavily reduce the gore and shots of slashing during the changing room and café murders

Near Dark 1987

This uniquely radical take on the vampire mythos deserves The Last Drive In treatment with Saturday Nite Sublime. Stay Tuned!

Near Dark is a 1987 American vampire horror film directed by Kathryn Bigelow. The movie follows the story of Caleb Colton (Adrian Pasdar), a young man living in a small rural town who meets and falls for a beautiful and enigmatic woman named Mae (Jenny Wright). Unbeknownst to Caleb, Mae is part of a roving clan of vampires.

When Mae bites Caleb to turn him into a vampire, he is reluctantly initiated into the group, which includes a charismatic but ruthless leader named Jesse Hooker (Lance Henriksen) and several other members with unique and dangerous personalities. Caleb struggles to adapt to his new vampiric nature and the violent lifestyle of his newfound family. Bill Paxton gives a chilling performance as the vicious Severen. Caleb’s loyalty to Mae is tested as he begins to question his place in the dark world of the undead.

This is your EverLovin’ Joey Sayin’ N- No! don’t stand so close to that O’pen window, the Letter O will soon be upon us!

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


The Mad Doctor of Market Street 1942


I’ll be the most important man to have ever walked the earth!

Mad Doctor of Market Street is a lesser-known 1942 American horror film directed by Joseph H. Lewis (Gun Crazy 1950). A product of early ’40s horror, the film is unintentionally campy and racially offensive as with the scene during Atwill’s wedding with Clarie Dodd when the ceremony is interrupted and perplexed by this he tells the chief to have the native men, ‘Dance… or something!”

The film tells the story of Dr. Ralph Benson (played by the classically trained actor Lionel Atwill who has enjoyed the role of over-zealous mad scientist with high-strung verve! ), a brilliant but deranged scientist who conducts unethical experiments on human subjects. Atwill is always arrogant and wild-eyed in films like The Pre-Code Doctor X 1932 and Murders in the Zoo 1933 beloved Universal monster movies like Son of Frankenstein 1939, to Poverty Row Pictures like Man Made Monster 1941 and Frankenstein Meets the Wolfman 1943.

In this comedy/crime/horror drama, the allure of cinema’s obsession with the mad scientist, a character akin to Dr. Moreau, is on full display. Atwill possesses a messianic complex, feigning the ability to resurrect the dead to maintain control over his followers.

Una Merkel stars as Aunt Margaret Wentworth, Claire Dodd as Patricia Wentworth, Anne Nagel as Mrs. William Saunders, Milton Kibbee as Hadley, and John Eldredge as the ship’s officer Dwight.

Dr. Ralph Benson is wanted for murder and escapes on a ship bound for a remote tropical island. At the film’s outset, he escapes aboard a cruise liner bound for New Zealand, inadvertently landing on uncharted terrain alongside a group of fellow passengers. The island’s residents become suspicious of the mysterious doctor’s activities. As they investigate, they uncover Dr. Benson’s dark secrets and the horrifying results of his experiments.

Unfazed by his circumstances, he persists in his experiments, exploiting the locals as both convenient and susceptible test subjects. When a native woman falls into a coma from a heart ailment, he can’t resist showcasing his life-reviving “magic.” This act leads to him being anointed as the “God of Life” by the natives, and he promptly declares himself the island’s supreme ruler.

Unlike the traditional gothic laboratories of Univeral horrors, this story unfolds amidst a lush jungle backdrop. The remaining survivors from the civilized world include a callous ship’s officer who abandons his companions in a futile attempt to escape the island via canoe, only to meet his death at the hands of one of the natives.

A predictable romantic duo emerges, between Una Merkel’s niece Patricia (Claire Dodd) and  Jim (Richard Davies) a former crew member from the sunken liner. Despite an initial clash, they are gradually drawn together. When Tanao’s wife (Rosina Galli) the old woman Atwill “resuscitates” urges him to take a wife—and he goes after Merkel’s niece Patricia to be his unwilling bride. By the end, his disdain for his followers and his being exposed as a charlatan not really able to work miracles ends with them turning against him.

This film made it’s television debut on 18 January 1958 on New York’s channel 7 (WABC).

The Mad Ghoul 1943

The Mad Ghoul is a 1943 American horror film directed by James P. Hogan. The film follows the chilling tale of a university chemistry Professor Dr. Alfred Morris (played by George Zucco another horror movie Mad Doctor classic), a brilliant scientist who discovers a secret ancient Mayan gas that can turn people into mind-controlled zombies.

After the unsuspecting Ted Allison (David Bruce) becomes an unwitting subject of Professor Morris’s (George Zucco) experiments, the professor’s mind wove a fanciful tapestry. He deludes himself into believing that Allison’s fiancée Isabel (Evelyn Ankers), the captivating concert diva engaged to Ted Allison harbors intentions of ending their engagement because she finds the professor more sophisticated. The truth is, Isabel’s heart dances to a different melody, one orchestrated by Eric Iverson, her devoted accompanist (Turhan Bey). To rouse Ted out of his trance-like state, Dr. Morris compels him to perform the macabre art of cardiectomy, on recently deceased and even living bodies, extracting the serum from their hearts needed as a short-term antidote. As a series of gruesome murders appear to coincide with Isabel’s concert tours, investigative journalist “Scoop” McClure (Robert Armstrong) takes it upon himself to pursue this unhinged mad scientist.

The Mad Ghoul co-stars Charles McGraw, Milburn Stone, and Rose Hobart. Costume design by the fabulous Vera West and distinctive ghoulish makeup by Jack P. Pierce who was responsible for Universal’s parade of memorable characters- especially beloved is his work on Boris Karloff’s expressive Frankenstein’s monster. A must-mention for the moody cinematography by the brilliant Milton R. Krasner (The Woman in the Window 1944, The Dark Mirror 1946, A Double Life 1947, The Set-up 1949, No Way Out 1950, All About Eve 1950, Beneath the Planet of the Apes 1970).

The Mummy’s Ghost 1944

Read John Carradine feature here:

The Mummy’s Ghost is a 1944 American horror film directed by Reginald Le Borg and part of Universal Pictures’ Mummy film series. The movie continues the story of the ancient Egyptian mummy, Kharis, and the cursed love that binds him. The film is set in the United States, where Kharis (played by Lon Chaney Jr.) and Princess Ananka/Amina (played by Ramsay Ames) are still entwined in a tragic love story from their past lives. Kharis, the living mummy, is brought back to life by an Egyptian priest who wants to reunite him with Princess Ananka, who has been reincarnated in the body of a young woman named Amina.

Journeying from Egypt to America, a high priest (George Zucco) embarks on a quest to reclaim the earthly remains of the ancient Egyptian princess, Ananka, and her guardian mummy, Kharis. Discovering that Ananka’s ethereal spirit has been reborn into a new vessel, he seizes a young woman of Egyptian heritage who bears an enigmatic resemblance to the long-lost princess. Yet, in his insatiable greed, the high priest unwittingly unleashes forces beyond his control, setting in motion a series of deadly events that defy the bounds of his control over Kharis.

As Kharis seeks to find and reunite with his love, he embarks on a reign of terror and destruction. Archaeologists and authorities must stop him before he reaches Amina, who is unaware of her past life and the danger she’s in.

The Mummy’s Ghost continues the themes of love, reincarnation, and supernatural vengeance that are characteristic of the Mummy film series. It’s known for its moody and atmospheric portrayal of Egyptian mythology and the tragic fate of its titular character, Kharis.

John Carradine’s performance in The Mummy’s Ghost (1944) is a notable aspect of the film and adds to its charm within the context of Universal Pictures’ Mummy film series. In the movie, Carradine portrays Yousef Bey, an Egyptian priest who is responsible for resurrecting Kharis, the living mummy, in his quest to reunite him with the reincarnated Princess Ananka.

Carradine’s portrayal of Yousef Bey exudes an air of mystery and malevolence and is shrouded in secrecy and driven by an unwavering commitment to his mission, making him a formidable and enigmatic antagonist. His performance contributes to the overall atmosphere of Egyptian mysticism and supernatural intrigue that is characteristic of the series. While “The Mummy’s Ghost” is not as well-known as some other entries in the Universal Mummy franchise, John Carradine’s performance as Yousef Bey remains a noteworthy element, adding to the film’s enduring appeal among fans of classic horror cinema. The film also co-stars George Zucco as the High Priest, Robert Lowery, and Barton MacLane.

Macabre 1958

Macabre is a 1958 American horror film directed by William Castle.

Small-town Dr. Rodney Barrett (William Prince) has been given a gut-wrenching task: he has become ensnared in a sinister vendetta where he must rescue his little girl who has been abducted and buried alive. He must find her before her air runs out. He races against the merciless ticking clock, with mere hours to unearth her before the suffocating darkness claims her life. Producer-Director William Castle extended He provided every attendee with an official certificate, underwritten by Lloyds of London, assuring them of a $1,000 insurance coverage in the unlikely event they died of fright!

William Castle, known for his innovative and gimmicky promotional techniques, added an extra layer of excitement to the release of “Macabre.” He introduced a promotional gimmick called the “Fright Break,” where audience members were provided with certificates of life insurance in case they were to die of fright while watching the movie. Additionally, Castle hired nurses to be present in theaters during screenings to assist any patrons who might be overwhelmed by fear. These marketing tactics were a precursor to Castle’s later, even more elaborate gimmicks used in films like House on Haunted Hill and The Tingler. The film also stars Jim Backus as Police Chief Jim Tyloe, Christine White as Nancy Wetherby Tyloe, Jacqueline Scott as Nurse Polly Baron, Ellen Corby as Miss Kushins, Dorothy Morris, Phillip Tonge, and Susan Morrow.

Mill of the Stone Women 1960

”Trouble began with a woman…”

Mill of the Stone Women alternative title Drops of Blood” The Horrible Mill Women -is a stylish 1960s Gothic Italian Euro-Cult horror film directed by Giorgio Ferroni and based on the Flemish writer’s short story by Pieter Van Weigen. It is quite Hawthornesque – giving a nod to his short story ‘Rappacini’s Daughter’ as well as the 1953 film House of Wax starring Vincent Price and of course the mythos of Ovid’s Pygmalion & Galatea and a bit of a derivative story based on Franju’s Eyes Without a Face that was released that same year, but nearly as poetic. Ferroni imbues the film with a claustrophobic and hallucinogenic tone, with a nostalgia for the above stories.

The opening scene of the Mill underneath a ponderous sky as Scilla Gabel stares – secretly dark and broken -behind the drapery. Carlo Innocenzi’s score bellows an unsettling lament. In 19th century Holland, a professor of fine arts Professor Gregorius Wahl, and the strange rogue surgeon Wolfgang Preiss as Doctor Loren Bohlem (who secretly desires Elfie ) run a secret lab where the professor’s daughter (Scilla Gabel) who suffers from a strange and rare blood disorder, is kept hidden in the house and forbidden to leave the mill as she must receive blood transfusions with the help of Dr. Bohlem and kidnapped female victims who are later transformed into macabre statuary art. A young journalist Hans von Arnim (Pierre Brice) is sent to Holland to write a piece on the famous ‘carousel’ powered by the windmill, its artist, and the Mill’s famous exhibition of waxen women subjected to gruesome torture and death and becomes fascinated by the work of the brilliant yet reclusive sculptor, Professor Gregorius Wahl (Herbert A.E. Böhme) renowned for his lifelike figures of strikingly beautiful women, who are known to be eerily realistic tableaus. Professor Wahl lives on an island in a historic old windmill the locals call the ‘Mill of the Stone Women.

Hans eventually discovers that the professor’s sculptures are created from the preserved bodies of women who have mysteriously died (sacrificed for their blood in order to sustain Elfie ). In some of the horrifying sequences a wide-eyed Gabel leans over a bound and gagged Dany Carrel and Böhme looms over a kidnapped victim about to have her blood drained, her death soon to come, he has a look of righteous madness on his face as the camera frames him from underneathThe young journalist falls under the spell of Wahl’s alluring daughter Elfie (Gabel) though his true love is Liselotte (Dany Carrel). Eventually, Liselotte’s life will become threatened when Wahl seeks to make her his next victim. Wahl is determined to achieve perfection in his art, and he believes that only the bodies of women who must die can provide the ideal subjects to keep Elfie alive and used for his sinister waxworks. The film works on a grotesque level due to its Gothic Guignol of mechanized forms that emerge forcefully through a door – revolving around a stage of expressionist, historical icons whose fates were shocking and violent  – Joan of Arc, Cleopatra, Mary Queen of Scots – life-size figurines from a music box meeting the camera as they turn – eerie specters of the victims in a nightmarish procession upon a rotating carousel.

As Hans delves deeper into Wahl and Dr. Bohlem’s (Wolfgang Preiss)  disturbing and ghastly transgressions against the local women of the village who go missing, he becomes increasingly entangled in a web of dark secrets and surreal horrors. There is a  nightmarish sequence where Wahl and Bohlem subject Hans to a potent hallucinogenic that plunges him into a surrealistic realm where the boundaries of reality and fantasy converge.

He is drawn into a nightmarish descent as he uncovers the truth about the mill, the mysterious deaths, and the professor’s obsession with creating his morbidly aesthetic masterpieces. Ultimately the phantasmic figures go up in flames, a close-up spectacle of grotesquery, the melting reflections of Wahl’s work, shown in  Technicolor – for example, Elfie’s glowing scarlet boudoir hinting at the theme of blood and the moment when she is revealed beneath the lid of her glass coffin holding bright yellow roses in contrast to her deathly pale complexion. All thanks to the art direction by Arrigo Equini and cinematography by Pier Ludovico Pavoni who employs a color palate that recalls Pressburger and Powell’s body of work.

Mill of the Stone Women (1960)stars Pierre Brice as Hans von Arnim, Scilla Gabel as Elfy, Wolfgang Preiss as Doctor Loren Bohlem, Dany Carrel as Liselotte, and Herbert A.E. Böhme as Wahl, Olga Solbelli as Selma and Liana Orfel as Annelore.

Mumsy, Nanny, Sonny, and Girly aka Girly 1970

Everyone is dying to meet Girly!

Mumsy, Nanny, Sonny, and Girly 1970’  is a cheeky British horror-comedy, an Impish yet grisly shocker released as Girly outside of the U.K. directed by cinematographer turned director Freddie Francis. Collaborating with writer Brian Comport, this quirky film emerged under the direction of cinematographer-turned-director Freddie Francis. It unfolds within the atmospheric Oakley Court, a location frequently favored by Francis for his film exteriors.

The film’s origins trace back to Maisie Mosco’s two-act play, “Happy Family.” Screenwriter Brian Comport ingeniously adapted this play into a novella titled “Mumsy, Nanny, Sonny, and Girly.”

At a secluded manor house in the remote England countryside,  the eccentric lives of four peculiar characters play a bizarre role-playing pastime called ’The Game.’ Here, they immerse themselves in their archetypal personas.

The family members engage in a bizarre and disturbing game in which they “adopt” unsuspecting strangers from the outside world, bringing them into their home and forcing them to participate in their twisted role-playing scenarios. These scenarios start innocently enough but gradually become increasingly dangerous and deranged. Girly seduces unsuspecting men into their eerie world. Once hooked they are they have no choice but to join this unsettling hobby. As the family’s games take a darker turn, tensions rise, and their unsuspecting guests become trapped in a nightmarish world of manipulation and violence.

Girly: Nasty Nanny is no good! Chop her up for fire wood! When she’s dead, boil her head, make it into gingerbread!

Refusal leads to a dreadful death, preserved on film by the camera-wielding Sonny for the family’s morbid indulgence. However, a ‘New Friend’ their latest captive designs a way to use the internal conflicts of the four captors and begins to drive a wedge between them.

Mumsy: [Girly is visibly upset by the super 8 snuff reel her family is watching] Girly, come back here and watch the lovely film!
[Girly bites her nails and sits back down to watch the snuff reel]

The principle of The Game lies in the complete abandonment of each primary character to shed their true identity and choose a new role. Mumsy (Ursula Howells) domineering and eccentric assumes the role of the mother figure, Pat Heywood becomes Nanny, a strict and authoritarian caregiver, Sonny (Howard Trevor) a rebellious, mentally unstable son, and Vanessa Howard is the enchanting yet dangerous child-like Girly,  the seductive daughter who is the naughty siren luring men to their doom. Amidst the cryptic rules governing this twisted world, one commandment remains constant: “Rule No. 1 – Play the Game!”Things go awry after one fateful night, Girly and Sonny attend a swinging party in London and meet a prostitute (Michael Bryant) who is accompanied by his client (Imogen Hassall) When Girly fancies ‘New Friend’, she and Sonny entice the couple to join them for a wild night of mischief. At a playground, they push the woman off a giant slide and somehow convince the dazed guy that he murdered his paying date in a drunken stupor.

Girly [Girly watches as Sonny and the other man try to get the man’s girlfriend to go down the slide] Go on!… bitch.
New Friend: Yeah, go on!
Girly [Smiling slyly] Cowardy-cowardy-custard
[Sonny nods his head and then grabs the girlfriend’s leg, causing her to trip]
Girlfriend: AHHHH!!!
[the girlfriend falls several feet to the ground below, breaking neck. The man stares down in shock while Sonny and Girly pick up the girlfriend’s veil from her body]
Girly:[In a childish voice] What’d you push her for, Mister?

They succeed in luring the ‘New Friend’ back to the manor, where he undergoes a rebranding of his identity, and forced to assume the appearance of a schoolboy, and is subjected to humiliating ordeals. His past client serves as a haunting reminder of his alleged crime, designed to keep him in his place.

When Mumsy and Girl both desire New Friend, it creates conflict within the family as he sows the seed of jealousy, conflict, and dissension between the women and turns the family against each other. The question lingers: Who will ultimately join the makeshift graves of their former ‘friends’?

Mumsy, Nanny, Sonny, and Girly is a rare British cult classic known for its unique blend of humor and horror, creating an unsettling and satirical commentary on societal norms and the dysfunctionality of family dynamics.

The original poster art for the film was an eerie black and white family portrait of “The Family,” dressed in traditional English attire (six form uniforms for Girly and Sonny, a maid’s outfit for Nanny, and a World War II era dress for Mumsy). Though this iconography would have struck a chord with British viewers, it was deemed that US audiences wouldn’t understand the image. For the US release, the distributor commissioned a poster of an anonymous girl standing in for Vanessa Howard wearing a cutoff skirt and clutching a doll in one hand and a bloody axe in the other.

This is your EverLovin Joey Sayin’ M is for Menace and Mayhem and lots More to come! The letter N is the nightfall where all things go bump in!

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


Kronos 1957

“We have half of the equation; we can turn matter into energy. But up there, they have the second half; they can turn energy into matter.”

Kronos is a film I’ll be talking about with more gusto for my series Keep Watching the Skies: The Year is 1957. Stay tuned! 🚀

Kronos is a 1957 is an above average, intelligent American science fiction film directed by Kurt Neumann with a script by Irving Block and Lawrence L. Goldman. In a decade strewn with unrelenting hogwash, Kronos’s heroical special effects should stand for something. The movie centers on a giant extraterrestrial energy accumulator, essentially it’s a machine that consumes power – called Kronos that arrives on Earth with a mission to drain the planet of its energy resources. I remember this movie really making an impression on me as a kid, with Kronos stomping its way through the desert, its electrical currents snapping and crackling between its antennae as it pounded the earth.

A colossal flying saucer mistaken for an asteroid crashes fo the coast of Western Mexico. Scientist Leslie Gaskell has been tracking an asteroid, with missiles sent to intercept it, its path is only altered slightly off course, nearly hitting New York. It finally plunges into the ocean off Mexico. Les, his fiancee and associate Vera (Barbara Lawrence), and fellow scientist Arnie (George O’Hanlon) travel to Mexico waiting to see what develops, certain that this asteroid has been thoughtfully guided by an intelligence.

Soon, a domed-like crown rises to the ocean’s surface, and it emerges from the bubbling Pacific as a monolith metallic cube with multiple tiers. Its purpose is to voraciously siphon off the Earth’s energy, and bring it back to its own distant planet. As it greedily absorbs energy the cube undergoes a mesmerizing transformation as this extraterrestrial machine over a hundred feet tall continues to grow larger in scale. It also has the power to influence unwitting people to serve it.

Scientists and military personnel are perplexed by its presence and its relentless energy-absorbing capabilities. Dr. Leslie Gaskell (played by Jeff Morrow) takes charge of the investigation, and he and his team work tirelessly to find a way to stop the alien machine before it depletes Earth’s energy and devastates the planet.

As the story unfolds, Dr. Gaskell and his colleagues develop a daring plan to confront Kronos and prevent the impending catastrophe. The film blends elements of classic 1950s science fiction with Cold War-era anxieties about the potential threat of unknown forces from outer space.

Kronos is notable for its portrayal of an enigmatic and seemingly invincible alien entity and the efforts of humanity to overcome this existential threat. It is a classic example of the science fiction films of its era and is remembered for its imaginative premise and special effects. It also stars Barbara Lawrence as Vera Hunter, and John Emery as Dr. Hubbell Eliot who is taken over by Kronos – apparent by his menacing stare and the crackling ball of electricity that enters his body at the time he needs to pull the strings and make the Dr. do his bidding. Then there is good ‘ole Morris Ankrum as Dr. Albert Stern, and George O’Hanlon as Dr. Arnold Culver.

The Killer Shrews 1959

The Killer Shrews is a 1959 low-budget science fiction horror film directed by Ray Kellogg. The story is set on a remote island, where a group of people becomes trapped by a hurricane. The island is infested with giant (small dog-sized giant), mutated shrews that are both aggressive and venomous due to a failed scientific experiment.

Captain Thorne Sherman (played by James Best) a scientist named Dr. Marlowe Craigis (played by Baruch Lumet) Dr. Radford Baines (Gordon McLendon) and Craigis’s daughter Ann (Ingrid Goude) must band together to survive the nightmarish ordeal. As the group struggles to defend themselves against the ravenous shrews, tensions rise, and they must find a way to escape the island before they fall victim to the deadly creatures who are running out of food.

“The Killer Shrews” is known for its low-budget production values, including the use of dogs dressed in shaggy costumes to portray the oversized shrews. Despite its limited resources, the film has achieved cult status for its campy charm. Close-ups of the giant shrews were filmed using hand puppets. The wider shots used dogs made up as the shrews.

Actor / co-producer Ken Curtis once commented that he had to force himself not to laugh during filming when the shrews attacked because they were basically just “dogs 
covered in shag carpet.”
The man playing Dr. Baines is Gordon McLendon He was the uncredited executive producer and financier of this and its companion feature The Giant Gila Monster 1959. He owned radio stations and a chain of theaters in Texas.

Kiss of the Vampire 1963

Kiss of the Vampire, a 1963 British horror masterpiece by Hammer that unfolds under the masterful direction of Don Sharp, with Anthony Hinds at the quill. While not part of the legendary Dracula series, this cinematic gem bears the indelible mark of Hammer’s signature Gothic horror.

The narrative elegantly trails a newlywed couple, the dashing Gerald Harcourt (Edward de Souza), and his enchanting bride, Marianne Harcourt (portrayed by the captivating Jennifer Daniel), as they embark on a European trip. Their idyllic journey takes an unexpected detour when their car breaks down near a remote Bavarian village, leaving them stranded.

Fortune intervenes as they are graciously invited to take refuge within a nearby chateau, an architectural marvel shrouded in both splendor and sinister secrets. The chateau’s enigmatic resident, Dr. Ravna (Noel Willman), reigns as the formidable leader of a clandestine cult of vampires. With beguiling allure, he ensnares the couple in his nefarious designs, with Marianne poised to join his unholy family.

As Gerald’s realization of their dire predicament dawns, he endeavors to rescue his beloved wife from the clutches of these ravenous vampires. In his quest for salvation, he seeks the wisdom of a local vampire scholar, Professor Zimmer ( Clifford Evans), forging a desperate alliance to rescue Marianne from Ravna.

Kingdom of the Spiders 1977

Kingdom of the Spiders is a 1977 American horror film directed by John “Bud” Cardos. The movie is set in a small rural town in Arizona and centers around the terrifying invasion of the town by an enormous army of aggressive and deadly tarantulas.

The story follows veterinarian Dr. Robert ‘Rack’ Hansen (played by the intrepid William Shatner) and entomologist Diane Ashley (played by Tiffany Bolling) as they investigate a series of unusual livestock deaths in the area. Hansen lives in Verde Valley an Arizona desert town, who is baffled by the death of Walter Colby’s (Woody Strode) prize calf. After he sends samples of blood to Arizona State University, entomologist Diane Ashley arrives with information about the calf’s death. It had been poisoned by a massive dose of tarantula venom.

As they dig deeper, they discover that there is a mammoth hill on Colby’s farm which is housing thousands of deadly spiders and his property is the epicenter of a colossal tarantula population explosion. As the creeping terror escalates, the townsfolk are thrust into a nightmarish world. Ashley is puzzled by the behavior as tarantulas usually don’t attack as a militarized group and are not usually aggressive to creatures that aren’t their usual prey. But these spiders are driven by a monstrous bloodlust.

They find themselves under siege as thousands of venomous tarantulas begin to overrun the town, attacking livestock, pets, and even humans. With the situation escalating into a life-and-death struggle, Dr. Hansen and Diane work together to find a way to combat the arachnid invasion and save the town from being consumed by the “kingdom of the spiders.”

Kingdom of the Spiders is a classic creature feature that capitalizes on our primal fear of arachnids and the idea of nature striking back against human encroachment. It’s known for its suspenseful and creepy atmosphere, as well as its memorable scenes of tarantulas swarming en masse. William Shatner’s portrayal of the determined hero adds to the film’s B-movie appeal among fans of a slightly above-schlocky 1970s horror cinema.

The Kindred 1987

Directed by Stephen Carpenter, Jeffrey Obrow, and Joseph Stefano (Psycho 1960 and The Outer Limits)The Kindred is a 1987 science fiction horror film that revolves around a series of dark and disturbing genetic experiments.

Genetic scientist Amanda Hollins (Kim Hunter) awakens after three years in a coma. Her son John Hollins (David Allen Brooks) is summoned to her bedside at the hospital where she urges him to destroy all her journals and anything that remains of her research and the mysterious endeavor that involved a long-lost brother of John’s she named Anthony.
John and company arrive at the abandoned country house with his girlfriend Sharon (Talia Balsam) and a few colleagues including the mysterious Melissa Leftridge (Amanda Pays). There at Shelter Cove, they discover his mother’s secret genetically engineered creation, a hybridization that still exists. Working against Dr. Hollins is the profoundly unhinged Dr. Phillip Lloyd (Rod Steiger) a competing geneticist who wants control of Anthony himself. Dr. Lloyd has planted Melissa as a spy and seeks her help to stop the destruction of Hollins’s work.
As they delve deeper into the labyrinthine mysteries of her work, they unwittingly awaken a monstrosity that lurks in the shadows—an abominable creature – a hybrid human a deep sea creature with tentacles that has a taste for human flesh. Anthony has emerged from the very cells taken from John’s tissues. This grotesque, aquatic entity, referred to as “John’s brother” stands as a testament to the macabre nature of his mother’s experiments. A battle takes place between the ethical scientists, the mad scientist, Melissa who in fact also shares some marine life DNA, and Anthony’s little squid-like buddies who can latch onto people. In one squishy gory scene, an angry gooey fetus leaps out of a clogged drain and attaches itself to someone’s face. And then there’s the little horrible beastie that springs out of a ripe watermelon and wraps its tentacles around a shocked grad student while she’s driving.

With a cinematic nod to the 1950s sci-fi genre, the scene with the creature inside the watermelon in the backseat of the car – and she is attacked with its tentacles is a bit of nostalgia.

Creative horror screenwriter Joseph Stefano (Alfred Hitchcock’s “Psycho”) contributed to the screenplay, most notably the sequence involving the creature hiding inside of a watermelon.

Rod Steiger performed his own stunts in a scene that involved him being doused with a 55 gallon drum of methyl cellulose “slime.

Killer Klowns from Outer Space 1988

Killer Klowns from Outer Space 1988 (Photo courtesy: Trans World Entertainment)

Curtis Mooney “They took your wife away in a balloon? Well you don’t need the police, pal, you need a psychiatrist!”

Killer Klowns from Outer Space is a 1988 cult science-fiction horror-comedy film directed by the Chiodo Brothers. The movie is known for its quirky offbeat and often comical premise. Not to mention as a society our collective primal, morbid fear of clowns!

The story begins when a small town is invaded by extraterrestrial beings who resemble creepy, colorful circus clowns from outer space. Even the spaceship has the appearance of a circus tent. These alien clowns, however, are not here to spread laughter and joy but instead to harvest humans as a source of sustenance. They capture people by trapping them in cotton candy cocoons and use outlandish, clown-themed weaponry to cause havoc. Killer Klowns is seriously outrageous, demented, and hilarious!

Debbie Stone -We were up at “the top of the world” and we saw this shooting star and we decided to go look for it. But instead of finding the shooting star we saw this… this circus tent. And that’s when we went inside, and that is when we saw those people in those… those pink, cotton candy cocoons. Dave, it was not a circus tent. It was something else.

Dave Hanson What? What?

Mike Tobacco It was a space ship. And there was these things, these killer clowns, and they shot popcorn at us! We barely got away!

Curtis Mooney Killer clowns, from outer space. Holy shit!

A group of young people, including Mike Tobacco (played by Grant Cramer) and Debbie Stone (played by Suzanne Snyder), discover the bizarre and deadly threat and take it upon themselves to stop the Killer Klowns. As they face off against these colorful, goofy yet terrifying otherworldly foes, they must find a way to save their town from being completely devoured by the extraterrestrial circus. Busy character actors Royal Dano as Farmer Gene Green and John Vernon make appearances in the film. Both actors appeared in The Outlaw Josey Wales together in 1976.

Killer Klowns from Outer Space is known for its dark humor, imaginative and campy special effects, and the sheer absurdity of its premise. It has become a beloved cult classic, appealing to fans of both horror and comedy for its unique blend of genres.


The scene in which a car is thrown over a cliff was initially intended to be far more spectacular – the car was to fly over the cliff and crash down to the ground. Unfortunately, the sling rope snapped because effects crew members neglected to remove the stoppers from underneath the car’s wheels. The result was what is seen in the final film, the car slowly tumbles over the edge and becomes caught on a tree.

The iconic Killer Klowns March was originally written by John Massair for his high school rock band, Crisis. The band members did not like it because the notes of the song spelled out an F major 7th chord which they felt sounded too much like Jazz.

Around the same time, MGM began production of two low-budget horror films, one of them being “Killer Clowns from Outer Space” and the other “Clownshouse” by Victor Salva. Both films are very different but with the concept of Killer Clowns. Salva creator of the controversial “Clownhouse” expressed that there was a certain rivalry between both productions to know who copied whom, but in the end the films were very different from each other.

Mooney’s (John Vernon) fate is foreshadowed early in the film when he says “Nobody’s going to make a dummy out of me”. A Klown winds up making him a human ventriloquist dummy.

Originally, Klownzilla was supposed to be made with stop motion animation. But due to production costs and limited time to shoot, they made a suit instead

This is your EverLovin’ Joey sayin’ K…  I’ll be back with the letter L -hoping these trailers will LURE you in!