There's a certain genius to Brain Damage (1989). Thousands of horror movies are made which simply copy the last popular one, doing the bare minimum to get a (in the past) theatrical release or (more recently) a DVD distributor. These movies feel like somebody is filling out a checklist. "Creative" kills, check. Some nudity, okay. Jump scares, gore shots, blah blah blah. Brain Damage is no less puerile, in a sense, but it is knowingly puerile. It isn't copying somebody else's bad ideas, it has a sackful of its own (and some good ones, to boot.) Brain Damage tells the
Results tagged “Horror”
Cheerfully sleazy exploitation movie about a singing brain parasite is charmingly repellent.
Garagehouse Pictures digs up one of the goofiest ‒ and yet, strangely intriguing ‒ lost regional horror comedies ever.
Picture, if you can, what might have happened had a very bored Charles Addams sat down for a few hours one sunny afternoon to jot down the general outline for a lighthearted episode of The Twilight Zone. But rather than seeing his little side project achieve fruition via its intended nationally broadcast television medium, the story wound up in the hands of amateur filmmakers instead. Expanding his original story into something that would still pass for "feature-length" by cinematic standards in 1962, an indie filmmaker in Philadelphia subsequently gathered together a few friends, even fewer dollars, and said "What the
The Warner Archive Collection shows off two showcases of animators Ray Harryhausen and Jim Danforth in these splendid catalog releases.
Decades before civilized man would figure out new and inventive ways to suck the life out of that good ol' fashioned movie magic previous generations grew up looking up to, a species of gifted animators roamed the great halls of special effects studios near and far. Out of all the long-leggedy beasties, none were as revered and respected as the Hausenusharrius Rayus ‒ better known as Ray Harryhausen to us laymen ‒ whose magnificence and might effectively crowned him King of the Stop-Motion Animators. And it is with one of his tales that we begin this peek at two recent
The Warner Archive Collection brings us two remarkably different ‒ but nevertheless essential ‒ offerings from the inimitable Audrey Hepburn.
In case you missed it, 2017 is already a great year for Audrey Hepburn fans. Twilight Time recently unveiled a gorgeous transfer of Stanley Donen's Two for the Road, wherein cinema's most beloved beauty co-starred with Albert Finney. And now the Warner Archive Collection ‒ who have been unveiling more classic catalogue releases on Blu-ray for film lovers to cherish ‒ presents us with two more for the road in what I can only call an "Audrey Two-fer" (yes, Little Shop of Horrors fans, that may have been a reference). The first title being perhaps the most popular of the
Cursed convents? Possessed prioresses? Severin Films is having nun of that now!
The various subgenres of exploitation filmmaking are both wild and varied, ranging from bizarre tales featuring Bruce Lee wannabes to brutal barrages upon the senses having to do with the Nazis. In addition to Brucesploitation and Nazisploitation, there's also sexploitation, blaxploitation, 'Namsploitation, and even sharksploitation to consider. And they're all a lot more popular than you probably think, too. But hidden away in the darkest recesses of cinema, there's yet another form of exploitation film that could effectively eradicate any remaining scruples of the morbidly inclined. I refer to, of course, the weird and wacky world of Nunsploitation. If you
Some nutty gangsters thought they pulled off the crime of the century...but it’s going to cost them an arm and a leg!
Press release: After a daring jewel heist, a trio of thieves hold up in an old dark house inhabited by a motley bunch of restless ghosts that only want to dispatch their new guests in the most horrible manner possible - that is if they can get to them before the spirits of an unruly group of dismembered corpses from the nearby cemetery! Shot in Philadelphia in 1962, The Dismembered claws its way out of the grave of cinematic obscurity to debut on home video for the very first time courtesy of a new HD Blu-ray from Garagehouse Pictures. The
"I'm going to kill you. In fact, you're already dead" - Rick, spoiling the Season Eight finale.
In which Shawn and Kim react to the Season 7 finale. Shawn: A season full of ups and downs finally came to an end this week and it kinda ended back in the middle. A success if you consider where we were a few weeks ago. The problem with writing 16 times a season is that we've usually covered most of the themes. This finale doesn't leave the Internet aflame with theories about what just happened or what's about to happen. In many ways, I prefer the natural break to end the season but I also see this as the
The best B horror movie Universal Studios never made receives a beautiful makeover from the UCLA Film & Television Archive and The Film Detective.
Sometimes, being in the right place at the right time is all it takes. And when it comes to fairly forgotten B horror pictures from Poverty Row during the 1930s, Frank R. Strayer's underrated gem The Vampire Bat essentially flew down from the skies and into motion picture history just for its impeccable timing alone. Filmed at night on leftover sets from earlier big studio productions and rounding up a fine cast from various other recent horror hits ‒ independent or otherwise ‒ this 1933 chiller from mystery/thriller writer Edward T. Lowe Jr. has all of the heart, humor, and
Canada's strange 'Exorcist' rip-off receives a beautiful restoration thanks to Severin Films.
Apparently, nary a nation capable of manufacturing a motion picture during the 1970s was immune to the phenomenal success of William Friedkin's The Exorcist. Sadly, the otherwise reputable country of Canada was among the list of offenders in the post-Exorcist wave of rip-off cinema that followed once the 1973 blockbuster traveled abroad, exorcising their right to cash-in on the horror subgenre of demonic possession with a tale of their own. Unfortunately, the resulting motion picture, Cathy's Curse lacked most of the enjoyable qualities better-known, less-reputable knock-offs from other countries possessed. To imply Cathy's Curse is slow would be something of
Lucio Fulci's last credited feature feels more like a dry run for Dario Argento's career slump. And is just as appealing.
Within the annals of Italian horror films, there are perhaps no two better-known names than those of Lucio Fulci and Dario Argento. Even today, long after the film industry which had shot both filmmakers to fame (or infamy, if you prefer) had collapsed, the two artists are still held in high regard ‒ despite the inconvenient truths that one of them is dead and the other hasn't made a decent picture since 1990 (sorry, Trauma lovers, but Two Evil Eyes is where I officially draw the line). During their heyday, it was easy to distinguish one director's work from the
"Aside from the season opener, this was the best episode this season." - Kim
In which Kim and Shawn find reasons to root for people again. Kim: So, here we are with one episode to go this season. Here's a shocking statement: aside from the season opener, this was the best episode this season. Do you know why? We saw many of our core group two episodes in a row. We furthered the "war with Negan" storyline, adding at least the guns from Oceanside, while not forgetting about Sasha, Rosita, and Eugene from last week. We got to see Daryl and Jesus in the same frame. We followed up with Maggie and that dick
"Wouldn't watch that episode again. Not even if you paid me." - Kim
In which Shawn and Kim wonder if anything but a bloodbath save this season now? Shawn: I'm not going to have many complaints when they finally bring back my Maggie, Jesus, and Daryl to start the episode and then end with an actually interesting ending and in-between don't torture me with Carl or Father Gabriel. I mean, that's quite a formula for success. It seemed like a shorter episode, which is even better compared to the previous couple. I had a few thoughts along the way. Catching up with The Hilltoppers is not my ideal setting for a whole episode.
"Dumbing down the show just makes it dumb." - Shawn
In which a bad cantaloupe does some irreparable damage. Shawn: As low as the show has gotten the past couple episodes, this was a tick up. A tick because there still was no Negan, Daryl, or Jesus again. I was left feeling a little better about where this episode pointed us. A little. A few random thoughts to try to tie together my feelings as we roll towards the finale. One bad cantaloupe can spoil your day. I've had nights ruined by bad peanuts but I have always had a fear of bad cantaloupe. I wondered why everyone else wasn't
Severin Films presents one of the best bad movies ever, fully restored from original elements discovered ‒ naturally ‒ in the remains of a drive-in.
Had your average drive-in movie theater screen been constructed with a curtain, then Stu Segall's Drive-In Massacre would have definitely called for the pulling of such. That is not to say Drive-In Massacre is a "bad" film: truth be told, it's actually quite awful ‒ though, in this particular instance, its sheer incompetence is actually the film's saving grace! Rather, the jaw-droppingly unbelievable 1976 independent no-budget wonder from Southern California was made on little more than a whim and a prayer once it became all too clear the once-popular form of outdoor motion picture entertainment was coming to an unceremonious
"I don’t have any more points to make, because I’m very underwhelmed by this show these days." - Kim
In which Kim and Shawn say no to "Say Yes". Kim: Another week, another character-focused episode that does next to nothing to further the story line. Allow me to share with you what I learned during last night’s episode. 1.) Rick and Michonne are super horny most of the time. Also, chili-mac comes as an RTE. Who knew? 2.) The Garbage Pail Kids really dislike speaking in complete sentences. I’m sorry, but this makes it impossible for me to feel anything but contempt for these folks. Or should I say, “Contempt. No likey.” 3.) Also, they don’t know how to
From Brazilian horrors to 3D European westerns, this assortment of weird and unusual films knows its target audiences quite well.
While the nations of the world may not agree on many points, at least our respective histories of filmmaking have proven there is at least one thing we can see eye to eye on: exploitation. Here, we bridge the gaps between Brazilian horrors and American blaxploitation, and from Italian sex flicks to Spanish westerns. It's a thoroughly jaw-dropping assortment of odds and ends, replete with nudity, sex, violence, and many other magnificent marketing gimmicks, right down to the lost art of Stereoscopic 3D. At Midnight I'll Take Your Soul (1964) / This Night, I'll Possess Your Corpse (1967) [2017, Synapse
"My wonder from week to week now is are we going to see anything we care about?" - Kim
In which Shawn and Kim have the same thoughts about the episode where nothing happened. And they aren't positive. Shawn: Ridiculous. I guess I'd be on "Easy Street" if that was all I said about this episode. But what's an interrogation without a little torture. I sat through this and so I'll torture you too. Welcome to The Sanctuary - here's how it works around here. Oh, did we cover that already in your previous orientation? Well, did we tell you there's a number system? We did? Oh. Did we mention there's a barber? That's interesting, huh? And pickles. Really,
"I feel like I have a bigger picture of where this is all going now and there's a certain satisfaction of watching the pieces fall into place like an old familiar movie." - Shawn
In which Shawn and Kim have some pretty separate takes on the latest twist in the story. Shawn: If I felt like portions of the first half of the season were just long form advertisements for a new Walking Dead video game, then this week was a free playable demo that should be available for X-Box and PlayStation this week. Don't take that as too much of a criticism though because even though I will have some things to say and observations about some little things, I really didn't mind this episode at all. I feel like I have a
"Overall, I think this episode was much better than the first half of the season as a whole." - Kim
In which Rick is Rick again and zombies are dying by the handful. Kim: The Walking Dead has returned and here we are, all revved up and ready to tell you what we thought of the second-half premiere. I have two thoughts to start with and we’ll just go from there. 1) This was everything I wanted it to be.2) This was everything I didn’t want it to be. Now, I know you’re wondering how the heck I could possibly have such bipolar feelings regarding a show. I mean, you either love it or you hate it, right? Wrong. I
Severin Films brings us the seldom-seen supernatural thriller which seems to have inspired others more than itself.
While he is perhaps best known to cult horror and sci-fi audiences today as the guy who was in Michelangelo Antonioni's Blowup, Dario Argento's Deep Red, and Roger Vadim's Barbarella, the career of one-time Alfred the Great star David Hemmings was much more extensive than that. Off-screen, the late English actor/filmmaker was the co-founder of the Hemdale Film Corporation ‒ the very busy production company responsible for several iconic films from the '80s, including several Oliver Stone hits (Platoon and Salvador), Hoosiers, The Last Emperor, and even still-mimicked trendsetters such as James Cameron's The Terminator and Dan O'Bannon's zombie horror