The Lurking Fear (1994, directed by C. Courtney Joyner)


For years, the town of Leffert’s Corners has lived in fear of the criminal Martense family.  The family’s youngest son, John (Blake Bailey), has just been released from prison and now he’s returning home.  He knows that, before he died, his father arranged for a thousand dollars to be buried in the cemetery.  After the town mortician (Vincent Schiavelli, in a too brief cameo) tells him where it is, John heads to the cemetery.  Unfortunately, he’s followed by crime boss Bennett (Jon Finch) and his thugs.

Cathryn (Ashley Laurence) and Dr. Haggis (Jeffrey Combs) are already at the cemetery, though not for the money.  It turns out that subterranean monsters (all of whom are descended from one John’s relatives) are living underneath the cemetery grounds and terrorizing the town.  Cathryn and Haggis are planning on blowing up the graveyard but that plan is put on hold when John and Bennett arrive.  Underground monsters or not, Bennett is planning on getting that money and if that means holding everyone hostage in a church while the monsters prepare to attack, that is exactly what he is going to do.

As is evident by the welcome presence of Jeffrey Combs, The Lurking Fear is another Full Moon production that was loosely adapted from a H.P. Lovecraft short story.  The premise has promise and the cast is full of talent but the film’s direction is flat, the script is shallow, and the monsters themselves look good but there’s nothing that set them apart from a dozen other monsters that have appeared in Full Moon productions.  (The monsters resemble the dungeon dweller from Castle Freak but they are never as scary.)  It’s too bad because The Lurking Fear is one of Lovecraft’s best short stories and it seems like one that would make a great movie.  But, as a movie, The Lurking Fear, like so many other Full Moon productions, doesn’t seem to know what to do with itself whenever the monsters aren’t around.  Hopefully, someday, Lovecraft’s The Lurking Fear will get the film adaptation that it deserves.

Game Review: A House On A Hill (2022, Devin Cummings)


There’s a house on a hill that everyone says in haunted.  Your friends Ingram and Ryan have dared you to enter the house, even though you might get sick from something you find in there or you might even die.  You can try to convince one of them to enter the house with you.  You can enter the house alone.  Or you can go home.

If there’s one thing that every good Interactive Fiction writer understands, it’s that you can get a player to do anything if you suggest that doing otherwise would make them a coward.  Saying “Go Home Coward” is the equivalent of making chicken noises.

Once you enter the house, you can search the rooms and you get a chance to make a few simple decisions about whether or not to do certain things.  Throughout it all, you are given the option to turn around leave.  You’ll get called a coward but considering what does happen if you stay, sometimes it is worth being called a coward.

This is a simple Twine game and it shouldn’t take anyone longer than 10 minutes to play it.  But there are enough different areas of the house to explore and enough possible outcomes that the game itself can be replayed several times.

Play A House On A Hill.

Horror Scenes That I Love: The Hospital Battle from Zombi 2


In this scene from 1979’s Zombi 2, a group of humans try to destroy the zombies that are invading a small hospital on an isolated island.  Director Lucio Fulci later pointed out, in many interviews, that he used the same clips of Al Cliver throwing a Molotov cocktail and firing a shotgun multiple times in the scene.

Two things to note about this scene:

First off, it captures what is truly scary about zombies.  They are relentless.  They do not stop coming.  No matter how many you destroy, there’s always another one following behind it.

Secondly, Italian zombies actually looked like decaying walking corpses that are on the verge of falling apart.  That was one huge difference between the Italian zombie films and many of the ones that were made in America.

6 Shots From 6 Horror Films: 1979


4 Or More Shots From 4 Or More 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!

This October, I’m going to be doing something a little bit different with my contribution to 4 (or more) Shots From 4 (or more) Films.  I’m going to be taking a little chronological tour of the history of horror cinema, moving from decade to decade.

Today, we take a look at a very important year: 1979.

6 Shots From 6 Horror Films: 1979

Fascination (1979, dir by Jean Rollin)

The Brood (1979, dir by David Cronenberg, DP: Mark Irwin)

Alien (1979, dir by Ridley Scott, DP: Derek Vanlint)

Beyond the Darkness (1979, dir by Joe D’Amato, DP: Joe D’Amato)

Nosferatu The Vampyre (1979, dir by Werner Herzog, DP: Jörg Schmidt-Reitwein)

Zombi 2 (1979, dir. Lucio Fulci, DP: Sergio Salvati)

Horror Film Review: The Little Girl Who Lives Down The Lane (dir by Nicolas Gessner)


First released in 1976, The Little Girl Who Lives Down The Lane tells the story of Ryann Jacobs (played by Jodie Foster, who was thirteen years old when she made this film).

Rynn lives in a small New England town, in a house that her father has leased for three years.  It’s been a while since anyone has seen Rynn’s father.  Rynn always tells everyone that he’s either out of town or that he’s busy in his study and can’t be disturbed.  When the friendly local policeman (Mort Schuman) expresses some doubt about Rynn’s claim that her father is working, Rynn says that her father is a drug addict, like all of the great poets.

Rynn’s main problem is with the Halletts.  Cora Hallett (Alexis Smith) owns the house in which Rynn is living.  Cora drops by regularly, haughtily demanding to see Rynn’s father.  Her creepy son, Frank (Martin Sheen), also makes a habit of visiting.  He’s not interested in Cora’s father.  Instead, he’s interested in Cora.  Everyone in the town knows that Frank is a perv but no one is willing to do anything about it.  He’s protected by his mother’s money.

One day, when Cora drops by, she insists on going into the basement.  She says she has something down there that she needs to retrieve.  Rynn tells her not to go down there but Cora refuses to listen, which turns out to be a huge mistake.  Cora screams at what she sees down there and then falls to her death.  With the help of her only friend, Mario (Scott Jacoby) an aspiring magician who walks with a limp, Rynn covers up the murder.

Mario turns out to be a very good friend, indeed.  Not only does he tell people that he’s seen Rynn’s father but he even stands up to Frank when he shows up at the house, searching for his mother.  However, as it soon becomes clear, Frank isn’t one to give up so easily….

The Little Girl Who Lives Down The Lane is an interesting hybrid of a film.  It definitely does have elements of horror.  The running theme throughout the film is that Rynn might kill people but it’s all the adults in her life who are truly monstrous.  Frank is truly a monster and Martin Sheen gives a remarkably intense and creepy performance in the role.  Frank is the type who will say that worst things imaginable and then smirk afterward, confident that he’ll never have to face any sort of justice for his crimes.

At the same time, the film is also a coming-of-age-story and a teen romance.  Rynn and Mario are two outsiders who find each other.  You like both of them and you want things to work out for them, even though you spend almost the entire film worried that Rynn might end up poisoning Mario.  Foster and Jacoby share some genuinely sweet scenes.  Things would be just fine, the film seems to be saying, if all of these stupid adults would just mind their own business.

The Little Girl Who Lives Down The Lane is an effectively creepy and sometimes even sweet little film about a girl who occasionally has to kill people.  Keep an eye out for it!

Horror on the Lens: Bride of the Gorilla (dir by Curt Siodmak)


In the 1951 film, Bride of the Gorilla, Raymond Burr plays a plantation manager who commits a murder.  Unfortunately, for him, the murder is observed by a witch who promptly puts a curse of Burr.  Now, every time the sun goes down, Burr transforms into a gorilla and goes wild in the jungle.

Basically, it’s kind of like The Wolf Man, just with a less sympathetic protagonist and a gorilla instead of a werewolf. Just in case we missed the similarities, Lon Chaney, Jr. plays the film’s nominal hero, a police commissioner who suspects that something weird might be happening with Burr.  Apparently, the plan was originally for Chaney to play the gorilla and for Burr to play the policeman but, because Chaney was dealing with a serious alcohol problem at the time, the roles were reversed.

Also in the cast, playing the role of Dina, is Barbara Payton, the tragic actress who is best known for being at the center of a love triangle involving actors Tom Neal and Franchot Tone.  In 195000, Neal attacked Tone and beat him so severely that Tone spent 18 hours in a coma.  Tone was notably shaky onscreen for the rest of his film career while Neal spent a few years in prison.  After the incident between Tone and Neal, Payton could only get roles in B-movies like this one.  Tragically, she would pass away, in 1967, of heart and live failure.  She was only 39 years old.

Music Video of the Day: Locked In by Judas Priest (1986, directed by Wayne Isham)


Is it Mad Max or is it Judas Priest?

This video was directed by Wayne Isham, who was another one of directors who did videos for almost everyone.  You weren’t a real rock star unless both Wayne Isham and Nigel Dick directed a video for you.

This song appeared on Judas Priest’s 1986 album, Turbo.  The album was full of songs designed to annoy Tipper Gore.

Enjoy!

Horror on TV: Ghost Story 1.12 “Creature of the Canyon” (dir by Walter Doniger)


On tonight’s episode of Ghost Story, Angie Dickinson plays a widow who is haunted by the ghost of her late husband’s Doberman.  Agck!  I’m scared enough of real Dobermans without having to deal with one that is undead!

This episode originally aired on December 15th, 1972.

The TSL’s Horror Grindhouse: Revealer (dir by Luke Boyce)


Taking place in 1980s Chicago, Revealer tells the story of two seemingly different women.

Angie (Caito Aase) is a stripper who spend most of her day in an incredibly sleazy peep show booth.  The men that she dances for are a collection of grotesque pervs.  (Keep an eye out and you’ll notice a sign warning that “wet dollar bills” will not be accepted.  Ewww!)  Angie is under no illusions about where she’s working or who is paying to watch her but she needs the money.  She’s putting up with a lot of crap in order to giver her nephew the type of stable life that she’s never had and, understandably, she doesn’t have much patience for anyone who would judge her for it.

Sally (Shaina Schrooten) is someone who spends almost all of her time judging.  For weeks, she has been leading protests in front of Angie’s place of employment.  As soon as Angie shows up for an extra shift, she is confronted by Sally.  Sally claims that Angie is “a harlot” who is leading people down the path of sin and damnation.  Angie says that Sally is just jealous because she’s never truly live her life.

Together …. they solve crimes!

No, actually, they don’t.  Instead, they find themselves forced to deal with some theological issues when a horned demon unleashes an army of snakes on the world.  Angie is trapped in her peep show booth, with no way to get out.  Sally, fleeing from the demons, ends up outside the same booth.  Sally is convinced that the apocalypse has begun.  Angie just wants to get back to her nephew.  Despite their differing views and their initially antagonistic relationship, Angie and Sally are going to have to work together in order to survive.  Along the way, hidden truths are revealed.  Angie and Sally learn that they’re not so different and they even start to become friends.  But does that matter, considering that the world apparently ended in 1987?

I had a mixed reaction to Revealer.  On the one hand, there’s something wonderfully subversive about setting a film about the end of the world in the distant past.  If nothing else, it keeps the viewer off-balance.  (I was reminded a bit of how 2001’s Donnie Darko predicted that the world would end in 1988.)  As well, the two leads both did a good job with their characters, adding depth and nuance to two roles that could have easily become clichés.  In the role of Sally, Shaina Schrooten gave an especially good performance.  I wasn’t particularly shocked when Sally revealed her big secret but Schrooten’s performance still made the scene effective.

On the negative side, the snakes were frightening but the demon who controlled them obviously fell prey to the film’s low budget and looked a bit less impressive.  As well, the script itself was often overwritten.  Sally and Angie’s constant debate over religion felt more than a little heavy-handed.  (I mean, it’s easy to win an argument when the screenwriter is on your side.)  Even more importantly, they tended to disrupt the flow of the film.  Too many scenes stopped dead in their tracks so that Sally could quote the Bible and Angie could get upset about it.  Since neither had anything to say about their beliefs that hadn’t already been said in a hundred other movies, their arguments were occasionally a bit dull, despite the best efforts of Caito Aase and Shaina Schrooten.

Revealer was uneven, though the ending was certainly effective and both of the lead actresses did a good job bringing their characters to life.  Watching the film, I wondered if maybe the world did end in 1987 and the rest of us just haven’t noticed yet.