A Movie A Day #348: Ride In The Whirlwind (1966, directed by Monte Hellman)


Three cowboys — Vern (Cameron Mitchell), Wes (Jack Nicholson), and Otis (Tom Filer) — are riding their horses across the old west when they come upon a cabin that is inhabited by one-eyed Blind Dick (Harry Dean Stanton) and his friends.  Though they suspect that Dick may be an outlaw, the cowboys accept his offer to stay the night.  The next morning, they wake up to discover that they are surrounded by a posse.  Mistaken for members of Dick’s gang, Vern and Wes go on the run.  Eventually, they find themselves hiding out at the home of Evan (George Mitchell), Catherine (Katherine Squire), and their daughter, Abigail (Millie Perkins).  While Wes and Vern wait for their chance to escape, the posse grows closer and closer.

A minimalistic western with a fatalistic outlook, Ride In The Whirlwind is today best known for being a pre-Easy Rider credit for Jack Nicholson.  Nicholson not only co-produced the film but he also wrote the script.  With that in mind, it’s not surprising that Nicholson not only gets the best lines but that he also comes close to getting the girl.  Of all the roles that Nicholson played before his star-making turn in Easy Rider, Wes probably comes the closest to being what would be considered to be a typical Jack Nicholson role.  Wes is sarcastic, quick with a quip, and alienated by mainstream society (represented here by the relentless posse).  Nicholson gives a confident performance and it is interesting to see him co-starring with some of the same actors, like Harry Dean Stanton, who would continue to be associated with him once he became a star.  Though the film may be dominated by Nicholson, Stanton also makes a strong impression and comes close to stealing the whole movie.

(Also of note is an early appearance by Rupert Crosse.  Years later, Crosse was set to co-star with Nicholson in The Last Detail but his early death led to Otis Young being cast in the role.)

With its dark outlook and anti-establishment theme, Ride In The Whirlwind was before its time and it struggled at the American box office.  (According to Monte Hellman, it was very popular in France.)  It would be another three years before American culture would catch up with Nicholson’s anti-establishment persona and Easy Rider would make him a star.

Advertisements

That’s Blaxploitation! 11: Jim Brown in SLAUGHTER (AIP 1972)


cracked rear viewer

Jim Brown  is one bad mother… no wait, that’s Richard Roundtree as Shaft! Jim Brown is one bad dude as SLAUGHTER, a 1972 Blaxploitation revenge yarn chock full of action. Brown’s imposing physical presence dominates the film, and he doesn’t have to do much in the acting department, ’cause Shakespeare this ain’t – it’s a balls to the wall, slam-bang flick courtesy of action specialist Jack Starrett (RUN ANGEL RUN, CLEOPATRA JONES , RACE WITH THE DEVIL) that doesn’t let up until the last second, resulting in one of the genre’s best.

Ex-Green Beret Slaughter (no first name given) is determined to get the bad guys who blew up his dad’s car, with dad in it! Seems dear ol’ dad was mob connected and knew too much. Slaughter’s reckless abandon in seeking revenge lands him in hot water with Treasury agents, and he’s “persuaded” to assist them in taking down…

View original post 339 more words

A Movie A Day #286: The Tomb (1986, directed by Fred Olen Ray)


 Sybil Danning is top-billed in The Tomb but she only appears at the very start of the film.  She lands an airplane on a landing strip in the middle of the Egyptian desert and then gets into a gunfight with two archeologists who have robbed a tomb and are now trying to sell off the artifacts.  When one of the archeologists aims his handgun at the plane and pulls the trigger, the plane explodes.  Though Sybil survives the gun fight, that’s it for her in this movie.  Since whatever modern-day audience The Tomb may have is largely going to be made up of nostalgic Sybil Danning fanboys, most people will probably stop watching once it becomes obvious that she is never coming back.

The rest of the movie is about the archeologists selling off the artifacts to greedy collectors like Cameron Mitchell (who spend the entire movie sitting in his office).  This ticks off the ancient Egyptian princess, Nefratis (Michelle Bauer), and she sets off to kill all of the collectors, one-by-one.

Like The Awakening and Blood From The Mummy’s Tomb, The Tomb claims to be based on Bram Stoker’s The Jewel of Seven Stars.   Actually, The Tomb is just an early Fred Olen Ray film, complete with Ray regulars like John Carradine, who gets even less screen time that Danning and Mitchell.  Like most early Ray films, it suffers due to a low budget but Ray’s enthusiastic, never-say-die spirit keeps things moving right along.  With most of the top-billed actors only appearing in a scene or two, the movie belongs to Bauer and she does the most that she can with her role, tearing apart hearts and swearing vengeance with real gusto.

One final note: during the opening credits, The Pharohs, a band that performed while wearing headresses and wrapped in banadages, performs Tutti Frutti.  That almost makes up for Sybil Danning only appearing in 3 minutes of the movie.

Horror on the Lens: Without Warning (dir by Greydon Clark)


For today’s horror on the Shattered Lens, we have 1980’s Without Warning.  

In this horror/sci-fi hybrid, humans are hunted by an alien hunter who uses a variety of weapons and … what was that?  No, we’re not watching Predator.  We’re watching Without Warning.  For the record, Without Warning and Predator may have almost exactly the same plot but Without Warning came out long before Predator.

(Interestingly enough, Kevin Peter Hall played the intergalactic hunter in both films.)

Anyway, Without Warning is probably the best film that Greydon Clark ever directed.  Some would say that’s not saying much but seriously, Without Warning is a surprisingly effective film.  It also has a large cast of guest stars, the majority of whom are killed off within minutes of their first appearance.  That alien takes no prisoners!  (I especially feel sorry for the cub scouts.)

Of course, the main characters are four teenagers.  One of them is played by David Caruso, which I have to admit amuses me to no end.

Enjoy!

The TSL’s Horror Grindhouse: Terror Night, aka Bloody Movie (dir by Nick Marino)


 

Okay, so this is kind of a weird one.

The movie known as Bloody Movie was originally filmed in 1987, under the title Terror Night.  However, it was never released.  There are plenty of rumors about why it wasn’t released.  Some people say that it was because the film was produced with Mafia money.  Some people say it was because it used a lot of footage that was lifted from other movies and the producers apparently didn’t bother to clear the rights.  Of course, it’s also totally possible that the film wasn’t released because it wasn’t very good.  I mean, that does happen.

Regardless of why, the film apparently sat on the shelf for 20 years.  It was finally released by Fred Olen Ray’s Retromedia and retitled Bloody Movie.  That said, the DVD that I own (and watched for this review) was released by Legacy Entertainment and still had the Terror Night title.  The transfer on the Legacy DVD was notably bad.  From what I’ve been told, the Retromedia release looks a lot better.

Now, there’s a lot bad things that can be said about Terror Night.  It’s low-budget, which is one of those things that can be overcome by a clever director but, in this case, it just results in Terror Night looking cheap.  It’s poorly written, full of one-dimensional characters who were shallow even by the standards of a late 80s slasher.  This is also one of those movies where formerly respectable actors pop up for five minutes cameos.  Whenever one of those actors shows up, all the action stops so that they can earn their paycheck.  Aldo Ray is homeless and doomed.  Cameron Mitchell is a cynical cop and doomed.  Alan Hale, Jr. is an affable security guard and apparently not doomed.  There’s no real reason for any of them to be there but there they are!  There’s also a biker couple who show up for no particular reason, along with the typical collection of teenage victims.

But yet, there are moments when Terror Night goes from being bland to being almost transcendently odd..  There are moments of comedy mixed in with some surprisingly mean-spirited death scenes.  Necks are snapped.  Heads are chopped off.  Bodies are split in half.  It all gets rather messy and the presence of all those old time actors makes the sudden gore scenes feel all the more strange.

However, the main thing that distinguishes Terror Night from the other slashers of the era is the identity of the killer.  (And, before anyone yells at me, this is not a spoiler.  There is never any mystery about who the killer is.)  Lance Hayward is not a zombie like Jason Voorhees or a silent symbol of evil like Michael Myers.  He’s not seeking vengeance for some crime in the past.  Instead, he’s a former silent screen star.  (It seems like Hayward would have been close to 90 years old at the time of Terror Night.  He’s still surprisingly spry.)  Hayward commits his murders while wearing costumes from his old movies.  Adding to the strangeness of the whole scenario is that actual silent footage is spliced into the murder scenes.  Most of the footage comes from movies like The Thief of Baghdad, The Black Pirate, and the Gaucho.  You have to wonder if Douglas Fairbanks cheated the director’s father or something.

(Since Hayward spends most of the movie in costume, I’m assuming that he was mostly played by stuntmen.  When Hayward actually shows his face, he’s played by one-time Oscar nominee, John Ireland.  At the height of his career, Ireland co-starred in films like All The King’s Men.)

As to why a silent scream star would be murdering teenagers … well, your guess is as good as mine.  It’s a strange film, a mix of gore and nostalgia.  I wouldn’t necessarily recommend it but I still always appreciate anything this strange.

A Movie A Day #156: Slaughter (1972, directed by Jack Starrett)


The Mafia just pissed off the wrong ex-Green Beret.

After his father is blown up by a car bomb, Captain Slaughter (Jim Brown) single handily wipes out the Cleveland mob.  Only one gangster, Dominic Hoffo (Rip Torn), escapes to South America.  The Treasury Department (represented by Cameron Mitchell) sends Slaughter and two other agents (Don Gordon and Marlene Clark) after Hoffo.  Along with being a ruthless gangster, Hoffo is a viscous racist and is convinced that he will be able to easily take care of Slaughter.  Hoffo does not understand how much trouble he’s in.  No one stops Slaughter.

Produced by American International Pictures, Slaughter is one of the classic blaxploitation films. While it may not have the political subtext of some of the best blaxploitation films, Slaughter is a fast and mean action film, directed in a no nonsense manner by B-movie veteran Jack Starrett.  There is not a wasted moment to be found in Slaughter.  It starts and ends with cars exploding and, in between, it doesn’t even stop to catch its breath.

In the 1970s, Richard Roundtree was John Shaft, Ron O’Neal was Superfly, Jim Kelly was Black Belt Jones, Fred Williamson was Black Caesar, and Jim Brown was Slaughter.  Whatever skills Jim Brown lacked as an actor, he made up for with sheer presence.  He commanded the screen.  Whether he was playing football on television or beating down the Mafia in the movies, no one could stop Jim Brown.  Slaughter is Brown at his toughest.  Rip Torn is the perfect villain, screaming out racial slurs even when Slaughter has him trapped in an overturned car.   Jim Brown has said that, of all the films he has made, Slaughter is one of his three favorites.  (The other two were The Dirty Dozen and Mars Attacks!)

Slaughter‘s cool factor is increased by the presence of Stella Stevens, playing the role of Ann, Hoffo’s mistress.  It only takes one night with Slaughter for Ann to switch sides.  Nothing stops Slaughter.

The Fabulous Forties #22: Adventures of Gallant Bess (dir by Lew Landers)


Adventures_of_Gallant_Bess_FilmPoster

For nearly a month now, I’ve been making my way through the 50 films included in Mill Creek’s Fabulous Forties box set.  Like most Mill Creek box sets, the Fabulous Forties is full of public domain films.  Some of them are surprisingly good and some of them are surprisingly bad.  And then there are others that are somewhere right in the middle of bad and good.  These are films that may not be great works of cinematic art but, at the very least, they serve as a time capsule of the period in which they were made.

The 22nd film in the Fabulous Forties box set, 1948’s Adventures of Gallant Bess, is just such a film.  Obviously made to appeal to family audiences, Adventures of Gallant Bess tells a fairly predictable story.  Cowboy Ted Daniels (a youngish Cameron Mitchell) captures a wild mustang named Bess.  Ted and Bess soon become inseparable but, during a visit to the local town, Bess gets riled up and destroys a few cars.  Ted is told that he has to pay for the cars but he doesn’t have any money.  So, he enters the local rodeo.

However, the rodeo is operated by the evil Bud Millerick (James Millican) and Bud wants Bess for his own.  So, he arranges for Ted’s leg to be broken by a bull.  Injured and unable to work, Ted is forced to sell his beloved Bess to Bud.  Once Ted recovers, he discovers that Bud is abusing Bess and forcing her to perform in a demeaning rodeo show.  What’s a cowboy to do but steal back his horse?

You can probably guess everything that happens in Adventures of Gallant Bess just from reading the plot description but it’s still a pretty likable film.  Bess is a wonderful horse and there’s something oddly endearing about the obviously cheap sets and the often melodramatic performances.  Cameron Mitchell, of course, is best known for appearing in films like Blood and Black Lace, The Toolbox Murders, The Demon, The Swarm, and Space Mutiny, so it’s definitely interesting to see him playing a simple and honest cowboy here.

(It’s actually difficult to recognize Mitchell until he smiles.  Once you see that smirk, you know exactly who is playing Ted Daniels.)

Adventures of Gallant Bess was filmed in color, which was a big deal in 1948.  Seen today, it is so saturated with color (and so obviously filmed on sound stages) that the movie actually looks like a live action cartoon.  Seen today, it’s perhaps a little too easy to be dismissive of this old-fashioned film but I imagine that, in the 40s, it was quite a fun movie to watch.

And you can watch it below!