AMV Of The Day: Crazy In The Night (Gakkou no Kaidan)


As the third day of Horrorthon draws to a close, how about an AMV?

Song: Crazy In The Night by Kim Carnes

AnimeGakkou no Kaidan

Creator: rspectcopyrightmyass (As always, please be sure to check out this creator’s channel)

Past AMVs of the Day

A Blast From The Past: Frankenstein (dir by J. Searle Dawley)


In 1910, Thomas Edison produced what is thought to be the first ever film version of Mary Shelley’s Frankenstein!  Clocking in at 12 minutes and 41 seconds, this film was directed by J. Searle Dawley and stars Charles Ogle as the monster.

Admittedly, the surviving prints of this 107 year-old movie are not in the greatest condition.  But I still think it’s effectively surreal and, in its way, quite creepy.  While it always takes a while for modern audiences to get used to the more theatrical acting styles of the silent films, Charles Ogle still makes for a very memorable monster.  I especially enjoy the tinted scenes where the monster comes to life.  In the video below, it start around the 2:18 mark and it’s truly a scene that I love!

Enjoy this piece of film history!

Horror On TV: Hammer House Of Horror Episode #2: The Thirteenth Reunion (dir by Peter Sasdy)


In this episode of Hammer House of Horror, Julia Foster plays a tabloid reporter who is assigned to investigate an unconventional weight loss program.  Foster discovers that weight loss is actually the last thing that the clinic is concerned with.  This is an enjoyable macabre episode, one the features a particularly nasty twist.

The Thirteenth Reunion originally aired in the UK on September 20th, 1980.

Brad reviews HOUSE OF WAX (1953), starring Vincent Price and a very young Charles Bronson!


As my readers probably know, I’m one of actor Charles Bronson’s biggest fans, and I’m always on the lookout for venues showing his films on the big screen. In the summer of 2024, the Ron Robinson theatre in downtown Little Rock screened the 1953 Vincent Price classic, HOUSE OF WAX, which features Bronson in one of his earliest on-screen roles. It was so early, he was still being billed as Charles Buchinsky! Of course I wasn’t going to miss it! 

HOUSE OF WAX stars Vincent Price as Professor Henry Jarrod, a talented wax sculptor in early 20th-century New York City. Jarrod’s museum, which features historical figures that look amazingly lifelike, is his pride and joy. However, his business partner, Matthew Burke (Roy Roberts), has grown impatient with his investment and decides he wants to burn down the wax museum for the insurance money. When Jarrod refuses to take part in the fraudulent scheme, Burke sets the museum on fire, leaving Jarrod presumed dead in the process. But Jarrod survives, and with the help of his mute henchman Igor (Charles Bronson), returns to open a new wax museum with a dark and dangerous twist… his exhibits are eerily lifelike because they are real bodies coated in wax. As his former friend Sue Allen (Phyllis Kirk) and her boyfriend Scott Andrews (Paul Picerni) snoop around the house of wax, they begin to suspect that Jarrod has lost his mind and has descended into the mad depths of murder. Will they be able to expose Jarrod’s gruesome secret, or will they become his next exhibit?!!

Directed by André de Toth, HOUSE OF WAX is a landmark horror film, notable for its early use of 3D and Vincent Price’s excellent performance. The film’s strength lies in its undeniably creepy premise, that of turning human beings into wax sculptures, as well as Price’s ability to blend sophistication with menace. Jarrod is quite the sympathetic character at first, but he’s gradually revealed to be certifiably insane as a result of his near-death experience, and that transformation is quite scary. Young Charles Bronson’s portrayal of Igor is also quite freaky. His cold, blank, murderous stare says, “I’ll kill you and not even think twice about it.” His stalking of the heroine, played by Phyllis Kirk, in the dark, spooky house of wax near the end, is one of the true highlights of the movie. It’s also fun seeing Carolyn Jones (AKA Morticia Addams) show up as a spirited victim of the madman! Of course, you can’t help but notice the moments set up for the 3D effects, which come off as quite gimmicky at this point. I specifically took note of the movie’s use of paddleballs and leg kicks! I must admit, however, that these dated elements add to the overall charm of HOUSE OF WAX as a reminder of the olden days of 50’s Hollywood! 

Overall, in my humble opinion, HOUSE OF WAX is a classic scary movie. It’s a perfect treat for fans of vintage horror as well as a testament to the magnetic screen presence of Vincent Price!

The TSL Horror Grindhouse: Fear City (dir by Abel Ferrara)


Welcome to Manhattan in the mid-80s!

While self-righteous vice cop Al Wheeler (Billy Dee Williams) patrols the streets with the fury of an Old Testament prophet, men flock to seedy bars to watch women like Loretta (Melanie Griffith) dance and strip.  Mobsters like Carmine (Rossano Brazzi) control the streets while club owners like Mike (Michael V. Gazzo) and Frank (Joe Santos) try to do business and make enough money to keep things open.  Bookers like Nicky Parzeno (Jack Scalia) and Lou Goldstein (Jan Murray) compete to see who can place their girls in the most clubs.  Nicky’s best friend and business partner, Matt Rossi (Tom Berenger), is haunted by his violent past as a boxer and his failed relationship with the drug-addicted Loretta.

Meanwhile, a nameless man (John Foster) practices nude tai chai in his warehouse apartment and writes feverishly in his journals.  At night, he stalks the streets with a blade in his hand.  He targets strippers, attacking them as they try to get home from the club.  Honey (Ola Ray) is attacked on a subway platform.  Loretta’s girlfriend, Leila (Rae Dawn Chong), is attacked on the streets.  Obsessed with Loretta’s safety, Matt struggles with his own inner demons as he prepares for a final confrontation with the killer….

1985’s Fear City is another one of director Abel Ferrara’s heavily stylized fever dreams.  In typical Ferrara fashion, the plot is so sordid that one might be tempted to think that the film is meant to be a self-parody and the dialogue mixes profane insults with bizarrely philosophical asides.  As played by Billy Dee Williams, Al Wheeler is not just a cop who wants to clean up New York and Times Square.  Instead, he’s a seething soldier to traditional morality and one who is so intense that it’s something of a shock that he doesn’t just walk around New York shooting people for jaywalking.  Meanwhile, Tom Berenger’s Matt is a hulking brute who is haunted by the time he killed a man in the ring.  He knows what he’s capable of and it scares him but, in order to save Loretta and his business, he’s going to have to become that deadly boxer once again.  “I hate Matt Rossi because he’s arrogant,” Al Wheeler says through gritted teeth.  Meanwhile, Matt deals with his own issues by trashing his office and then leaving the mess for someone else to clean up.  I’m not sure what that was supposed to accomplish but it’s apparently something that Matt just has to do.

Abel Ferrara directed this film five years before King of New York and, in some ways, Fear City feels like a dry run for King of New York.  Both films are highly stylized and both present New York as being a neon-lit Hell where the rich and the poor come together in mutual self-loathing and where the criminals often have more of a code of honor than the cops who are trying to stop them.  Of course, King of New York had Christopher Walken’s magnetic performance as Frank White holding the film and its many storylines together.  Fear City doesn’t really have that.  Billy Dee Williams, Tom Berenger, Jack Scalia, and Melanie Griffith all give strong performance but none of their characters are really quite compelling or grounded enough to keep the film from spinning off into delirious excess.

In other words, Fear City is a mess but it’s one of those over-the-top, shamelessly sordid messes that you really can’t look away from.  There’s enough philosophical dialogue to confirm that, as with King of New York, Ferrara was shooting at something more than just a typical exploitation film.  Unlike King of New York, Ferrara doesn’t quite succeed in saying anything particularly deep about the human condition in Fear City.  But that’s okay.  It’s an entertainingly sordid film.

October Hacks: The Ranger (dir by Jenn Wexler)


In 2018’s The Ranger, Chloe Levine gives a strong performance as Chelsea, a young woman who grew up visiting a remote cabin that was owned by her uncle, a reclusive writer.  Chelsea has never recovered from the mysterious death of her uncle.  (She says he was attacked by a wolf.)  Now, she’s a 20-something with pink hair.  She’s dating a wannabe punk rocker named Garth (Grant Lahu) and hanging out with Garth’s friends and bandmates, Abe (Bubba Weiler), Jerk (Jeremy Pope), and Amber (Amanda Grace Benitez).

Garth makes most of his money by dealing a drug called echo.  When the cops attempt to bust the group at a punk club, Garth reacts by stabbing a policeman.  Garth, Chelsea, Abe, Jerk, and Amber pile into their van and go on the run.  Their plan is to lay low until the heat dies down.  I don’t know how they’re planning on doing that in a van that is covered with graffiti and which has the word “ECHO” written on the side of it.

The group decides to hide out at Chelsea’s old cabin, which happens to be in the middle of a national park.  At the park, they run into a stern-faced park ranger (Jeremy Holm).  The Ranger tells them that, if they break any of the state park rules, he’ll have to come after them.  Everyone except for Chelsea laughs at the Ranger and they basically dare him to come arrest them.  The Rangers warns them that it’s hunting season and they need to wear bright clothing so they don’t get accidentally get mistaken for wildlife and shot.  Amber points at her blue hair and says that’s bright enough.  Jerk gives the Ranger the finger.  Garth smirks.  Uhmm …. aren’t these people supposed to be trying to hide from the law?  If you’re trying to lay low and not draw attention to yourself, why would you needlessly antagonize the first authority figure that you meet?  For that matter, why doesn’t anyone in this film change they’re very identifiable clothes?  Why doesn’t anyone cut their hair or do anything else that people do when they’re on the run?  Chelsea is fairly likable and I sympathized with her frustration over the way everyone in the movie treated her family’s cabin.  But Chelsea’s friends?  They’re not only obnoxious but they’re stupid as well.

Upon reaching Chelsea’s cabin, Garth immediately lights a cigarette in the living room.  Chelsea asks him not to smoke in the cabin.  Garth replies that nobody’s around who is going to care.  (Uhmm…. Chelsea cares, you idiot.)  Later, Garth and Amber decide to start a bonfire in the middle of the woods.  Again, these people are just amazingly stupid.  Fortunately, just when you feel that you can’t take much more of them, the Ranger starts killing them off.

The Ranger starts out strong.  Both Chloe Levine and Jeremy Holm give strong performances and many of the kills scenes are genuinely creative.  That said, I ended up getting a little bored once the focus shifted from the Ranger stalking Chelsea’s friends to the Ranger holding Chelsea prisoner.  Once the Ranger starts talking (and talking and talking) about his motives, he becomes a far less interesting and menacing character.  The Ranger is at its best when it focuses on being a wilderness slasher.

In the end, this film reminded me of why I don’t go camping.  You never know what might be in the woods.

Made For TV Horror: Death Car On The Freeway (dir by Hal Needham)


I, for one, am tired of the stereotype that women cannot drive.

I’m a woman and I can tell you right now that I am an above average driver.  I’ve only had one major accident.  Admittedly, I did smash into a parked car but it was raining and I really couldn’t see that well because I was driving convertible and the window was fogged up.  Plus, whoever parked that car must have done a bad job and left it sitting out in the middle of the street.  For the record, my convertible flipped over on impact so the parked car did far more damage than I did.

Other than that, I usually manage to stop in time for red lights.  I’ve only driven through a few stop signs and that was just because I didn’t notice them. I’ve very rarely been given a speeding ticket.  Instead, the police have always been very polite about just giving me a warning.  And yes, it is true that I have trouble with curbs and turns and going in reverse and all that but I’ve seen plenty of men do the same thing.

The statistics show that, while women are involved in more accidents, the accidents are more likely to be fatal if a man is driving.  Men are also more prone to get upset and pull a gun during a road rage incident whereas women just give other drivers the finger.  Women are not inherently bad or dangerous drivers.  The one exception, at least down here in Texas, are middle-aged women who drive SUVs with faded Beto stickers.  You really don’t want to get stuck behind one of them in traffic.

I found myself thinking about the misogyny behind the “women-are-bad-drivers” stereotype as I watched 1979’s Death Car On The FreewayDeath Car On The Freeway features a madman who is so sick of women driving in Los Angeles that he starts using his Dodge van to cause them to have accidents.  We don’t actually see his face or really learn much about him.  What we do see are his black-gloved hands on his steering wheel, which is a nifty homage to the giallo genre.  (Giallo killers have a thing for black gloves.)  Whenever the driver does try to force a woman into a fatal accident, he pops in an 8-track of hyperactive fiddle music.  The fiddle has never sounded more menacing than it does in Death Car On The Freeway.  It’s almost like prog rock fiddling.  Imagine a country western fiddler who has just done a mountain of cocaine and you’ll get a feeling for this guy’s taste in music.

News reporter Shelley Hack thinks that the public has the right to know that there’s a man causing women to crash their cars.  Her ex-husband, played to smarmy perfection by George Hamilton, thinks that Shelley should quit her current job and come work with him.  Meanwhile, police inspector Peter Graves is concerned that the media going to start a panic and make it more difficult for him to track down the “Freeway Fiddler.”  (One gets the feeling that Graves feels this entire mess could have been avoided if women had never been allowed to drive in the first place.)  At one point, Hack meets with a defensive driver instructor and he’s played by the film’s director, Hal Needham.

Oh, how I love this film!  Seriously, it’s got car chases, car crashes, 70s outfits, George Hamilton, Peter Graves, and a genuinely frightening villain.  This is one of those films where you might be tempted to be dismissive.  Folks like Dinah Shore, Sid Haig, and Abe Vigoda show up in small roles, reminding you that this really is a 70s made-for-TV movie.  But then, that fiddling explodes on the soundtrack, that van starts tailgating someone, and Death Car On The Freeway suddenly becomes a cinematic nightmare.  It’s not a surprise that Hal Needham was able to stage some impressive driving stunts in Death Car On The Freeway.  That was Hal Needham’s thing.  But Needham also manages to craft a compelling and, at times, genuinely frightening film.  Anyone who has ever glanced into their rearview mirror and suddenly realized that another vehicle is following them will be able to relate to the fear of the Fiddler’s victims.

This is a great movie and a reminder that women are not the most dangerous drivers on the streets.  Unless, of course, they’re driving an SUV with a faded Beto sticker….

Doctor Who — The Tomb of the Cybermen (1967, directed by Morris Barry)


In 1966, Doctor Who changed forever.

William Hartnell was in failing health and having difficulty remembering his lines.  He was also not getting along with the current production team and was unhappy with the direction of the show.  (He felt that it was getting too violent and dependent upon the bug-eyed monsters who he had originally been told would have no part of the show.)  It became obvious that Hartnell would not be able to continue as the Doctor.  At the same time, Doctor Who was an unqualified hit and one that the BBC wanted to keep going.

Producer Innes Lloyd and story editor Gerry Davis decided that since the Doctor was an alien, they could just say that he could transform himself physically at will, which would allow them to recast the role.  Hearing the news, Hartnell is said to have replied, “There’s only one man in England who can take over, and that’s Patrick Troughton.”

William Hartnell was correct.  Patrick Troughton, 46 at the time, was a stage-trained character actor who had become a television mainstay.  As opposed to Hartnell, whose Doctor was stern and stubborn, Troughton played the Doctor as being “a comic hobo,” (to quote show creator Sydney Newman).  The Second Doctor enjoyed his travels and had an unquenchable curiosity.  Like an interstellar Lt. Columbo, The Second Doctor often played the fool to get the better of his enemies.  He also become a father figure to many of his companions, a role that Troughton also played offscreen as well.

Unfortunately, many of the Second Doctor’s adventures are missing or are only available in audio form.  When I was growing up, my father and I would watch Doctor Who on PBS.  PBS started with the Fourth Doctor and the Fifth Doctor before then going back to the Third Doctor and then finally broadcasting what they had of The First and Second Doctor.  There were so few of the Second Doctor’s serials available that it only took PBS a month and a half to finish up with Troughton.  People like me got to know Troughton’s Doctor more through his later guest appearances (The Three Doctors, The Five Doctors, The Two Doctors) than through his original adventures.

The Tomb of the Cybermen is the earliest serial known to exist in its entirety to feature Troughton as the Second Doctor.  In this 4-epiosde serial (which also launched the show’s fifth series), The Doctor and his companions Jamie (Frazer Hines) and Victoria (Deborah Watling) materialize on the desolate planet Telos and discover an expedition of humans are trying to enter the Tomb of the Cybermen.

In those days before The Master, The Cybermen were one of the Doctor’s main recurring enemies.  Former humanoids who sacrificed their emotions and individual personalities to become cyborgs, the Cybermen were relentless and ruthless and just as dangerous as the Daleks.  (The Cyberman also had something Daleks lacked, the ability to climb stairs.)  In Tomb of the Cybermen, the expedition assumes that the Cybermen buried in the underground tomb are no longer functioning.  It turns out that the Cybermen are just waiting for someone to revive them.

Tomb of the Cybermen is a classic Doctor Who serial.  The plot borrows considerably from the legends about mummies and cursed Egyptian tombs.  The expedition arrogantly enters the tomb, despite being warned not to.  It turns out that the expedition’s leaders want to use the Cybermen as their own army and their willing to sacrifice everyone with them to try to achieve that goal.  The revived Cybermen aren’t interested in an alliance.  The Doctor and his companions try to escape the crypt while also ensuring that the Cybermen will never escape again.  The plot is simple but exciting.  The Second Doctor pretends to be baffled by the tomb and its technology but later reveals that he always understood more than he let on.

The Tomb of the Cybermen is not only a great Troughton showcase.  It’s also historically important as one of the first serials to really upset Britain’s moral guardians.  Reportedly, British children were left terrified and unable to sleep after witnessing the Cybermen bursting forth from their tombs.  The infamous Mary Whitehouse would often cite Doctor Who as being detrimental programming for children.  The Tomb of the Cybermen was one of the serials that she often cited as just being too violent and frightening.

It’s a shame that we don’t have more of Patrick Troughton’s serials to watch because The Tomb of Cybermen reveals him to be the prototype for almost every Doctor who would follow.  (There’s a small moment where The Doctor, Jamie, and Victoria hold hands while stepping into the Tomb and it says so much about who the Doctor was, post-Hartnell.)  I’m glad, though, that we do have this showcase of the Second Doctor at his best.

Warrior Queen (1987, directed by Chuck Vincent)


The place is Pompeii in the year 79 A.D.

One of the jewels of the Roman Empire, Pompeii is overseen by the decadent Clodius Flaucus (Donald Pleasence).  Despite the warning that the statues of the Temple of Jupiter have been crying salt and that a goat was recently born with the head of a human, Clodius refuses to believe that anything bad could happen to Pompeii.  (“I’d like to see the cow!” Clodius exclaims with  a laugh.)

In the arena, the gladiator Goliath (Marco Tullio Cau) throws deadly frisbees and demands slave girls as his reward for victory.  In the streets, all the women adore Marcus (Rick Hill) but he has eyes only for one of the new slaves, the comely virgin Vespa (Tally Chanel).  Vespa has been purchased by Berenice (Sybil Danning), a former mistress of Caesar who is secretly working to free the slaves.

Warrior Queen was directed by Chuck Vincent.  Vincent was a veteran of the adult film industry and was considered to be one of the best hardcore directors around.  His X-rated films were even positively written up in the New York Times.  In the 80s, he tried to go mainstream and ended up making movies like this one.  Produced by British B-movie impresario Harry Alan Towers and filmed largely in Italy, Warrior Queen was an attempt to capitalize on the minor sword-and-sorcery revival that followed the success of Conan the Barbarian.  There’s plenty of nudity and violence but there’s not much plot and the film feels much longer than its 70-minute run time.  When the volcano does erupt, it’s represented by stock footage and someone shaking the camera while filming the extras.  Pompeii has never looked so cheap.

The main attraction here is Sybil Danning and Donald Pleasence.  Pleasence gives it his all and earns however much he made for this movie.  Danning is only in a handful of scenes and can be seen yawning at several points in the movie.  I think she’s supposed to be the title character but she’s actually neither a warrior nor a queen.  Rick Hill (of Deathstalker fame) and Tally Chanel are at least appealing as the leads, even if Chanel looks more like a lost cheerleader than a Roman slave girl.

The main thing that I learned from watching this film is that the lava that hit Pompeii wasn’t actually that thick, wide, or deep and everyone should have been able to just hop over it and escape.  Anyone who died at Pompeii has no one but themselves to blame.

Horror Scenes That I Love: Neve Campbell in Scream


Today, the Shattered Lens wishes a happy birthday to actress Neve Campbell!

This horror scene that I love comes from 1996’s Scream.  In this scene, Sidney Prescott (Neve Campbell) explains to Ghostface why she doesn’t like horror movies.  Unfortunately, when you’re trapped in the middle of one, it really doesn’t matter whether you enjoy the genre or not.