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THE NIGHT OF THE WEREWOLF opens in 16th century Hungary, with the executions of the demonic Countess Elisabeth Bathory (Julia Saly) and her cohorts, including Waldemar Daninsky (Paul Naschy), for their hideous crimes. Not too surprisingly, the Countess lays a curse upon the heads of all involved, swearing vengeance from beyond the grave.

400 years later, the graves of the Countess and company are disturbed, the Countess is resurrected, and horror ensues.

This is one of the later entries in Mr. Naschy's Waldemar Daninsky film series. It draws from the elements in his earlier movie, WALPURGIS NIGHT (aka: WEREWOLF VS. THE VAMPIRE WOMAN). It is almost a remake of this earlier effort, with the same basic plot. The biggest difference is that in this movie, the Countess has more to do and speaks some actual dialogue. Also, her "blood shower" scene is a real grabber!

Plus, the final showdown is far superior to that of its predecessor.

Special mention must go to Sylvia Aguilar for her performance as the psychopathically eeevil Erica. She's as cold as a frozen cadaver!

Recommended for fans of Mr. Naschy, who not only stars in this, but wrote and directed it as well...

Two women venture into the French countryside, in search of the grave of an ancient, wicked Countess (Patty Shepard). They encounter a man (Paul Naschy) along the way who offers to help them in their quest. They wind up staying at his villa, in spite of strange goings-on, including the antics of his dangerously insane sister.

THE WEREWOLF VS. THE VAMPIRE WOMAN is another vehicle allowing Mr. Naschy to don the fur and fangs, having already been well established as Spain's most well-known lychanthrope by the time of this movie's release.

The opening scene in the morgue is the most exciting scene of the entire film. After that, it settles into a more talky period, with only the nutty sister to liven things up. It picks up somewhat when they unseal the Countess' tomb. Once this witch / vampire gets going, the movie becomes a bit more interesting.

In addition, it benefits from its macabre, foreboding atmosphere, and there are also some ruins for the characters to run around in.

The long-awaited final conflict is short and sweet, with minimal action. Still, it's worth a late-night watch...

In BUTCHER, BAKER, NIGHTMARE MAKER, 3 year old Billy Lynch is raised by his Aunt Cheryl (Susan Tyrrell), after an incredible series of events leads to the death of his parents. On his 17th birthday, Billy (Jimmy McNichol), witnesses something horrific. Of course, we already suspected that something wasn't quite right about Aunt Cheryl, and this confirms it.

When the police get involved, Billy finds himself under the scrutiny of the world's tallest, most hot-headed cop (Bo Svenson), who makes it his mission to harrass and intimidate Billy until he confesses.

The rest is about Cheryl's increasingly unhinged behavior.

This is one weird movie. Billy is the very definition of oblivious for much of the film, in spite of his Aunt's snowballing bat-$hittery. Svenson's character seethes with unbridled, and, frankly, unwarranted menace, making a point of targeting Billy, and his allegedly "deviant" behavior.

However, the main draw is Ms. Tyrrell's performance, which shifts wildly from being sickeningly sweet, to suffocating, to utterly bananas! Sometimes, all in the same scene. She is astonishing indeed!

If you've never seen this fine film, then you owe it to yourself to find it and watch it pronto!...

In A DOG CALLED... VENGEANCE, Jason Miller stars as Aristides Ungria, an inmate in a brutal prison. When a tragic mishap gives him a chance for escape, he makes a run for it. However, this isn't just any escape. Ungria has information that the military desperately wants, and will do anything to attain. The canine of the title is a tracker with a ruthless owner. Circumstances unfold that lead to Ungria in a life or death race for his life, up against a dog that will not stop until it has him.

Ungria has quite an adventure along the way, being hunted by man and beast. The dog is relentless!

This is a surprisingly action-packed political thriller with some horror elements, due to the uncanny pursuit by a certain German Shepherd. Mr. Miller plays arguably his best role since he played Father Karras in THE EXORCIST. He's very good here, right up to his final dash to freedom!

A forgotten film that deserves rediscovery...

THE MUMMY AND THE CURSE OF THE JACKALS opens with ultra-groovy mummy music, before we're introduced to Princess Akana (Marliza Pons), perfectly preserved in her 4800-year-old, glass-covered sarcophagus. The man who discovered her tomb has her in his living room, along with a mummy, and has himself locked inside with them during a full moon. He wants to test the curse that's on the side of Akana's box.

How could this not be a good idea?

This movie features a murderous, not-very-threatening Jackal Man on a rampage. This production is... extremely inexpensive. This is especially evident during flashback sequences taking place in "ancient Egypt", complete with more groov-tastic music.

If you're waiting for Akana to wake up, that's around the 37 minute mark. As for the mummy, he finally sits up at around 46 minutes. He looks a lot like someone who survived a severe car accident, and got bandaged up, only to catch fire at the hospital. Thankfully, he runs amok as well.

This all leads to the Jackal Man and the mummy causing minor havoc in downtown Las Vegas. Soon, the nonsensical ending occurs.

Side Note: John Carradine gets nearly top billing in this movie, but his appearance is nothing more than a short cameo (about 8 minutes total) near the end.

Watch this one only if you're under the influence, or if you enjoy mega-schlock...

NOSFERATU THE VAMPYRE is a superb remake of F. W. Murnau's 1922 silent original. Director Werner Herzog updates it by taking advantage of changes in copyright, allowing him to restore the correct names to the characters, like in the 1931 version of DRACULA.

Klaus Kinski captures the rodent-like, reptilian look and feel of Count Dracula perfectly, much like Max Schreck did as Orlock in the original. Mr. Kinski plays the role much more sympathetically, making The Count somewhat pitiable, without lessening his fiendishness. After all, we cannot forget what he did to all of those sailors, or to the townsfolk he's decimated.

Isabelle Adjani's Lucy Harker is Dracula's foil, the light to his darkness. Ms. Adjani's performance is at once understated and astonishing, as she drifts through the wasteland that remains of her city. Lucy is the avenging angel who must destroy Dracula with what he fears most.

Mr. Herzog fills his film with solemn, morose imagery, and rats. Lots and lots of rats!

In the end, this is an anti-love story between two star-crossed "lovers" who cannot resist their fate. Drawn together as iron to magnet, one by bloodlust, the other by duty...

DAWN OF THE MUMMY starts out in ancient Egypt, and right away we're taken into a tomb, where the invocation of a curse lets us know that the titular monster will arise in the future to wreak havoc. 3000 years later, the tomb is uncovered by thieves, and the curse is enacted. Hideous death ensues.

Meanwhile, a group of supermodels and photographers arrive in Egypt from NYC. Ultimate terror begins.

Right from the opening of this lemon, we know we're in for a treat. The supermodels add the perfect ingredients for grade-A schlock. Every character is an idiot, especially the blonde-haired, cackling leader of the thieves. Where the hell did they find this guy? He's a riot!

The dialogue and actions are like nothing that any real human being would ever actually say or do, not even in the 1980s! The director must have instructed them all to be as vaccuous and irritating as possible. There's also an old hag that pops in and out of the story. She's in a whole other dimension of hilarity!

Just wait until you see the undead army! A bunch of guys with mudpack on their faces!

You'll be more than ready for the mummy to start killing these people! He and his "army" do get a few here and there, up until the big finale, which is sort of like a ham-fisted tribute to Lucio Fulci's ZOMBIE. This is also when we get to see the supermodels turn into explosives experts!

WARNING: You'll want to be at least 10 sheets to the wind before watching this movie! Anything less could result in permanent harm...

THE MUMMY'S REVENGE opens in ancient Egypt, where the psychopathic sadist, and ruler, Amenhotep (Paul Naschy), spends his days torturing and killing beautiful women. He is helped in this by his concubine, Amarna (Rina Ottolina). Unfortunately for them, Amanhotep's nemesis has a cunning plan for their removal.

Many centuries later, archaeologists uncover Amenhotep's tomb, unleashing his diabolical curse upon the modern world.

Fans of Mr. Naschy should love this movie. He gets to play one of his best eeevil roles. Two actually, since he's both the mummy and the bizarre Assad Bey. There's lots of great killer mummy action, and some of it's pretty gory. The body count is surprisingly high.

Another Naschy classic with a fiery finale...

THE MUMMY LIVES is -very loosely- based on a story by Edgar Allan Poe. It opens with an interminably long lesson in astrology that really has nothing to do with the actual movie. Next, we join an archaeological dig in Egypt, where an ancient tomb is uncovered.

Meanwhile, in Cairo, we are introduced to Sandra Barnes (Leslie Hardy). Annoying voiveover narration tells us her every thought. When she falls asleep, we're taken into her dreams of Ancient Egypt, where we're subjected to Tony Curtis as a Pharaoh (!!).

Meanwhile, back at the tomb, imbeciles -including a British zillionaire who says "By Jove!" a lot- break in, and the horror begins. Sort of.

If you've seen any of the mummy movies starting from the original 1932 classic, then you'll pretty much know the entire plot of this one from the beginning:

Forbidden love leads to death and a curse, which comes to fruition in modern times.

The only thing added to this basic outline is absurdity, bad acting, and ultra-melodramatic dialogue. Luckily for us, Mr. Curtis' character gets a central role, and gets to pontificate and spout tons of mumbo jumbo. Sometimes, he even slips into his glorious "Cary Grant" voice from SOME LIKE IT HOT! His death scene is beyond hilarious!

Extra Points For: The bonkers voice of the angry Egyptian deity!

A true gut-buster from start to finish! Prepare the intoxicants, gather your fellow cheeeze-lovers, and get ready to laugh yourself sick!...

Director M. Night Shyamalan's GLASS picks up several years after the events of UNBREAKABLE, and a few years after those in SPLIT. David Dunn (Bruce Willis) has fully embraced his role as the city defender, and Elijah Price (Samuel L. Jackson) is a shattered man. When circumstances lead to Dunn and Kevin "The Horde" Crumb (James McAvoy) being held in the same institution as Price, the real fun begins.

All three principal characters are under scrutiny by Dr. Staple (Sarah Paulson), who tells them that she can releave them of their "delusions". Of course, things aren't exactly as they appear to be, and something's got to give. There are some great twists along the way, and let's just say that all hell breaks loose! This is a superb ending for Mr. Shyamalan's trilogy, and he's definitely saved the best for last.

A special treat for comic book fans, and those who wish that super heroes really existed...

In Director M. Night Shyamalan's UNBREAKABLE, David Dunn (Bruce Willis) survives a catastrophic event. While it's considered to be a miracle, Dunn doesn't seem all that moved by it. We soon learn that his homelife is not in a good place, and that he and his wife (Robin Wright) have drifted far apart emotionally.

Enter Samuel L. Jackson as Elijah Price, a man whom we know from the opening has a physical disability that makes him extremely vulnerable. When Price approaches Dunn with an insane-sounding idea about how he survived the disaster, Dunn dismisses it.

At first.

On its surface, this is another of the Director's amazing thrillers with a jaw-dropping twist, and, while it is that, it's also a story about potential, and direction in life. Have you ever wondered if you've "missed your calling"? Or, even if it's more subconscious, have you ever had a deep feeling of unfocused sadness or listlessness, like something is terribly wrong, but you just can't nail it down?

If so, then you'll get a lot more out of this film. Dunn is grinding to a slow halt in his life. His work, his marriage, as well as his relationship with his son are all freezing in place. When Price arrives, his crazy take on things is a lifeline. Will Dunn take it?

Of course, this brings us back to that "big twist", which will indeed suck the air out of your lungs. It's perfect, and leads us into the potential for both of these characters in their next movie GLASS. Mr. Willis has never played a more sullen, defeated character, and Mr. Jackson is quite surprising here as well. Together, they play the opposite ends of a spectrum. Two sides of the same coin.

Another classic from Mr. Shyamalan...

THE CALL is a fast-paced, edge-of-your-seat thriller from start to finish. Seriously, this movie never lets up for more than a minute or two, before jangling our nerves again.

When 911 Operator, Jordan Turner (Halle Berry) receives a desperate call from a young girl in danger, she has no idea just how bad the situation is about to become. Six months later, still recovering from the prior incident, Jordan finds herself thrust into another harrowing, eerily similar, ordeal.

Director Brad Anderson keeps things tense throughout, and Ms. Berry gets a chance to really show off her ability to make Jordan both compassionate, and surprisingly formidable. After all, she is up against a ruthless psychopath!

Abigail Breslin is also quite good as young Casey, an abductee whom Jordan must help. To do this, she must overcome her own fear and self-doubt.

A fantastic crime-drama, loaded with thrills, suspense, and a definite SILENCE OF THE LAMBS vibe. The finale is unforgettable!...

Director Teruo Ishii's HORRORS OF MALFORMED MEN opens in a mental institution in 1925, where Hitomi (Teruo Yoshida) tries to remember the events that landed him there. This leads him on a bizarre journey of discovery, including his having to impersonate a dead man. There are some intriguing and humorous scenes along the way, until the title comes into play.

Admittedly, this is a weird movie. The first half is straightforward enough, though it has its odd moments. However, once we're taken to the island of Hitomi's father, the real strangeness begins. Describing it just wouldn't do it justice. It simply must be witnessed. Personally, the closest I can get is that it's sort of what you would have if THE ISLAND OF DR. MOREAU had been directed by Jodorowsky. If you enjoy mad science, female nudity, mutants, and / or unsavory situations, then you'll probably love this.

Things about this movie you won't soon forget:

#1- The crab scene!

#2- The secret chair!

#3- That damned lullaby!

#4- The fireworks display at the end!

A perverse, twisted nightmare that everyone should see at least once...

In DESTROYER, a movie is being made in an abandoned prison, where a riot had killed dozens of guards and inmates a few months prior. Said riot had started after the execution of enormous, musclebound serial murderer, Ivan Moser (Lyle Alzado). Now, as the film crew gets rolling, the real, hideous deaths begin.

Has Moser returned from his gargantuan grave?

This is one of those cheap, cheeezey movies that would have played well on the drive-in circuit of its era. It takes a while for this one to get going, and even then it sort of drags along like a tranquilized turtle. By the time we actually get to see Mr. Alzado's character, it's half over. This is a shame, since he's the only dynamic aspect about this entire project!

On a positive note, Anthony Perkins is rather humorous as the Director of the ill-fated movie being made.

Extra Points For: The aforementioned Mr. Alzado, whose cackling maniac character almost saves this film from its own dullness. Almost...

Director Abel Ferrara's THE ADDICTION is true to its title, treating the bloodlust experienced by Kathy (Lily Taylor), like an addiction to heroin or any other compulsive, self-destructive behavior. However, in Kathy's case, once her intitial sickness has passed, she becomes more empowered by her new thirst, rather than weakened. Her personality shifts from soft-spoken and introverted to confident and aggressive.

Mr. Farrara rightly uses black and white filming, setting light and dark in stark contrast. Anything but just another vampire film, this movie delves into the very nature of human evil, and our propensity for it. It also slips in a sliver of possible redemption. Ms. Taylor is mesmerizing in unquestionably, the role of her career. Christopher Walken makes the best of his cameo, making a lasting impression. Edie Falco is also good as Kathy's concerned friend, Jean.

A unique, sometimes shocking film with an unexpected, $hit-hits-the-fan finale...

Note: This review is for the 3 hour and 20 minute "Ultimate Cabal Cut" of NIGHTBREED.

Author / Director Clive Barker waited years for his full film to be available. Butchered by meddling studio types, the truncated version was incomplete and unsatisfactory. Thankfully, after more than 20 years, it was put back together, using some inferior prints and subtitles to make it as complete as possible.

Mr. Barker's movie is an adult fairy tale, filled with monsters, fascistic cops, and murder. Most of the killings are done by a bizarre, mask-wearing serial killer. In the midst of all this is a love story. Helping to keep it all very ethereal is a magnificent score by none other than Danny Elfman.

As strange as it may sound, it works. Is there some cheeeze? Sure, but it's excusable, due to the nature of the film. It's far easier to imagine things in a horror-fantasy book than it is to present them on the screen. Some of the "Freaks" from Mr. Barker's CABAL are simply impossible to capture on film. Making them practically, out of latex, is always risky. With a few exceptions, the creatures are well-realized.

The central human characters, Boone and Lori (Craig Sheffer and Anne Bobby), are convincing as star-crossed lovers, caught up in supernatural circumstances.

Everything culminates in an all-out, literally explosive, war at the Midian Cemetery, where it's the subterranean monsters vs. The gun-toting hillbillies.

Extra Points For: David Cronenberg as the icy Dr. Decker, and Charles Haid as the sadistic Captain Eigerman. These guys are scarier than the monsters!

Also, watch for Doug "Pinhead" Bradley as Lylesberg...

Due to budgetary constraints, the state has decided to re-open an old prison instead of the shiny new one that had been planned. They've also called up Ethan Sharpe (Lane Smith), who used to be a guard, to be the new Warden. Sharpe still has bad dreams from those early days, and some of his nightmares are about to come true.

PRISON is a slow-building movie for the first 30 minutes or so. Then, once the Warden orders a wall to be breached, uncovering the old death house, the ghoulish terror begins. Some sort of presence / energy is unleashed, causing havoc and grisly death. This movie is helped greatly by its use of a real prison instead of a soundstage. It looks delapidated, and doesn't have that phony feel to it. There are some very good practical gore effects in this movie as well.

Mr. Smith is memorable in his harda$$ role, as is Viggo Mortensen as the mysterious Burke.

An above-average supernatural revenge film with an "electrifying" finale...

THE FRENCH SEX MURDERS opens with a fatal chase up the Eiffel Tower, then switches to a jewelry heist, leading to a murder in a popular brothel. Enter Inspector Fontaine (Robert Sacchi doing his best Humphrey Bogart impression), to investigate the case.

It seems obvious who committed the crime, but is it?

The fun really begins after the prime suspect is caught, tried, and escapes before he can be executed. Then, fate intervenes, leaving the man dead, and it looks like it's over.

But wait!

Somehow, someone starts killing off all those involved in the case. Has the killer returned from the grave?

This is a wonderful horror-thriller / giallo, with the usual sort of cat-and-mouse mystery and gore, including the infamous "eyeball" scene. There's also some simulated intercourse to "spice things up" 1970s style.

The great Anita Ekberg plays the brothel's Madame, and Rosalba Neri gets to do what she does best as a prostitute. Howard Vernon shows up in a role as a rather mad scientist, and Peter Martell makes an abbreviated appearance as the hot-headed Antoine.

The aforementioned Mr. Sacchi really is hilarious in his trenchcoat! Bogey himself would be amused!

A thoroughly enjoyable crime-drama with a terrific twist at the end...

NOTHING BAD CAN HAPPEN takes us along with teenage "Jesus Freak", Tore (Julius Feldmeier), who is taken in by a family who aren't what they, at first, appear to be. By contrast, Tore is a genuine, gentle soul who truly believes that God is watching over him. Unfortunately, Benno (Sascha Alexander Gersak) seems driven to prove him wrong.

The best way to describe this film would be quietly disturbing. While there are a few jolts along the way, most of it is peaceful and calm, lulling you into a sense of safety, before drop-kicking you in the guts.

What is astonishing about this movie is that no matter how deeply degrading, even mind-destroying the situation becomes, it somehow ends in an unexpected place. In spite of it being utterly tragic. Tore is an unforgettable character, the only small ray of light in a dark, dismal scenario. Ultimately, this story manages to be more Christian than other, more preachy films. This is because it sticks to grim reality, showing the cost of faith through Tore's willingness to take it beyond all limits...

In HAPPY TIMES, a family dinner party turns into a melee of violence and bloodshed, when an argument gets a bit out of control. Soon, everything melts down, and the real, gory fun begins. Let's just say that everyone's true feelings and motivations come out, and it's not a pretty picture!

If you enjoy horror-comedies that aren't just a new twist on an old theme, then you'll probably love this one. Also, if you've ever suffered through those uncomfortable family get-togethers, where someone has a few too many, or, for whatever reason, starts spouting embarrassing things, then this movie should definitely tickle your funny bone!

Director Michael Mayer has created a fine satire, using a Jewish gathering to bring out the hidden, personal demons for a good roasting. This is a no-holds-barred lampooning, so strap yourself in. Not even the Rabbi is safe!...

After a fantastic opening, featuring a death-by- dredging-machine sequence, MY DEAR KILLER begins.

Inspector Peretti (George Hilton) is quickly at the scene of this "accident". He soon finds that nothing is as it appears to be, and that a black glove-wearing killer is out to get anyone who can help him solve the case.

What possible connection could there be between the murders and a child's drawings?

Director Tonino Valerii has created a grisly, suspenseful giallo, with an intriguing plot, and some inspired murder methods. There's also a rather disturbing subtext involving children -if you see this uncut you can't miss it- that arises. The crime-drama aspect is well fleshed out, and Mr. Hilton is memorable in his intrepid cop role.

Another classic from the subgenre's heyday...

Opening with the mysterious, bloody death of a pharmacist, WATCH ME WHEN I KILL seems very odd and convoluted. Several people, all having served on the same jury, are being bumped off one by one. A woman (Paola Tedesco) who witnessed the first killing is also being stalked. When her eager boyfriend (Corrado Pani) gets involved, the suspense really amps up. Thankfully for us, he becomes absolutely obsessed with the case.

This giallo features: The obligatory gloved maniac, A bizarre tape recording with possible clues, several red herrings, inventive murder sequences, and a final reveal / payoff that you might not see coming.

Highly recommended for fans of the subgenre...

In KIDNAPPED, we're given a few minutes to be introduced to the family before being plunged into the titular scenario. Three thugs invade their home, capture the father, mother, and daughter, and force the father to withdraw money from a nearby ATM. What seems pretty straightforward turns into a hellish ordeal when certain complications arise.

Made using twelve long-take / single-shot scenes, this helps to build tension, while also creating a sort of "found footage" realism. Split-screen shots are used in a few spots, heightening the suspense. There are some nice twists along the way as well.

A true thriller with an unexpected, jaw-dropping, soul-evaporating denouement...

What sets 7 DAYS apart from most revenge-thrillers, is that it doesn't shy away from the incident that starts the horror. Not only the deadening, heart-shattering crime scene, but the agonizing aftermath that the parents must endure. The anguish caused by the loss of a child is rarely captured like this. The muted color scheme and overall somber tone add to the sense of the parents' misery. Everything is bathed in a cold, blue tint.

As for the revenge portion, much has already been said, but it's absolutely brutal, vicious, and shocking. If you put yourself in the father's position, and let your mind wander into darker realms, you may be able to imagine what is possible. However, you might not allow yourself to go where this man takes his captive.

This is one of those rare films that goes into the nature of revenge itself, and its effects on the one who carries it out, as well as those around him.

A superior movie with a lot to say about its subject matter. There are some surprising, poignant developments toward the finale...

In THE NIGHT CALLER, Beth Needham (Tracy Nelson) loves listening to her favorite radio personality, Dr. Lindsay Roland (Shanna Reed), who gives advice to help those with "low self-esteem". We're shown early on that Beth has more than just self-esteem issues. She seems to see Dr. Lindsay as more than just a radio doctor. In fact, Beth "sees" her in "visions".

When Beth calls into the radio show, the good doctor gives her some advice. Now, all the creeps in her life had better watch out! Soon enough, even Dr. Lindsay isn't safe!

In a movie like this it's all about the central star's ability to act like a lunatic. Well, Ms. Nelson gets it done. She plays Beth as an utter crackpot with a definite dark side. As the bodies pile up, Beth gets more unhinged and her reasoning gets more absurd.

If you're looking for a serious, suspenseful thriller like THE HAND THAT ROCKS THE CRADLE, then you're out of luck. However, if you've got a hankering for a more humorous sort of "ferocious female" film like THE LANDLADY, then you've just hit pay dirt!

A rollicking rib-tickler with a boffo finale!...