Friday, 16 March 2012
Or "Dracula (the fucked-up vampire flick)."
In the caves of an abandoned mine, Mike Waters is looking for "Mr. Alucard." Instead, he finds a Count Dracula with a Jewish accent: "I'm Count Dracula which is Alucard backwards. So you can call me Allie."
Wearing a hairpiece that resembles a dead skunk, Dracula hypnotizes Mike: "I want for you to go out and get me, every night, a different girl. You like to do that for me, hmmmm? You'll have fun! What's left over, I give you. I'm going to make you a jackalman. Irving Jackalman. That's what I'm gonna call you from now on."
Mike then turns into a mangy wolfman. Pardon me, a jackalman. (The makeup looks like the same goofy mask and three-fingered claws used in the 1967 monsters-loose-in-Las-Vegas epic, The Mummy and the Curse of the Jackal). Growing a big snout that makes him look like a giant rodent, "Irving" immediately starts attacking women who are just as immediately transported back to Dracula's cave. There, Drac strips 'em naked, ties 'em to a rack, and bites them on the boob -- "I'm gonna give you a kiss like you wouldn't believe. Right here in your good place!" -- leaving two bloody bite marks right above the nipple...
As becomes quickly apparent, Dracula (the dirty old man) is really two films in one. Visually, it's a crude but nevertheless seemingly serious and straightforward sex horror film that even occasionally detours into Rollin-like territory with its slam-fisted imagery of nude women bound and bitten on the breasts by bats (minus, of course, Rollin's style, wit, or sense of poetry). The soundtrack, however, is something else entirely. A la Woody Allen's What's Up Tiger Lily? (1966), the original dialogue has been discarded (assuming it was even recorded; this could just as easily have been shot silent) and replaced with idiotic "comic" narration that often sounds like the narrator is making things up as he goes along. A couple of times he even cracks up at his own jokes.
But even the narrator doesn't know what to do with one bludgeoning sick sequence where the dumb-looking werejackal jumps atop a nude woman and rapes her into unconsciousness. While continuing to hump away, the woman eventually comes to and starts to struggle, so the big bad wolf kills her by bloodily biting her in the throat... then continues to happily screw the corpse.
It's a bad omen of things to come when the bus driver, transporting several people to a new job on an elegant estate, falls dead at the wheel. The passengers decide to delay their arrival by a day and detour to a small village for a good night's rest. Arriving, they find a deserted community. Luis (Jack Taylor), another man who found his way to the town earlier in the day, is equally bewildered. Ernest (I. Gonzalez), one of the men who ventures out that night for a smoke and a stroll, finds out the hard way that the town actually comes alive at night - with the undead. The next morning, the survivors awaken to a village more like a village should be. They are greeted by Boris (Jose Guardiola), or, the Major, as he's better known. He explains that the death of a beloved member of the community placed all the citizens in the cemetery the previous night. As the villagers anguish in the background over what to feed their guests, Boris says simply; "The Countess will provide." The weary travelers later rave about the unusually sweet and tender meat they're treated to...
Ernest returns...changed. He whispers to Marcos (Manuel de Blas), one of the other men from the bus, that the problem of the driver's corpse has been dealt with. Marcos, in turn, telegraphs just what likely happened to him. As they prepare to take their leave, Luis finds his car out of commission. Ernest is also unable to get the bus started and the group must return to the village. They soon find themselves at the home of the Countess, a charming woman who seems hungry for companionship and news from the outside world. She offers the stranded company the use of her home - and even some cash to tide them over. That night she takes young Cesar (David Aller) to her bed and vampirizes him, throwing his body off the balcony and into the courtyard below where some hungry vampires wait to devour him. Ernest lures two of the men outside with news that the bus is fixed. Entering, the door slams shut and the undead pop up from the seats, hungrily feeding on the unwitting victims.
The lovely Alma (the lovely Dianik Zurakowska) has been remarkably immune from all the grisly happenings, that changes when she finds a finger in her evening meal, courtesy of a recent "accident" by the cook. She, along with Luis, make plans to leave that evening with another woman from the ill-fated bus trip and her daughter, Violet (Sarita Gil). But before they can depart, Violet defies orders and goes out to play with her mysterious little playmate (Fernando Romero) who's led her off into the graveyard - and night is approaching.
Akiko Kashiwagi (Midori Fujita) has been haunted by recurring dreams since childhood stemming from an incident at Lake Fujimi when her cocker spaniel broke free and entered a forbidding house populated by a couple of very fearsome residents. Now grown and a painter, she's at the lake and seeking the assistance of Kyusaku, a local handyman, for an issue with her door. He's just received an empty oblong box from Dracula (Shin Kishida) with only a blood stain within. Soon a young woman is found by the side of the road, drained of blood and with two puncture wounds on her neck, barely clinging to life.
Akiko has since gotten another dog, a German shepherd also named Leo, and one day she returns home to find him missing from his house. Searching for him, she finds him dead, the handyman looking on with a blank expression on his face. He attacks Akiko and carries her away. Awakening, she finds herself menaced by the box's daytime occupant. People are acting strangely - Akiko's sister, Natsuko (Sanae Emi) is aloof and remote, having been vampirized by the lake's newest tenant. And the girl at the hospital attempts to leave, grapples with a security guard and plunges over a railing to the ground. Akiko's boyfriend, Dr. Saeki Takashi (Osahide Takahashi), shocked by the bizarre death of his patient, begins to suspect a connection in the string of incidents. Natsuko arranges for Saeki to be out of the house that night that she might present Akiko to Dracula. But Saeki finds an unpleasant surprise of his own in the backseat of his car as a violent thunderstorm rages.
Natsuko is found on the beach in a state similar to the mystery girl. Rushed to the hospital by Akiko and Saeki, the wounded woman implores the pair to see that her body is burned upon her death. Saeki places Akiko under hypnosis in hopes of effecting a cure and to see what connection there may be between her nightmares and the current string of attacks and deaths. Feeling progress being made, the pair return to Akiko's hometown and the site of the first incident. Entering the house, they find the body of an old man, his journal - and Natsuko.
This is one of Ivan Cardoso's first films - shot totally in Super 8mm! It's a parody of the old-age vampire story, but this time Nosferato (Torquato Neto) decides to feed on the bikiniclad beauties lying on the beaches of Rio de Janeiro (land of the string bikini, mind you!) Lots of laughs, skin and an ingenius use of locations!
What a terrible piece of crap! I' ve ever seen worse FX (what effects?) and stunts, even for the 70's, and the "plot" is thin as a shoe-string. You only see Nosferatu running around chasing girls and then bite them - that's (nearly) all. At one point he can even be spoted on the beach, dressed only in a cape and his swimming trunks! The film was shot on 8mm, the (historical) first part is in black & white, but the second half doesn't look much better with it's grainy and faded-out colors. No dialogue here, but it has rock music dubbed in where the dialog is supposed to be. In the end he leaves on a plane for Europe - could this the origin of our legend?
Set in modern day Hong Kong, Lam Ching-ying is a Chinese herbalist who battles a family of three vampires after they are re-awaken by some money-hungry archaeologists. Chin Siu-ho plays a photographer who helps Lam and Billy Lau plays one of the head archaeologist’s assistants.
The Countess is called away to tend a sick friend and imposes on the General to accept her daughter Marcilla as a houseguest. Some of the villagers begin dying, however, and the General's daughter Laura soon gets weak and pale, but Marcilla is there to comfort her. The villagers begin whispering about vampires as Marcilla finds another family on which to impose herself. The pattern repeats as Emma gets ill, but the General cannot rest, and seeks the advice of Baron Hartog, who once dealt a decisive blow against a family of vampires. Well, almost.
The Count explains his research into vampirism without explaining the presence of Katia's exhumed corpse on the table before them. That evening, a very much alive (and naked) Katia appears in manager Lucas' (Alfredo Rizzo) bedroom. Vera, on the other hand, notices someone (or something) attempting to enter her locked bedroom, naturally she unlocks the door and goes off wandering about the castle, accidentally opening a secret passageway that leads to the Kernassy family crypt. There she's confronted by the Count and vampirized. Coming to her rescue is...another Count! It turns out that Gabor's 200 year old undead ancestor is responsible for the murders associated with the castle and Gabor's promise of the release that the vampire seeks falls on deaf ears, setting up a final confrontation between the two.
Schoolmaster Albert Müller witnesses his wife Anna taking a little girl to the castle of vampire Count Mitterhaus, where the child is killed. The villagers, led by Müller and the mayor, invade the castle and attack the Count, driving a wooden stake through his heart. With his dying breath, Mitterhaus curses the villagers, vowing that their children will die to give him back his life. The villagers force Anna to run the gauntlet, after which she runs back to the castle, where the briefly-revived Count tells her to find his cousin Emil. Meanwhile the villagers set the castle on fire.
Fifteen years Later, the village is ravaged by the plague and blockaded by the authorities. The citizens fear that the pestilence may be due to the Count's curse. A travelling circus, led by a dwarf and a gypsy woman, arrives in the village and the villagers appreciate the distraction from their troubles. One of the artists, Emil, is actually a vampire and Count Mitterhaus's cousin. Emil and the gypsy woman go to the castle, where they find the Count's staked body and reiterate the curse, that all who attacked on his cousin and all their children must die.
Gerald and Marianne Harcourt are traveling by car when the car breaks down and they have to spend a few days in a small, remote village. It doesn't take long before they are invited to Dr. Ravna's castle. Without their knowledge, Dr. Ravna is the leader of a vampire cult, and he has become astonished by Marianne's beauty.
Vampire hunter and expert swordsman Kronos finds himself in a small village where several of the local young women have been found in an advanced state of age, their youth drained from them by a vampire's kiss. Kronos' search leads him to the Durward estate where he is met by the effete children of the apparently aged and sick Lady Durward.
A young girl's arrival at a convent after the death of her parents marks the beginning of a series of events that unleash an evil presence on the girl and her mysterious new friend, an enigmatic figure known as Alucarda. Demonic possession, Satan worship, and vampirism follows.
In 1830, forty years to the day since the last manifestation of their dreaded vampirism, the Karnstein heirs use the blood of an innocent to bring forth the evil that is the beautiful Mircalla - or as she was in 1710, Carmilla. The nearby Finishing School offers rich pickings not only in in the blood of nubile young ladies but also with the headmaster who is desperate to become Mircalla's disciple, and the equally besotted and even more foolish author Richard Lestrange.
Suce moi vampire mas made by Jean Rollin to pay for the losses that Levres de sang suffered at the box office, using footage from that film as well as hardcore scenes with some of the same actors, shot in some of the same places. Rollin uses the character Frederick to make up the alternative story: Frederic takes out an old picture book from his book shelf, and leafing through it tells the story (by voice over) of how vampirism is combined with sexual perversions.
A lesbian vampire couple waylay and abduct various passer-byes, both male and female, to hold them captive at their rural manor in the English countryside in order to kill and feed on them to satisfy their insatiable thirst for blood.
An unauthorized production of Bram Stoker's work (The legal heirs didn't give their permission), so the names had to be changed. But this wasn't enough: The widow of Bram Stoker won two lawsuits (1924 and 1929) in which she demanded the destruction of all copies of the movie, however happily copies of it were already too widespread to destroy them all. Later, Universal studios could break her resistance against this movie. Count Orlok's move to Wisburg (Obviously the real "Wismar") brings the plague traceable to his dealings with the Realtor Thomas Hutter, and the Count's obsession with Hutter's wife, Ellen the only one with the power to end the evil.
aka "Dracula", "Dracula's Castle", "Dracula: The Movie","Cemetery Girls", "Vampire Playgirls", "Cemetery Tramps", "Enter Dracula" and "Dracula's Virgin Lovers. Stranger's arrive at Castle Dracula and are greeted by a stocky, sad Count Dracula (Paul Naschy).
Another European attempt to imitate the Hammer formula for horror, the plot is most similar to "Dracula, Prince of Darkness", with the most notable exception being Dracula's verbosity. Naschy, who is no Christopher Lee, makes an unusual Dracula, but never-the-less turns in a good performance as always. His Dracula seems depressed, even in his villainy. Full of scantily clad busty female Vampires. Lots of lace, cleavage, fangs and dripping blood. Probably not safe for work.
This film is available from home video companies known to deal exclusively in public domain properties. No rights are claimed.
In 1918, an English family are terrorized by a vampire, until they learn how to deal with it. They think their troubles are over, but German bombs in WWII free the monster. He reclaims the soul of his wolfman ex-servant, and assuming the identity of a scientist who has just escaped from a concentration camp, he starts out on a plan to get revenge upon the family.
|AKA Messiah of Evil|
This is a weird one. But its pretty cool. I don't find it to be boring or tedious as some of the other reviewers do. The scene in the movie theater is classic and has been included in documentaries and Horror compilations for years. There are some differences from print to print. Some versions have her narrative completely removed. Others omit the opening speech only. There is a very heavily edited version that runs very short and shortens or deletes the scenes with the mysterious albino "Messiah" character. This looks like a pretty complete version to me.
Based on the chilling Richard Matheson science fiction Classic "I am Legend" and later remade as "The Omega Man" starring Charlton Heston. This classic features Vincent Price as scientist Robert Morgan in a post apocalyptic nightmare world. The world has been consumed by a ravenous plague that has transformed humanity into a race of bloodthirsty vampires. Only Morgan proves immune, and becomes the solitary vampire slayer.
Tuesday, 13 March 2012
Eccentric millionaire Fredrick Loren and his 4th wife, Annabelle, have invited 5 people to the house on Haunted Hill for a "haunted House" party. Whoever will stay in the house for one night will earn ten thousand dollars each. As the night progresses, all the guests are trapped inside the house with ghosts, murderers, and other terrors.
As the narrator invites us to explore the horrors of an insane mind, a young woman wakes from a nightmare in a cheap hotel room. We follow her through the skid-row night and encounters with an abusive husband; a wino; a pimp and the rich man he panders for; a flashback to her traumatic childhood; violence; pursuit through dark streets; dementia. Filmed in film-noir style throughout; only the narrator speaks.
Dr. Bill Cortner has been performing experimental surgery on human guinea pigs without authorization and against the advice of his father, also a surgeon. When Bill's fiancée Jan Compton is decapitated in an automobile accident, he manages to keep her brain alive. He now needs to find a new body for his bride-to-be and settles on Doris Powell, a glamor model with a facial disfigurement. Jan meanwhile doesn't want to continue her body-less existence and calls upon the creature hidden in the basement, one of Bill Cortner's unsuccessful experiments, to break loose.
The founder and owner of a large cosmetics company, Janice Starlin (Susan Cabot), is disturbed when her firm's sales begin to drop after it becomes apparent to her customer base that she is aging. Scientist Eric Zinthrop (Michael Mark) has been able to extract enzymes from the royal jelly of the queen wasp that can reverse the aging process. Starlin agrees to fund further research, at great cost, provided she can serve as his human subject. Displeased with the slowness of the results she breaks into the scientist's laboratory after hours and injects herself with extra doses of the formula. Zinthrop becomes aware that some of the test creatures are becoming violent and goes to warn Janice but before he can reach anyone he gets into a car accident. He is thus temporarily missing and Janice goes through great trouble to find him, eventually managing and then transferring his care to herself. Janice continues her clandestine use of the serum and sheds twenty years' in a single weekend, but soon discovers that she is periodically transformed into a murderous queen wasp.
Monday, 12 March 2012
A photographer and his models go to an old, abandoned castle to shoot some sexy covers for horror novels. Unbeknownst to them, the castle is inhabited by a lunatic who believes himself to be the reincarnated spirit of a 17th-century executioner whose job it is to protect the castle against intruders.
"Can your heart stand the shocking facts about Graverobbers from Outer Space?" That's the question on the lips of the narrator of this tale about flying saucers, zombies and cardboard tombstones. A pair of aliens, angered by the "stupid minds" of planet Earth, set up shop in a California cemetery. Their plan: to animate an army of the dead to march on the capitals of the world. (The fact that they have only managed to resurrect three zombies to date has not discouraged them.) An intrepid airline pilot living near the cemetery must rescue his wife from this low-budget terror. "Can you prove it *didn't* happen?"
Horror veteran Christopher Lee (who found worldwide fame playing the evil wizard Saruman in Peter Jackson's Lord of the Rings trilogy) looks back over his film career in this hourlong 1996 retrospective. Clips from the following movies are included: The Curse of Frankenstein, The Devil Rides Out, Dracula (1931 and 1958 versions), Dracula: Prince of Darkness, The Face of Fu Manchu and many more.
Carpenter has been married to producer Sandy King since 1990. King produced a number of Carpenter's later feature films, including They Live, In the Mouth of Madness, Ghosts of Mars, and Escape from L.A. She also functioned as script supervisor for some of these films as well, such as Starman, Big Trouble in Little China and Prince of Darkness.
Carpenter is a Godzilla fan. He appeared in an episode of Animal Planet's Animal Icons titled "It Came from Japan."
In an interview Carpenter had said that he has been diagnosed with skin cancer several times and that he believes the reason for this was working on The Thing due to the sun's rays bouncing off the snow and onto his face.
For those who have never seen this, it is a compilation of 20 different films, somewhat like Terror In The Aisles, though not nearly as well edited together. Lots of gore in this one, and lots of cheese, too. The quality of the video varies between clips, which is due to the sources that the film used, but overall the quality is excellent. Terror on Tape is an explosive, lightning paced journey into the most revolting scenes ever filmed. There’s a nice little story to be told at the fictional ‘Shoppe of Horrors Video Store’ on Halloween where our ghoulish host, Cameron Mitchell shares the shelves of his video store with a variety of different customers who reflect the various types of horror fan. This film has never been released in North America.
Writer Howard Phillips Lovecraft (1890-1937) said: "The oldest and strongest emotion of mankindf is fear, and the oldest and strongest kind of fear is fear of the unknown."
Just released for home theater, this terrific documentary won the 2008 San Diego Comic Con "Best Documentary" award. H. P. Lovecraft is generally recognized as the father of modern horror fiction. His unique blend of horror, fantasy and science fiction remains popular today and is a great influence on modern horror writers and movie-makers.
This film that is an overdue tribute and of Lovecraft's old world mindset and strange, xenophobic, mostly reclusive life. Film directors John Carpenter ("Halloween") and Guillermo Del Toro ("Hellboy") contribute thoughtful insights into Lovecraft's moody style and original subject matter. And the influence on pop culture and movies in particular.
Popular horror writers Neil Gaimen, Ramsey Campbell and Peter Straub offer informed and enthusiastic comments about Lovecraft's world and influience on them. The documentary is made with great care and is a pleasure to experience.
This historical and critical look at slasher films, which includes dozens of clips, begins with "Halloween," "Friday the 13th," and "Prom Night." The films' directors, writers, producers, and special effects creators comment on the films' making and success. During the Reagan years, the films get gorier, budgets get smaller, and their appeal wanes. Then, "Nightmare on Elm Street" revives the genre. Jump to the late 90s, when "Scream" brings humor and TV stars into the mix. Although some criticize the genre as misogynistic (Siskel and Ebert), most of the talking heads celebrate the films: as long as there are teenagers, there will be slasher films, says one.
This documentary is contained on the bonus disc of the original "Texas Chainsaw Massacre ultimate edition released in 2006. the documentary was originally produced in 2000, though i think it has some material added since then.either way, it's a pretty good documentary, with revealing interviews with many of the original cast and crew. it reveals a few surprising things about the production itself, but also about the aftermath. i was surprised at how much money the movie made.keep in mind this is 1974. as far as documentaries go, this is one of the better ones. many documentaries merely repeat things everybody already knows, but this one has is refreshing, and actually shows new insight into the movie.
Never Sleep Again: The Elm Street Legacy is a 2010 American four-hour direct-to-DVD documentary film that chronicles the entire Nightmare on Elm Street franchise and the rise of New Line Cinema. Written by Thommy Hutson, produced by Daniel Farrands and Thommy Hutson, and co-directed by Daniel Farrands and Andrew Kasch. Heather Langenkamp, who portrayed Nancy Thompson in three of the Nightmare films, served as the project's executive producer and narrator
A documentary that follows the evolution of the 'Halloween' movies over the past twenty-five years. It examines why the films are so popular and revisits many of the original locations used in the films - seeing the effects on the local community. For the first time, cast, crew, critics and fans join together in the ultimate 'Halloween' retrospective.
A History of Horror (also known as A History of Horror with Mark Gatiss) is a 2010 three-part documentary series made for the BBC by British writer and actor Mark Gatiss. It is a personal exploration of the history of horror film, inspired by Gatiss' lifelong enthusiasm for the genre.
The documentary was directed by John Das (episodes one and three) and Rachel Jardine (episode two); series consultant was actor and film historian Jonathan Rigby. The series was initially broadcast in the United Kingdom on BBC Four in October 2010. Each of the three episodes lasted 60 minutes.
FRANKENSTEIN GOES TO HOLLYWOOD:
In the first episode, Gatiss explores the Golden Age of Hollywood horror, or the Universal era, the 1920s to 1940s. He looks at the silent film The Phantom of the Opera (1925), starring Lon Chaney, the first great horror talkie Dracula (1931), starring Béla Lugosi, and the later release of James Whale's Frankenstein (1931), featuring Boris Karloff. He focuses in particular on Son of Frankenstein (1939), a personal favourite which he feels has been neglected
HOME COUNTIES HORROR:
The second episode focuses on the British Hammer Films of the 1950s and 1960s, which inspired Gatiss' childhood passion for horror. He meets key figures from Hammer to discuss the series of Frankenstein and Dracula films which made stars of Christopher Lee and Peter Cushing, both of whom Gatiss argues are underrated talents. He also identifies a short-lived sub-genre of British "folk horror", drawing on paganism and folklore, including Witchfinder General (1968), his personal favourite Blood on Satan's Claw (1970), and The Wicker Man (1973).
This episode includes interviews with writer-producer Anthony Hinds, writer-director Jimmy Sangster, director Roy Ward Baker, Barbara Steele, star of Black Sunday (1960), director-producer Roger Corman, director Piers Haggard, John Carpenter again, and actors Barbara Shelley and David Warner. Also included are archive interviews with Peter Cushing and Vincent Price.
THE AMERICAN SCREAM:
In the third and final episode, Gatiss looks at American horror movies of the late 1960s and 1970s, including Night Of The Living Dead (1968) and The Texas Chain Saw Massacre (1974). As well as the emergence of slasher films, Gatiss examines the other great horror film trend of the era, the theme of Satanism and demonic possession in films such as Rosemary's Baby (1968), The Exorcist (1973) and The Omen (1976).
This episode includes interviews with writer David Seltzer and directors Tobe Hooper and George A. Romero, who also made Martin (1978), another personal favourite which Gatiss considers neglected. Gatiss meets David Warner, Barbara Steele and John Carpenter again, accompanying Carpenter on a tour of the set locations for Halloween (1978). He also visits the Bates Motel, the set location for Alfred Hitchcock's Psycho (1960).
Ever since the Middle Ages, belief in blood-sucking vampires has existed in various countries of the world. Host Vincent Price explores the basis in fact for the legend of the Prince of Blood. Witness the bizarre rituals to ward off vampires that are practiced today in the villages of Transylvania. What role has religion and the church played in the evolution of vampires throughout western civilization? Discover the truth about Count Dracula's origins and trace Hollywood's portrayals of Dracula from the original Nosferatu through Bela Lugosi's definitive portrayal. The truth is stranger than fiction, and DRACULA - THE GREAT UNDEAD is all true!.