October True Crime: Smiley Face Killers (dir by Tim Hunter)


“Okay, you need to go back on your meds….”

“Kaeen, I am on my meds.”

That exchange, between college student Jake (Ronen Rubinstein) and his girlfriend, Keren (Mia Serafino), pretty much sums up 2020’s Smiley Face Killers.  It’s a study of modern paranoia, in which Jake thinks — with good reason — that he’s being stalked and all of his friends think that he just needs to take more of his meds.  The fact that a lot of very weird things are happening to Jake doesn’t really matter to his friends.  They’ve decided that any and all problems are linked somehow to taking meds.  “Take your meds” is the only solution that they can offer up.  It’s empty advice but it’s also advice that makes them feel absolved about going to parties and obsessing on their own petty dramas while Jake essentially loses his mind.

Jake suspects that he’s being stalked and that his phone is being hacked and that someone wants to kill him.  He’s absolutely right about that.  The majority of the film follows Jake as he tries to get someone — anyone — to accept that he’s right to be paranoid.  The film may have been sold as Eli Roth-style torture porn or as a postmodern slasher movie but, instead, it’s a study in isolation.  Jake is being stalked by the Smiley Face Killers for reasons that are never made particularly clear.  That said, one gets the feeling that, if the Smiley Face Killers didn’t get Jake, some other group of homicidal lunatics would have.  It’s a dangerous world out there and Jake has obviously pissed off the forces of fate.

Who are the Smiley Face Killers?  The film’s opening credits refer to them as being an urban legend, though I think that gives the whole Smiley Face Killer thing too much credit.  Over the years, there have been several incidents of college students drowning.  All of the students were male.  All of them were athletic.  The majority of them were members of fraternities.  Two retired homicide cops noted that smiley face graffiti was present at many of the “crime scenes” and they came up with a theory that these students were being purposefully drowned by a cult who used the smiley face as their calling card.  It’s a ludicrous theory but one that was embraced by some grieving parents who were still trying to understand how their child could have possibly died when he had his entire future ahead of him.

Of course, it’s far more probable that there is no cult.  The fact of the matter is that the smiley face is a universal symbol and it’s one that you can find drawn or painted just about anywhere.  As well, the majority of the victims were described as being drunk when last seen alive.  College students — especially frat boys — have a tendency to drink more than they can handle.  When a college happens to be near a river or even a creek, it’s a sad of fact of life that there’s a chance of someone stumbling into the water during the night.  That’s especially true if that person is drunk.  No parents wants to admit that their child died because he didn’t know when to say when, leaving them susceptible to conspiracy theories about cults.  Dr. Phil did an entire show on the Smiley Face Killer theory.  Oprah’s network aired an entire docuseries about the theory and pretty much presented it as a fact.  Both of them exploited the grief of the parents for ratings.  Shame on both of them.

As for the movie, it’s actually weirdly effective.  Screenwriter Bret Easton Ellis and director Tim Hunter (who also did the similarly dark River’s Edge) do a good job of capturing the paranoia of everyday life.  Jake is pretty much doomed from the minute we see him but the film holds our interest by showing how everyone but Jake has essentially closed their eyes to what’s happening in front of them.  In the end, Jake has no control over his fate, whether he’s taking his meds or not.

Retro Television Review: The Love Boat 4.28 “Tony and Julie/Separate Beds/America’s Sweetheart”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Wednesdays, I will be reviewing the original Love Boat, which aired on ABC from 1977 to 1986!  The series can be streamed on Paramount Plus!

This week, season 4 comes to an end!

Episode 4.28 “Tony and Julie/Separate Beds/America’s Sweetheart”

(Dir by Richard Kinon, originally aired on May 16th, 1981)

Wedding bells are in the air!

Carl Mitchell (William Christopher) boards the boat without his wife.  As he explains to Gopher and Isaac, he was married when he booked the cruise but now he’s not married because his wife was too much of a slob.  However, Carl is still determined to take his cruise and enjoy himself.  As soon as Carl goes off to find his cabin, his wife, Lynn (Toni Tennille), boards the ship and tells Gopher and Isaac that she just broke up with her neat freak husband but she’s determined to go ahead and take the cruise that they booked before their break-up.

Carl and Lynn are not happy to discover that they’re both on the cruise and that they’re sharing a cabin.  Carl wants to date a younger woman.  Lynn flirts with Doc Bricker.  Of course, Carl and Lynne are still in love with each other.  Lynn decides to win Carl back by cleaning up the cabin.  Carl decides to win back Lynn by messing the cabin up.  It’s like the most pointless story that O. Henry never wrote.  The important thing is that Carl and Lynn decide to give their marriage another chance.

(Personally, I couldn’t live with someone messy.  And Lynn really does just toss stuff all over the place.  I think they should get a divorce.)

While this is going on, Vicki is super-excited when her favorite actress, Becky Daniels (Alison Angrim), boards the boat.  But Becky is actually a spoiled brat and, when she hires Vicki to serve as her stand-in for a movie that’s being shot on the boat, she goes out of her way to make sure that Vicki is humiliated.  Vicki is briefly disillusioned with Hollywood, until Becky apologizes and she and Vicki become friends.  Okay, then.  Glad that worked out!

Meanwhile, Julie is late arriving at the boat because she’s been busy visiting her aunt (a glowering Nancy Kulp).  She even gets into an argument over a cab with Tony Selkirk (Anthony Andrews), a veterinarian.  Julie wins the argument and the cab but imagine her shock when Tony turns out to be a passenger on the boat!  She’s even more shocked when she sees Tony walking around with two chimpanzees.  Of course, as you’ve probably already guessed, Tony and Julie fall in love.  And Tony asks Julie to marry him.  And Julie says yes!

And that’s where season 4 ends.

Is this the end of Julie’s tenure as cruise director?  I guess we’ll find out next week.  As for this episode, it was pleasant-enough way to end the fourth season.  The stories did not particularly interest me but the Love Boat crew has become a strong enough ensemble that the show is no longer as dependent on its guest stars as it used to be.  This episode, I enjoyed watching the crew more than the passengers.  Seriously, I want to take a cruise now.

Next week, we start season 5!

Bonus Horror Song of the Day: Electronic Battle Weapon 7 (Acid Children) by The Chemical Brothers


“You are all my children now.”

Hey, does that voice sound familiar?  Who would have thought you could dance to Freddy Krueger?

Some people have told me that they find the clown in this video to even scarier than Freddy.

Horror Scenes I Love: Nancy’s School Dream From A Nightmare On Elm Street


Today’s horror scene that I love comes from 1984’s A Nightmare on Elm Street.  Directed by the great Wes Craven, A Nightmare on Elm Street remains a frightening and creepy masterpiece.  It’s ability to scare its audience has not been diminished by countless sequels and rip-offs.

In today’s scene, Nancy (Heather Langenkamp) discovers that she’s not even safe from Freddy (Robert Englund) at school.

Horror Film Review: Godzilla 2000 (dir by Takao Okawara)


Released in 1999, Godzilla 2000 introduces viewers to The Godzilla Protect Network, a group of people who keep track of Godzilla landfalls and do their best to try to predict where he’ll show up next.  They’re a bit like the storm watchers from Twisters.  The way some people keep an eye on the weather, they keep an eye on everyone’s favorite radioactive lizard.

And it doesn’t take long for Godzilla to show up!  Released a year after Roland Emmerich’s version of Godzilla, Toho used Godzilla 2000 to reclaim the character for themselves and for Japan.  As such, the film waste no time in getting the original Godzilla on screen and allowing him to go on one of his trademark rampages.  Every time that Godzilla breathes radioactive fire and lets loose its trademark shrill cry, it’s as if the film is saying, “Hey, America, this Godzilla!”

As for the plot, it’s not really that important.  A group of scientists discover that an alien spaceship has been buried deep in the ocean for millions of years.  The UFO is reawakened by Godzilla and it turns out that the spirits of the aliens basically want to absorb Godzilla’s regenerative powers so that they can come back to life and conquer the world.  Godzilla doesn’t want to give away his regenerative powers so, naturally, he battles both the UFO and the eventual monsters that the UFO sends out to do its bidding.  Once again, Godzilla is defending humanity, albeit unintentionally.  For the most part, one gets the feeling that Godzilla just wants to be left alone.

Unfortunately, the military wants to destroy Godzilla and they keep getting in his way while he’s tying to battle the aliens.  Seriously, Godzilla is like a wasp.  He won’t destroy you as long as you don’t bother him.  I mean, it’s true that Godzilla had a really bad temper back in the 50s but, for the most part, he just now wants to enjoy his retirement and step on a few cities.  But the humans and the aliens and all the other monsters just won’t leave him alone!

Godzilla 2000 is an entertaining film.  Probably because it was made as a direct rebuke to Emmerich’s film, Godzilla 2000 feels like one of the old school Godzilla films, with the emphasis on Godzilla fighting other monsters while people stand on rooftops and point.  It has a fun retro feel to it.  Basically, with this film, Toho reminded viewers what Godzilla was supposed to be all about.

Previous Godzilla Reviews:

  1. Godzilla, King of the Monsters (1958)
  2. Godzilla Raids Again (1958)
  3. King Kong vs Godzilla (1962)
  4. Mothra vs. Godzilla (1964)
  5. Ghidorah: The Three-Headed Monster (1964)
  6. Invasion of the Astro-Monster (1965)
  7. Godzilla vs. The Sea Monster (1966)
  8. Son of Godzilla (1967)
  9. Destroy All Monsters (1968)
  10. All Monsters Attack (1969)
  11. Godzilla vs Hedorah (1971)
  12. Godzilla vs Gigan (1972)
  13. Godzilla vs Megalon (1973)
  14. Godzilla vs Mechagodzilla (1974)
  15. The Terror of Mechagodzilla (1975)
  16. Cozilla (1977)
  17. Godzilla 1985 (1985)
  18. Godzilla vs. Biollante (1989)
  19. Godzilla vs King Ghidorah (1992)
  20. Godzilla vs. Mothra (1992)
  21. Godzilla vs Mechagodzilla 2 (1994)
  22. Godzilla vs SpaceGodzilla (1994)
  23. Godzilla vs. Destoroyah (1995)
  24. Godzilla (1998)
  25. Godzilla, Mothra, and King Ghidorah: Giant Monsters All-Out Attack (2001)
  26. Godzilla (2014)
  27. Godzilla: Planet of the Monsters (2017)
  28. Godzilla, King of the Monsters (2019)
  29. Godzilla vs Kong (2021)
  30. Godzilla Minus One (2023)

4 Shots From 4 Films: Special Wes Craven 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 is all about letting the visuals do the talking.

Today’s director is the great Wes Craven!

4 Shots From 4 Wes Craven Films

The Last House On The Left (1972, dir by Wes Craven, DP: Victor Hurwitz)

The Hills Have Eyes (1977, dir by Wes Craven, DP: Eric Saarinen)

A Nightmare on Elm Street (1984, dir. by Wes Craven, DP: Jacques Haitkin)

The People Under The Stairs (1991, dir by Wes Craven, DP: Sandi Sissel)

Horror Film Review: They Turned Us Into Killers (dir by Thomas Walton)


We’re the Millers

They turned us into killers….

Yeah, whatever, dude.  Seriously, how am I supposed to take seriously a film that features several scenes of people singing that song?

2024’s They Turned Us Into Killers is a film about vigilante justice.  After her boyfriend gets her addicted to drugs and then rapes her with his brothers, Karma (Lauren Francesca) kills herself.  Fortunately, she leaves behind an extremely long and detailed suicide note that allows her best friend Star (Scout Taylor-Compton) to know that she needs to track down and kill BJ (Bryce Draper) and his moronic brothers.  Star recruits Zion (Brian Anthony Williams) to help her, because Zion’s mother was raped and murdered by BJ’s father (Kane Hodder).  Zion later got revenge on BJ’s father and now, he’s going to help Star get revenge on BJ.

So, here’s the thing.  This story actually had potential.  Seriously, who doesn’t want to watch a bunch of rapists get tortured for their crimes?  Unfortunately, the film’s execution is an absolute mess.  This is one of those films that jumps around in time, so you’re never quite sure if you’re watching something that’s happening in the film’s present or if you’re watching yet another flashback.  One gets the feeling that this was done to try to disguise just how simplistic the film’s story actually is but the end result is more likely to induce a headache than anything else.  The film pretty much begins with Star explaining that Karma get hooked on drugs and killed herself.  Therefore, there’s nothing really to be gained by then segueing into a lengthy flashback of Karma doing what we just heard that she did.  We already know what happened to Karma.  Flashbacks are only necessary if they add something new to the story.  When all they do is show us what we already know, they feel more like padding.  In this case, it feels like rather exploitive padding.

The film is more of a vigilante film than a true horror film.  That said, horror icons like Kane Hodder, Bill Moseley, and Michael Berryman all make brief appearances and the scenes where Star stalks her victims definitely owe a bit to the old school slasher films.  When the film isn’t busy with the flashbacks, it’s largely made up of scenes of Star taunting her victims while they’re tied down to a table.  The torture scenes tend to go on forever, to the point where they again feel more like padding than anything else.  And while the film’s victims certainly deserve their fate, Star isn’t particularly likable either.  Perhaps if Karma had been her sister, I would have had more sympathy for her.  Instead, Karma is just a friend to whom Star wasn’t even close enough to know that she was struggling until she committed suicide.

(On another note, naming the character Karma is way too cutesy.  Sorry, movie.)

Vigilante films are always a bit of a mixed bag.  Charles Bronson was an effective vigilante, usually because he was trying to either protect or avenge his family.  Clint Eastwood was an effective vigilante because most of his vigilante films took place in the old west, at a time when people really had no choice but to take the law into their own hands.  I will always cheer Camille Keaton getting revenge on those four rednecks in the original I Spit On Your Gave and yes, that includes that dumbass Matthew.  I think the lesson here is that it takes a star with a lot of screen presence and a director who knows how to properly pace a film to make a vigilante film work.  They Turned Us Into Killers …. well, it just doesn’t work.

Horror Film Review: The Invasion of Carol Enders (dir by Dan Curtis)


The Invasion of Carol Enders….

AGCK!  That’s a scary title that just brings to mind all sorts of disturbing images.  And this 1973 made-for-television film does get off to a rather disturbing start, with Carol Enders (Meredith Baxter) and her boyfriend, Adam Reston (Christopher Connelly), getting attacked in the park by a random criminal.  Carol falls and strikes her head.  She is rushed to the hospital in a coma and is not expected to survive.

Meanwhile, Diana Bernard (Sally Kemp) has an argument with her former lover (John Karlen) and then goes for a drive in the rain.  When the car crashes, Diana is rushed to the same hospital as Carol.  Ironically, it’s the same hospital where her husband, Peter (Charles Aidman), works.  Like Carol, Diana is not expected to survive.

Diana and Carol both appear to die at the same time.  Except Carol doesn’t actually die.  Instead, she has a miraculous recovery.  She comes out of her coma and she is remarkably articulate for someone who has just suffered serious brain damage.  However, there is one problem.  Carol swears that she’s never seen Adam before, that she’s married to Peter, and that her name is Diana!

That’s the invasion of Carol Enders.  When Diana died, her spirit moved into Carol’s body and took control.  Diana is convinced that her car accident was not actually an accident.  She thinks that she was set up by her ex and she sets out to try to prove that the accident was actually attempted murder.  (Actually, it’s only attempted from Diana’s point of view.  As far as the rest of the world is concerned, Diana is dead.)  While Adam tries to help Diana solve her murder out of a hope that she’ll go away and allow Carol to once again be in control of her own body, Diana runs off to her husband.  However, it turns out that there’s a lot more going on than even Diana realizes.

This is a bit of an odd made-for-TV movie, even by the standards of the 70s.  It’s only 69 minutes long and it was shot on video tape, giving the whole thing the look of an old daytime drama.  It’s easy to watch this movie and imagine that it’s just a supernaturally-tinged episode of General Hospital or Days Of Our Lives.  Both the acting and the plot add to the daytime drama feel of the production.  This is a movie that fully embraces the melodrama.

I think the most interesting thing about this film is that everyone is very quick to accept that Diana has somehow willed her spirit into Carol’s body.  There’s very little hesitation about accepting Diana/Carol at her word and no one even thinks to suggest that maybe Carol is having some sort of mental episode as a result of the attack.  Adam hears that his girlfriend has been possessed and he immediately gets to work helping out the woman who has possessed her.  I mean, good for Adam.  I like a man who is willing to do whatever has to be done.  Still, everyone acts as if possession happens every day.

This is kind of a silly movie, which is probably why I enjoyed it.  It’s short, it’s simple, and it embraces the melodrama.  What’s not to enjoy?

Horror Film Review: The Masque of the Red Death (dir by Roger Corman)


In 1964’s The Masque of the Red Death, Vincent Price stars as Prospero.

Prospero is a nobleman in medieval Italy, a decadent tyrant who rules his villages with an iron hand and who proudly and openly worships Satan.  When an old woman in one of the villages dies of the plague, Prospero orders the village to be burned to the ground.  He returns to his castle where, with his mistress (Hazel Court), he plans to throw a masquerade for the local nobility.  His plan is for everyone to hide out in the castle until Death has passed.  The problem, of course, is keeping Death from sneaking into the castle and claiming everyone within.

Prospero also abducts three villagers, Ludovico (Nigel Green), his daughter Francesca (Jane Asher), and Francesca’s boyfriend, Gino (David Weston).  The three villagers find themselves in a decadent world, where Prospero and his attendants are motivated by their own greed and petty jealousies.  Keeping Death from entering the castle would probably be a lot easier if the people in the castle would stop trying to kill each other.  It’s an odd atmosphere within the castle.  Everyone fears Death and yet, everyone seems to be doing all that they can do invite it in with them.  Can anyone, even a worshipper of the Damned liked Prospero, truly escape Death?

The Masque of the Red Death is not only the best of Roger Corman’s Edgar Allan Poe adaptations but it’s also the best film that Corman ever directed.  Working with cinematographer Nicolas Roeg (who was himself destined to have quite a career as a director of enigmatic films), Corman fills the screen with vivid colors and scenes of medieval decadence.  Price gives one of his best performances, playing Prospero as someone who is in love with his own amoral nature but whose arrogance quickly gives way to fear when he starts to suspect the Death has somehow managed to enter the castle.  The inhabitants of the castle are all memorably eccentric and, in many cases, evil.  A man in an ape costume is burned to death and hardly anyone seems to notice or care.  Prospero and his nobles think that they’re above death because of their wealth and their place in society but, of course, no one can escape Death.

David Weston and Jane Asher are both well-cast as the two lovers, though Asher is clearly more a product of the swinging sixties than medieval Italy.  Patrick Magee and Skip Martin are both memorable as members of Prospero’s court, with Skip Martin giving an especially diabolical performance as a murderous court jester.  In the end, though, this film truly belongs to Price, Corman, and Roeg.  Roeg’s cinematography is dazzling, with the use of red foreshadowing his later film, Don’t Look Now.  Corman’s direction puts the viewer right in the center of Prospero’s court.  And Vincent Price gives one of his best performances as the self-amused but unashamedly evil Prospero.  The Masque of the Red Death remains a classic of 60s pop art and the best of Corman’s many films.

Horror Film Review: The Haunted Palace (dir by Roger Corman)


In the 18th century, the inhabitants of Arkham, Massachusetts yank Joseph Curwen (Vincent Price) out of his mansion and tie him to a tree.  They accuse Curwen of being a warlock who is in league with the devil and who has been bringing young women to his “palace,” and putting them in a trance.  They burn Curwen alive but, before the flames are lit, they also give Curwen a chance to speak and curse both them and their descendants.

You really do have to wonder about the logic behind witch (and warlock) burnings.  They seem counter-productive because they always give the accused just enough time to cast one final curse before being burned to a crisp.  Indeed, you have to wonder why witches and warlock were allowed any final words to begin with.  I mean, at some point, you would think everyone would notice that the final words were always a curse.

Anyway. 110 years later, Joseph Curwen’s descendant, Charles Dexter Ward (Vincent Price, again) rides into town with his wife, Anne (Debra Paget).  He is stunned to see that Arkham has apparently fallen on hard times, with many of the town’s people being horribly disfigured.  It’s explain to him that the disfigurements and the poverty are all a result of his ancestor’s curse.  That’s going to make things a bit awkward, considering that Charles Dexter Ward has not only inherited the Palace but he’s also inherited a copy of Necronomicon and a legacy of messing with Cthulhu.  The townspeople don’t want Ward around but he and Anne decide to spend the night in the Place regardless.

Of course, it doesn’t take long for Curwen’s spirit to possess Charles.  Soon, Charles is trying to resurrect Curwen’s mistress, Hester (Cathie Merchant) and pursuing Curwen’s goals of breeding a race of super humans by forcing the women of the town to mate with the fearsome Yog-Sothoth.  Charles also seeks vengeance on the descendants of those who burned Curwen at the stake, as if all of the poverty and the deformities aren’t punishment enough.  Again, this is why you don’t give warlocks and witches a chance to get out one last curse before being executed.

Though The Haunted Palace is usually considered to be a part of Roger Corman’s Edgar Allan Poe cycle, the story itself is actually based on H.P. Lovecraft’s The Case of Charles Dexter Ward.  (In Lovecraft’s novella, Ward seeks out his evil ancestor whereas, in the film, Ward is more or less an innocent victim.)  The film’s title comes from a Poe poem, which is recited at both the beginning and the end of the film.  But the film itself, with its references to the Cthulhu mythos and its hideous New England setting, is definitely a work of Lovecraftian horror.

Fortunately, it’s an effective work of Lovecraftian horror, one that captures the feeling of people unwisely trying to control a force of evil that they cannot begin to comprehend.  Roger Corman keeps the action moving quickly and creates a gothic atmosphere of impending doom.  Vincent Price, toning down his usual theatrics, is chillingly evil as Curwen and sympathetic as Charles.  The film’s strongest performance, however, comes from Debra Paget, who desperately tries to free her husband from Curwen’s control.  Any woman who has suddenly felt as if she can no longer recognize the man who she once loved will be able to relate to Paget’s performance.

The Haunted Palace is a strong entry in the films of Roger Corman and Vincent Price and one of the better adaptations of the work of H.P. Lovecraft.