Experiment Alcatraz (1950, directed by Edward L. Cahn)


Dr. Ross Williams (John Howard) has a theory that injecting patients with a radioactive isotope can be used to treat a serious blood disease.  However, he needs people on which to test his theory and, since it involves radiation, volunteers aren’t exactly lining up.  Finally, five prisoners at Alcatraz agree to be used as test subjects in return for early parole.  The prisoners are whisked off to a military where Williams and nurse Joan McKenna (Joan Dixon) oversee the experiment.  Joan has her own reasons for hoping that Williams’s treatment is a success.  Her own brother is currently dying of the disease.

Unfortunately, things go terribly wrong when one of the convicts, Barry Morgan (Robert Shayne), grabs a pair of scissors and stabs another prisoner to death.  Morgan claims that he was driven mad by the treatment and, as a result, the experiments are canceled.  Both Joan and Dr. Williams are convinced that Morgan had another reason for killing the prisoner.  With Morgan and his cronies now free, Williams launches his own investigation into what happened.

Experiment Alcatraz starts out with an intriguing premise but then settles into being a typical B-crime film.  Robert Shayne does a good job playing the viscous criminal but Morgan’s motives for committing the murder turn out to be fairly predictable and the story’s conclusion won’t take anyone by surprise.  Howard and Dixon are competent leads but both are playing dull characters and too much of the film’s story depends on getting the audience to believe that a potentially revolutionary medical treatment would be tested in a thoroughly haphazard manner.  Worst of all, despite the title, there’s very little Alcatraz to be found in Experiment Alcatraz.  The prisoner leaves the prison early and never look back.

Experiment Alcatraz is one of the many films to be directed by the incredibly prolific and fast-working Edward L. Cahn.  Between 1931 and 1962, Cahn is credited as having directed 127 movies.  In 1961 alone, he directed 11 feature films!  1950 was actually a slow year for Cahn.  Including Experiment Alcatraz, he only directed 5 films that year.  As you can guess with that many movies, Cahn’s output was uneven.  For every Experiment Alcatraz, there was an It!  The Terror From Beyond Space.  Despite a promising premise, Experiment Alcatraz is one of Cahn’s more forgettable films.

Fury At Gunsight Pass (1956, directed by Fred F. Sears)


Old west outlaws Whitey Turner (David Brian) and Dirk Hogan (Neville Brand) are plotting on robbing the bank in the town of Gunsight Pass.  They’ve even got an inside man to help them get away with the loot, local undertaker Peter Boggs (Percy Helton).  Peter is eager to make some money and get away from his nagging wife (Katherine Warren).  However, the robbery doesn’t go as planned.  Whitey attempts to betray Dirk, there’s a huge shoot out, and several people are killed, including the bank president (Addison Richards).  Whitey and his half of the gang are captured while Dirk barely escapes.

Because a satchel of money is missing, Dirk rescues Whitey from the posse and they return to the town of Gunfight Pass, determined to hold the entire town hostage until they get their money.  While a huge dust storm blows through the town, the citizens of Gunsight Pass start to turn on each other, accusing one another of having stolen the money for themselves.  The now dead bank president is accused of being a part of the robbery and it falls to his son (Richard Long) to try to not only clear his name but to also save the town from Dirk and Whitey.

Fury at Gunsight Pass is a nice discovery, an intelligent B-western that’s about more than just gunfights and money.  Though David Brian and Neville Brand are both convincing as the two gang leaders, the movie is mostly about the citizens of the town and how quickly they all turn on each other.  The citizens of this town make the ones from High Noon seem brave and supportive.  All it takes is a little fear and greed for everyone to turn on each other.  The film has such a cynical view of human nature that, in 1956, it probably couldn’t have gotten away with it if it had been anything other than a B-movie.

Fred F. Sears directed a lot of B-westerns, the majority of which were fairly undistinguished programmers.  Fury At Gunsight Pass is an exception to that rule and probably the best film that Fred Sears ever directed.  It’s a well-acted and well-directed movie that will take even the most experienced B-western fan by surprise.

26 Shots From 26 Films: Special Martin Scorsese Edition


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking.

Today, the TSL wishes a happy birthday to one of the greatest director working today, the one and only Martin Scorsese!  And that means that it’s time for….

26 Shots From 26 Martin Scorsese Films

(That’s right.  We usually do 4.  Scorsese gets 26.  He deserves a hundred.)

Who’s That Knocking On My Door (1967, dir by Martin Scorsese)

Boxcar Bertha (1972, dir by Martin Scorsese)

Mean Streets (1973, dir by Martin Scorsese)

Alice Doesn’t Live Here Anymore (1974, dir by Martin Scorsese)

Taxi Driver (1976, dir by Martin Scorsese)

New York New York (1977, dir by Martin Scorsese)

The Last Waltz (1978, dir by Martin Scorsese)

Raging Bull (1980, dir by Martin Scorsese)

King of Comedy (1982, dir by Martin Scorsese)

After Hours (1985, dir by Martin Scorsese)

The Color of Money (1986, dir by Martin Scorsese)

The Last Temptation of Christ (1988, dir by Martin Scorsese)

Goodfellas (1990, dir by Martin Scorsese)

Cape Fear (1991, dir by Martin Scorsese)

The Age of Innocence (1993, dir by Martin Scorsese)

Casino (1995, dir by Martin Scorsese)

Kundun (1997, dir by Martin Scorsese)

Bringing out the Dead (1999, dir by Martin Scorsese)

Gangs of New York (2002, dir by Martin Scorsese)

The Aviator (2004, dir by Martin Scorsese)

The Departed (2006, dir by Martin Scorsese)

Shutter Island (2010, directed by Martin Scorsese)

Hugo (2011, dir by Martin Scorsese)

The Wolf of Wall Street (2013, dir by Martin Scorsese)

Silence (2016, dir by Martin Scorsese)

The Irishman (2019, dir by Martin Scorsese)

“Haxan Lane” Proves Philadelphia Is Even Scarier Than You Thought


Ryan C. (fourcolorapocalypse)'s avatarRyan C.'s Four Color Apocalypse

In between the veritable onslaught of unique and inventive autobio/memoir stuff that cartoonist Thomas Lampion has released over the past year or two, he’s also managed to take a side trip — down a grimy street and into a haunted house, at that — in the pages of his self-published ‘zine Haxan Lane, two issues of which have seen the light of day so far. Although “light of day” is a decidedly poor choice of words on my part —

Why, you ask? Well, this is a humor comic to be sure, but it’s one that goes bump in the night, and has very much a feel of a modern take on the Brothers Grimm to it, complete with “be careful what you wish for” and “if something seems too good to be true, it probably is” moralizing — but please don’t take that to mean it’s not a…

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Who Needs Vegas Or The Caribbean When You Can “Honeymoon In The Afterlife” ?


Ryan C. (fourcolorapocalypse)'s avatarRyan C.'s Four Color Apocalypse

Some comics just grab you from the word “go,” and one look at British cartoonist Matt Canning’s Honeymoon In The Afterlife is all it takes for you to know that this is one of them : self-published in newspaper broadsheet format, it’s a sizable thing to behold, no doubt about that, but equally it’s an impressive one, clean and simple black and white linework accentuated by decidedly contemporary shading techniques when and where necessary, with a kind of dusty rose hue deployed as an occasional “spot” color, it’s a triumph as far as production values go. But who are we kidding? While all that is certain to capture your interest, it takes considerably more to retain it.

Which rather sounds like a segue into me cataloging a list of shortcomings, but I promise you it’s not : in fact, if anything, Canning’s ability to keep you glued to the exploits…

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