Late Night Retro Television Review: CHiPs 2.4 “Disaster Squad”

Posted on May 13, 2024 by Lisa Marie Bowman

Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Mondays, I will be reviewing CHiPs, which ran on NBC from 1977 to 1983. The entire show is currently streaming on Freevee!

This week, Ponch attacks a reporter …. or does he?

Episode 2.4 “Disaster Squad”

(Dir by Gordon Hessler, originally aired on October 7th, 1978)

In a change-of-pace for this show, it’s Officer Jon Baker who gets a girlfriend in this week’s episode. Ellen Roberts (Liberty Godshall) is a recently divorced woman with an annoying 4 year-old named Chris (Christian Zika). Because Baker doesn’t want any kids around to ruin his action, he gets Ponch to hang out with Chris. Fortunately, it turns out that Chris loves motorcycle and even owns his own mini-bike.

Impressed by how well Chris can handle his bike, Ponch enters Chris in a children’s dirt bike race. When one of the other racers knocks Chris down in the middle of the race, an angry Chris says that he’s going to hit the other racer. Ponch tells Chris to never hit anyone and he says that he’s ashamed to hear Chris speak like that. Chris promises not to ever fight.

But then, the next morning, Chris turns on the TV and sees a report about Ponch punching out an obnoxious news reporter (Harvey Jason) who got in the way while Ponch and Jon were dealing with a suicidal motorist. The anchorman (played by Regis Philbin!) then comes on TV and basically says that Ponch is the epitome of everything bad about the police. Chris starts sobbing. Ponch lied about not fighting! Chris hops on his mini-bike and, still crying, drives away.

What Chris doesn’t know is that Ponch was set up. Lee and the members of “the Disaster Squad” have been following Ponch and Baker around, filming accidents, and getting in the way. (At one point, one of Lee’s men event tosses a road flair under a car that’s leaking oil, causing an explosion.) Lee doctored the tape of an earlier confrontation with Ponch to make it appear the Ponch threatened and hit him.

But that doesn’t matter to Chris. With tears flowing down his cheeks, he drives his little motorcycle into the Los Angeles river. Fortunately, Ponch and Baker find him in time to save his life and teach him an important lesson about fake news.

This episode …. where to begin? It opened with a good chase scene and it featured a truck flipping over so that was good. But then bratty little Chris showed up and the whole episode went downhill. The child playing Chris was, to be charitable, not exactly the world’s best actor and his over-the-top reaction to seeing Ponch hit someone was bit too silly to inspire anything other than a chuckle. “Ponch said never to hit anyone!” Chris wails. Well, kid, Ponch is a damn hypocrite. Sorry.

It was all pretty silly. Baker finally got to do something other than gaze at Ponch in amazement but, in the end, the story was still pretty much Ponch-centered. One thing I noticed about this episode is that Getraer had absolutely no sympathy for Ponch, even though he believed Ponch was being set up. Seriously, I get that Getraer has a lot to deal with but does he have to be a jerk all the time?

Next week …. Ponch and Baker continue to keep California safe!

Late Night Retro Television Review: CHiPs 1.20 “Rainy Day”

Posted on April 1, 2024 by Lisa Marie Bowman

What would CHiPs be like without motorcycles? We’re about to find out.

Episode 1.20 “Rainy Day”

(Dir by Gordon Hessler, originally aired on March 2nd, 1978)

While riding his motorcycle on the California highway, Baker groans as he feels a drop of water. He tells Ponch that it’s going to rain and the two of them are going to end up getting stuck in a patrol car.

“It’s only sprinkling!” Ponch replies.

One jump cut later and Ponch and Baker are trapped in the middle of a downpour. Despite the heavy rain and the fact that they’re getting soaked, they still manage to save a teacher after a car swerves on the slick road and hits her school bus. (Apparently, in 1978, teachers also had to drive the school buses.) The teacher is young and attractive so, of course, Ponch tells her that she and her students can drop by the station and see him any time that they want.

As for the rain, it turns out that Baker was right. After giving them a hard time about their wet uniforms (and not even bothering to acknowledge that those uniforms got wet while Baker and Ponch were saving someone’s life), Getraer assigns them to a patrol car for the day. It’s a new patrol car so Getraer warns them not to get a scratch on it. Usually, I can kind of understand why Getraer is a bit weary of Ponch but, in this episode, the guy’s just a jerk about everything.

You can probably already guess what the main problem with this episode is. The appeal of CHiPs, at least from what I’ve seen so far, is that it features a lot of exciting motorcycle stunts. Chase scenes involving motorcycles are fun to watch because motorcycles can go extremely fast and they can weave in-and-out of traffic. The show works best when Ponch and Baker are on their motorcycles. This episodes put them in a bulky, slow-moving squad car. Even stuck in the car, Ponch and Baker manage to catch a car thief and they put an end to an illegal gambling casino that’s been hidden inside of an RV. But it really doesn’t matter because they’re in a squad car. There’s nothing exciting about a squad car.

And yes, the squad car does get trashed, specifically while Ponch and Baker are chasing a degenerate gambler (Herb Edelman) who was seeking revenge against the RV casino. Getraer is not happy about the damage to the car, despite the fact that there really wasn’t any way to avoid it and Ponch and Baker managed to prevent a lot of people from getting injured. Fortunately, Officer Grossman (Paul Linke) accidentally backs into the squad car, leaving it ambiguous as to who is responsible for what damage. Getraer will just have to get mad at everyone, I guess.

I love the rain so I did appreciate the fact that this episode featured a lot of it. But otherwise, the whole thing just felt off. I don’t care how wet it is outside. Baker and Ponch just do not belong in a car.

KISS Meets The Phantom Of The Park (1978, directed by Gordon Hessler)

Posted on October 16, 2023 by Jedadiah Leland

In 1978, KISS appeared to have it all. The band was famous for both their makeup and their anthemic stadium rock. They had just released not only a new studio album but also four solo albums. They had starred in their own Marvel comic and gained notoriety for supposedly allowing their blood to mixed in with the comic’s ink. Teenagers loved KISS and parents and religious leaders feared that the band’s name stood for Knights In Satan’s Service. KISS had everything except for motion picture stardom.

KISS Meets The Phantom Of The Park was supposed to change that. The film starred Anthony Zerbe as Abner Devereaux, an engineer and an expert at animatronics who loses his job at Magic Mountain and seeks revenge by using robot versions of KISS to drive the audience of their concert to riot. Fortunately, the real members of KISS are not just rock stars but also alien beings who descend from the heavens and shoot lightning bolts from their eyes. (Gene Simmons can breathe fire.) The real KISS isn’t going to allow their fan to be manipulated by a robot version of the band, which leads to a battle between KISS and the robots that protect Abner’s underground lair.

KISS Meets The Phantom of the Park aired on NBC on October 28th, 1978. It was later given a theatrical release in Europe, where it was re-edited and retitled Attack of the Phantom. Since then, it has become a very difficult film to see. (On Amazon, old VHS copies go for several hundred dollars.) One reason why the movie is so hard to see is because the members of the KISS hated the movie and felt that they were portrayed as being clowns instead of super heroes. Even though the members of the band have since mellowed out about the film (with Gene Simmons suggesting it should be viewed on a double bill with Plan 9 From Outer Space), KISS Meets The Phantom Of The Park is still a film that is more talked about than actually watched.

While looking for clips of the movie on YouTube, I came across an upload of the entire film. The only problem was that all of the dialogue was dubbed into German and that’s not a language that I speak. Still, figuring that you have to take your opportunities when they’re available, I decided to watch. I figured that the dialogue might not actually be that important and it wasn’t. I was able to follow the plot just fine. (The only weird thing about watching the move in German was listening to the members of the band speak in something other than a New York accent.) Fortunately, there’s actually more singing than talking in Kiss Meets The Phantom Of The Park and the songs are untouched and in English. KISS plays Magic Mountain in the film and they actually performed a real concert for filming. Those are real fans of the band going crazy whenever Gene Simmons sticks out his tongue.

The movie itself is definitely a product of its time and not meant to be taken seriously. The members of KISS are both aliens that descend from the heavens and rock musicians and they are never seen without their makeup. Even when they’re hanging out at a hotel pool, they are in full costume and they’re wearing their makeup. When the members of the band enter the Phantom’s underground lab, they have to fight a series of very 70s robots, including some that know karate and two who have lightsabers. For better or worse, it’s a very silly move that epitomizes an era. The special effects are cheesy, the members of the band often look straight at the camera, and the rest of the cast does what they can with what they’ve been given. Anthony Zerbe plays the Phantom with a hint of empathy while Deborah Ryan is the ingenue who searched for her missing boyfriend while Beth plays on the soundtrack. Keep an eye out for Brion James, playing a security guard.

Overall, the band probably would have been smarter to just release a concert film but then the rest of us wouldn’t have the fun of watching Paul Stanley face off against a robot version of Bruce Lee. KISS Meets The Phantom of The Park is worth watching at least once, even in German!

Retro Television Reviews: The Master 1.13 “A Place To Call Home”

Posted on August 4, 2023 by Lisa Marie Bowman

Welcome to Retro Television Reviews, a new feature where we review some of our favorite and least favorite shows of the past! On Fridays, I will be reviewing The Master, which ran on NBC from January to August of 1984. The show can be found on Tubi!

This week, The Master comes to an end.

Episode 1.13 “A Place To Call Home”

(Dir by Gordon Hessler, originally aired on August 31st, 1984)

The Master ends in much the same way that it began, with Max and John Peter McAllister in a small town that is controlled by an evil businessman. In this case, land developer Mark Richards (Jock Mahoney) wants to run the local orphanage out of town so that he can steal the land and expand his uranium mine. Max and McAllister not only help Kim Anderson (Susan Woollen) save her orphanage but they also provide some much-needed mentoring to two of the orphans, Mike (Doug Toby) and Bobby (played by Kane Kosugi). Bobby, it turns out, has some martial arts skills of his own! It’s amazing how McAllister and Max were always traveling to small towns that just happened to be home to other people who knew karate.

Though his son plays Bobby, Sho Kosugi does not appear in this episode, which is a shame considering that it would be turn out to be the show’s finale. For that matter, the show ends with McAllister having yet to find his daughter. In fact, Terri McAllister is only mentioned briefly at the end of the episode, when McAllister says that he and Max have to get back on the road because “I’m looking for my daughter.” Considering that the whole premise of the show was that McAllister was searching for Terri while Okassa was searching for McAllister, it seems like neither was really in a hurry to accomplish their goals.

A Place To Call Home feels like a greatest hits package, duplicating the plot of the pilot while tossing in a bit of the union episode‘s political subtext. Even the scene where McAllister attempts to hop onto a helicopter feels a bit reminiscent of the ghost town episode. The Master ended with an episode that resolved nothing and didn’t really bring anything new to show’s format.

Why did The Master end after thirteen episodes? When taken as a whole, the show wasn’t as bad as its reputation. While the stunt doubles did most of the work, Lee Van Cleef and Tim Van Patten still managed to develop a likable chemistry over the course of 13 episodes. At first, the show’s writer stried too hard to play up the idea of Max Keller being a rebel with a chip on his shoulder but, after the first few episodes, it appears that they realized that Van Patten’s greatest strength as an actor was that he had a sort of amiable goofiness to him. The stories were predictable but the fight scenes were usually (if not always) well-choreographed and entertaining. The stunt people earned their paycheck.

In the end, though, I think The Master never quite figured what it wanted to be. Did it want to be a straight action show? Did it want to be a goofy buddy comedy? In some episodes, McAllister was apparently a famous and well-known figure. In others, he was a total unknown. In some episodes, finding Terri was the most important thing in his life. In others, he really didn’t seem to care. The best episodes were the ones that winked at the audience and acknowledged just how ludicrous the whole thing was. But, far too often, The Master became a generic crime show that just happened to feature martial arts.

The Master is finished and, to my surprise, I’m going to kind of miss it. It had potential. But, it’s time to move on to a new series. Get ready because next week, it’s time for T & T!

Retro Television Reviews: The Master 1.12 “Rogues”

Posted on July 28, 2023 by Lisa Marie Bowman

Max and McAllister continue their trip through California!

Episode 1.12 “Rogues”

(Dir by Gordon Hessler, originally aired on August 10th, 1984)

This week’s episode finds Max and McAllister on Los Angeles’s famed Rodeo Drive. We know that this episode takes place on Rodeo Drive because every single establishing shot opens with a close-up of the street sign. It’s as if someone in production said, “Do not let them forget that this episode is not only set on Rodeo Drive but we filmed it there as well!”

Wow, a television program filmed in Los Angeles! The Master was all about spoiling their audience.

Here’s my thing with Rodeo Drive — the word is pronounced Ro-Dee-O. Get out of here with all that Roe-Day-O nonsense, you yankees.

Anyway, this episode continues last week’s theme of McAllister and Max dropping in on people from Max’s past. Apparently, the hunt for John Peter McAllister’s long lost daughter has been abandoned so that Max can drop in on his old high school buddies. Seeing as how it hasn’t even been ten years since Max graduated from high school whereas McAllister has never even met his daughter and it’s totally possible that McAllister’s ninja rivals may be trying to kill her, it seems a bit odd that this is what Max and McAllister are concentrating on but whatever. We’re nearly done with this show anyway.

Max visits his ex-girlfriend, Talia (Cindy Harrell), at the health club where she works. Talia is an aerobics instructor, which means that there’s a lot of spandex in this episode. While McAllister deals with a trainer who takes one look at him and declares him to be in terrible shape (and she has a point because, unlike his stunt double, Lee Van Cleef was noticeably overweight and often seemed to be winded on The Master), Max talks to Talia and discovers that Talia’s brother, Jerry (Paul Tulley), became a cop and is now missing! Max promises to help her find Jerry.

However, it turns out that Jerry is just hiding outside the health club. When he sees Max’s van, he tosses a note inside of it, asking Max and McAllister to meet him. (How exactly did Jerry know that Max and McAllister would be able to help him?) It turns out that, while investigating a series of Rodeo Drive robberies, Jerry discovered that the culprits were rogue cops who had been hired by a local gallery owner. Now, the crooked policemen are after Jerry! Needless to say, it’s time for McAllister to put on his black ninja outfit so that Lee Van Cleef’s stunt double can beat up some corrupt law enforcers!

This was not a particularly memorable episode. The corrupt cops were generic villains and even the fight scenes, which were usually The Master‘s saving grace, felt sloppy and rushed. While it was always obvious that this show was dependent on stunt doubles, it was especially obvious in this episode as the stand-ins for both Van Cleef and Van Patten didn’t even resemble their respective actors. There was a brief moment of hope when the action moved to one of those police academy shooting ranges, full of fake buildings and cardboard targets but the show never really took advantage of the location’s potential. This was one of those episodes where it felt like the basic plot could have been used for a dozen other shows without having to make anything more than a few cosmetic changes. It could have just as easily been an episode of Half Nelson.

(L.A. — you belong to me! No, no, we’ve moved on….)

Next week …. The Master ends! Will McAllister even mention his missing daughter during the show’s final episode? We’ll find out!

Retro Television Reviews: The Master 1.9 “Kunoichi”

Posted on July 7, 2023 by Lisa Marie Bowman

This week, McAllister and Max head to Washington, D.C.!

Episode 1.9 “Kunoichi”

(Dir by Gordon Hessler, originally aired on April 9th, 1984)

The 9th episode of The Master opens by showing us what Okasa (Sho Kosugi) has been doing since coming to America to track down and kill his former teacher, John Peter McAllister (Lee Van Cleef). Okasa has been training an apprentice of his own. The apprentice ninja is always seen while wearing a light gray ninja uniform, the better to keep the apprentice’s identity a secret until halfway through the episode.

Meanwhile, McAllister and Max (Tim Van Patten) are in Washington, D.C. As McAllister explains it, he was good friends with Brian Elkwood (Jack Kelly) when they both served in the Army together. During the Korean War, they were both held in the same POW camp and they escaped together. (This, of course, goes against McAllister’s previous backstory, which was that he left the Army after World War II and spent the next 40 years hidden away in Japan.) Elkwood is now an important advisor to the President. Apparently, Elkwood sent McAllister a letter informing him that a spy known as The Hawk was threatening his life so McAllister has come to Washington to protect him. (How exactly McAllister received a letter when he and Max are constantly driving around the country in search of McAllister’s daughter is not explained.)

At the Elkwood estate, Brian Elkwood tells his assistant, Allison Grant (Kelly Harmon), that he has been receiving letters from John Peter McAllister in which McAllister has threatened to kill him. Allison argues that McAllister has always been Elkwood’s friend but Elkwood says that people can change. Elkwood’s head of security, Ron Gordon (Rick Hill), is concerned not only about McAllister but also about uncovering the identity of The Hawk.

Or at least, that’s what Gordon claims. A few scenes later, we discover that Gordon actually is The Hawk and that he’s hired Okasa to assassinate Elkwood. Okasa is planning on framing McAllister for the assassination. The assassination will be carried about his apprentice, who we learn is close to Elkwood. The episode tries to build up a lot of suspense over who Okasa’s apprentice actually is but it’s actually pretty easy to figure out. Elkwood is not the apprentice because he’s the target. Gordon is the not apprentice because he’s the Hawk. There’s only one other guest star on this episode so obviously, the apprentice is Allison. Myself, I’m just confused as to when Okasa’s mission went from personally killing McAllister to framing him for murder.

Eventually, McAllister is able to convince Elkwood that he didn’t write the threatening letters but a sudden attack of Okasa’s apprentice leaves Elkwood hospitalized and McAllister arrested for attempted murder. Fortunately, Max is able to use his ninja training to help McAllister escape from jail and they manage to not only prevent the second attempt on Elkwood’s life but they also expose both Gordon and Allison as being enemies of the state. Yay!

This is one of those episodes where everyone, with the exception of Sho Kosugi, steps to the side and lets their stunt doubles do most of the work. There’s a lot of fights but they are all awkwardly choreographed and framed, probably in an attempt to keep the audience from noticing that Lee Van Cleef’s stunt person was notably thinner and more athletic than Lee was. As far as episodes of The Master are concerned, this was not a bad one but it still ultimately leaves the viewer feeling that it could have been so much better.

Retro Television Reviews: The Master 1.7 “Juggernaut”

Posted on June 23, 2023 by Lisa Marie Bowman

This week, Lee Van Cleef gets a chance to show off what he can do!

Episode 1.7 “Juggernaut”

(Dir by Gordon Hessler, originally aired on March 16th, 1984)

This week’s episode of The Master opens with Max’s totally groovy van driving across what appears to be farmland. Judging from the mountains in the background, it appears that they are back in California. (If they did mention their specific location during this episode, I missed it.) Last week, as you may remember, Max and McAllister were looking for McAllister’s daughter in Louisiana. Now, they’re apparently just hanging out in California again. It’s odd that McAllister left behind his life in Japan so that he could come to America to find his daughter but, now that he’s actually in America, there doesn’t really seem to be any sense of urgency when it comes to actually tracking her down.

Inside the van, McAllister informs Max that he’s concerned about the way that Max is always losing his temper and starting fights. Max promises that there will be no more unprovoked fights on his part. When they stop in front of a local bar, Max says he’s going to get a beer but he also promises McAllister that he will not be getting tossed through the bar’s window.

Five minutes later:

Now, in all fairness, it isn’t totally Max’s fault that he got thrown through that window. Max went in the bar and saw Alan Kane (veteran TV and movie bad guy William Smith) harassing Cat Sinclair (Tara Buckman). When Max told Alan to back off, Alan challenged Max to a fight. Max was forced to explain that he’s not allowed to fight. Cat rolled her eyes and then Alan tossed Max through the window. Seeing that his protegee is in trouble, McAllister enters the bar, beats up Alan, and saves Max and Cat.

Even though Cat is not impressed with Max’s refusal to fight, she still gets in his van and allows him to give her a ride home. It turns out that Cat and her mother, Maggie (Diana Muldaur), are farmers but an evil land baron named Hellman (Stuart Whitman) is trying to intimidate them off their land. Alan works for Hellman and, because of him and his thugs, none of the farmers have been able to get their crops to market.

Both Cat and Maggie refuse to accept any help from Max and McAllister so our heroes get back in their totally happening van and try to leave town. However, when one of Hellman’s truckers runs the love van off the road, the engine is damaged and the local mechanic informs Max that it will take 48 hours to fix it. Stranded in town, Max searches for proof that Hellman’s trucker was the one who ran them off the road. Meanwhile, McAllister returns to the farm and, turning on some of that Lee Van Cleef charm, proceeds to fall in love with Maggie.

If any of this sounds familiar, it’s because, with the exception of McAllister falling in love, it’s pretty much the same thing that happened in not only the first episode but also the third episode. Max and McAllister have an uncanny talent for randomly wandering into towns that are controlled by evil businessmen. Just as the first and third episodes featured Max giving impassioned speeches about the rights of the workers, this episode features McAllister giving a speech at a meeting in a barn.

While McAllister is giving his speech, Max is getting arrested for snooping around Hellman’s property. Fortunately, McAllister puts on a fake beard and breaks him out of jail. McAllister then directs the farmers to form a convoy and to work together to get their crops to market. Though Alan attempts to set off a bunch of explosives on the way, McAllister uses a cropduster to fool Alan into setting off the explosions early. Then, Lee Van Cleef’s stunt double beats up Hellman. McAllister and Max congratulate each other on a job well done.

Having saved the farmers and beaten up the bad guys, it’s time for Max and McAllister to once again continue their journey across America. McAllister may love Maggie but he still needs to (eventually) find his daughter so he gets in the Chevy van and waves goodbye.

As I said before, this episode felt very familiar. It’s probably not a good sign that, after just seven episodes, The Master was pretty much repeating itself. That said, the episode did feature the great William Smith playing yet another rural bully and Stuart Whitman always made for a convincing villain. With Max sidelined by McAllister’s demand that he stop fighting, Lee Van Cleef got his moment to shine in this episode. He was obviously frail, making it all the more obvious that his fight scenes involved a stunt man, but Van Cleef still got a chance to show off some of his old school movie star charisma.

Next week: The Master steals the Crown Jewels of the United Kingdom! …. sure, why not?

The Strange Possession of Mrs. Oliver (1977, directed by Gordon Hessler)

Posted on October 19, 2022 by Jedadiah Leland

Miriam Oliver (Karen Black) is a prim housewife who always keep her hair in a tight bun and who wears eyeglasses. After she starts to have dreams about going to her own funeral, Mrs. Oliver’s personality starts to change. Her husband, Greg (George Hamilton), can only watch as Mrs. Oliver puts on a blonde wig, ditches her eyeglasses, and starts to dress in revealing clothes. Greg wants to concentrate on starting a family but the new Mrs. Oliver only cares about going out and partying all night. She also wants to move into a new house, one that was previously owned by a woman named Sandy. Sandy, who was a student of the occult, died in a mysterious fire.

The Strange Possession of Mrs. Oliver is a good made-for-TV movie that gives viewers two Karen Blacks for the price of one! Black is undeniably sexy, whether she’s playing the prim Mrs. Oliver or the wild Sandy. But she also delivers a really good performance as she switches back and forth from being Mrs. Oliver and being Sandy. Richard Matheson provides an intelligent script while Gordon Hessler’s direction keeps you guessing as to whether Mrs. Oliver is truly possessed or if she’s just having a mental breakdown of some sort. This is an enjoyably twisty thriller with a good ending and a knockout performance from Karen Black.

8 Shots From 8 Films: The Late 60s

Posted on October 8, 2022 by Lisa Marie Bowman

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 the late 60s!

8 Shots From 8 Horror Films: The Late 60s

Torture Garden (1967, dir by Freddie Francis, DP: Norman Warwick)

The Sorcerers (1967, dir by Michael Reeves, DP: Stanley Long)

Rosemary’s Baby (1968, dir by Roman Polanski, DP: William A. Fraker)

The Witchfinder General (1968, dir by Michael Reeves, DP: John Coquillon)

Night of the Living Dead (1968, dir by George Romero, DP: George Romero)

The Rape of the Vampire (1968, dir by Jean Rollin, DP: Jean Rollin)

Dracula Has Risen From The Grave (1968, dir by Freddie Francis, DP: Arthur Grant)

Scream and Scream Again (1969, dir by Gordon Hessler, DP: John Coquillon)

4 Shots From 4 Vincent Price Films

Posted on October 13, 2021 by Lisa Marie Bowman

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!

I woke up today to discover that Vincent Price was trending on Twitter. He was specifically trending because someone did a thread about Price’s political activism. This was something that I already knew about but most people on Twitter are stunned to discover that people actually did good things before the creation of social media.

Once I got over feeling elitist and superior, I thought to myself that it was actually kind of nice that people still love Vincent Price. He’s definitely one of my favorite actors. He started out as a mainstream studio actor, reading for the role of Ashley Wilkes in Gone With The Window and being considered for Mr. Potter in It’s A Wonderful Life. But he found his true stardom as a horror actor, bringing life to films that often would have been dead without his wonderful presence.

There’s no way that we can do Horrorthon without paying tribute to the great Vincent Price. Here are….

4 Shots From 4 Vincent Price Films!