Plot Synopsis by Cavett Binion
The second of two horror films shot in a single production term and bearing the name of pop-art icon Andy Warhol (whose participation pretty much ended with the use of his name), this film is slightly superior to its higher-profile predecessor, Andy Warhol’s Frankenstein. Direction is credited to Warhol factory filmmaker Paul Morrissey, though there still exists a very vocal camp who insist that the real credit should go to Italian director Antonio Margheriti. Euro-horror leading man Udo Kier assays the title role, playing the count as a pale, anemic-looking blood junkie with an overwrought accent. Finding the supply of “weer-gin” blood diminishing rapidly in Romania, Dracula is forced to seek a fix in a predominantly Catholic Italian province, where he is certain a few virgins still exist. He travels with his assistant (Arno Juerging) and his coffin-sealed sister to the decrepit, crumbling mansion of the financially-strapped Marquis DiFore (a tour-de-force performance from Bicycle Thief director Vittorio de Sica) who welcomes the affluent Count with open arms, hoping to marry off any one of his four daughters. Dracula clearly has other intentions for the girls… but his plans are rudely thwarted by beefy, socialist handyman Mario (Joe Dallesandro), who has been dutifully divesting the young maidens of their — ahem — virtue, thus tainting their blood and making it unsafe for vampiric consumption. Very unsafe, it turns out — as we are treated to protracted scenes of the death-pale Count vomiting up gallons of blood. Rated “X” at the time of its release (and subsequently re-rated “R” ten years later), this outrageous catalogue of depravity features wildly campy performances, inane dialogue and an outrageous climax. Continue reading
Description: God disembowels himself with a straight razor. The spirit-like Mother Earth emerges, venturing into a bleak, barren landscape. Twitching and cowering, the Son Of Earth is set upon by faceless cannibals. Continue reading
Kill List – review
If Ricky Gervais or Mike Leigh made a horror film, it might look something like this unsettlingly strange offering from British director Ben Wheatley
The title, and the fact that this was popularly acclaimed at London’s recent FrightFest event, will tip you off about what kind of film it is. Or will it? Even now, I’m unsure how or whether to describe it generically. It’s partly an occult chiller with shades of Wicker Man and Blair Witch – and be warned right now: there are some ultra-violent and infra-retch scenes that have had people making for the exits. I wondered if director Ben Wheatley considered putting a death metal version of Maxwell’s Silver Hammer over the closing credits. Continue reading
The Evil Queen returns to possess an American girl who she orders to go out and claim victims to sate her blood lust.
13 Ghosts (1960)
Reclusive Dr. Zorba has died and left his eerie mansion to his penniless nephew Cyrus Zorba and his family. Along with the house, the Zorba family has also inherited the occultist’s collection of 12 ghosts, who can only be seen through
Zorba’s special goggles. The family members, their lives at risk upon the discovery that Dr. Zorba’s fortune lies hidden somewhere in the house, receive aid from unexpected quarters as the threat to their lives is revealed.
The movie was filmed in “Illusion-O” and a pair of special glasses where needed to see the ghosts. This resulted in a number of sources incorrectly stating that the film was originally shown in 3D. The “ghost viewers” contained a red filter and a blue filter but unlike 3D viewers, both eyes would look through the same color filter. One color would cause the ghostly images to intensify while the other color caused the images to fade. Continue reading
In old Vienna, Count Seebruck (Thomas Gomez) is the impresario for the Royal Theatre. His biggest headache is his soprano diva, Jarmila (Jane Farrar). That’s why he’s more than willing to listen his aide Carl’s nephew, Franz (Turhan Bey), and Franz’s fiance, soprano Angela (Susanna Foster). Her voice sounds remarkably like the Royal Theatre long-lost star, Marcellina (June Vincent), who mysteriously disappeared ten years before.
Her disappearance is no mystery to Dr. Friedrich Hohner (Boris Karloff), the theatre’s physician. Spurned by former lover Marcellina, Dr. Hohner remembers back (in a flashback) to the night she finally rejected him, as well as her strangulation death — by his own hands. When Dr. Hohner hears Angela sing, he at first thinks it’s Marcellina, come back to haunt him again. However, when he sees Angela, he immediately schemes to silence her singing voice. Will Angela sing for the King’s (Scotty Beckett) command performance of The Magic Voice? Well…. Continue reading
‘Spider Baby’ is a wonderfully inventive and original b-grade movie full of mad fun. Writer/director Jack Hill began as a Roger Corman protege, co-writing ‘The Terror’ and also working on Coppola’s underrated ‘Dementia 13′, before striking out on his own with ‘Spider Baby’, a movie which became embroiled in a legal dispute and took four years to get released. Hill went on to direct Pam Grier movies and the trash classic ‘Switchblade Sisters’ in the Seventies, but it’s arguable whether he ever surpassed this cult favourite. Horror legend Lon Chaney, Jr stars with a very thoughtful performance(!), and ‘Dementia 13′s Mary Mitchel and Karl Schanzer, and ‘The House On Haunted Hill’s Carol Ohmart are among the supporting cast, but the real stars are newcomers Jill Banner as the bewitching Virginia, and the remarkable Sid Haig as the unforgettable Ralph. Banner went on to appear in the dazzling ‘The President’s Analyst’ before her untimely death, while Haig’s ongoing career included several movies with Jack Hill, including blaxsploitation classic ‘Coffy’, and Lucas’ ‘THX 1138′. ‘Spider Baby’ is a brilliant example of what can be achieved on a small budget with some originality and willingness to take risks. Continue reading