Tag Archives: grindhouse

The TSL Horror Grindhouse: The Dunwich Horror (dir by Daniel Haller)

Posted on by Lisa Marie Bowman

Look at me/I’m Sandra Dee….

First released in the groovy and psychedelic year of 1970, The Dunwich Horror stars Sandra Dee as Nancy, an somewhat innocent grad student at Massachusetts’s Miskatonic University.  When the mysterious Wilbur Wheatley (Dean Stockwell) comes to the university and asks to take a look at a very rare book called The Necronomicon, Nancy agrees.  She does so even though there’s only one edition of The Necronomicon in existence and it’s supposed to be protected at all costs.  Maybe it’s Wilbur’s hypnotic eyes that convince Nancy to allow him to see and manhandle the book.  Prof. Henry Armitage (Ed Begley) is not happy to see Wilbur reading the book and he warns Nancy that the Wheatleys are no good.

Nancy still agrees to give Wilbur a ride back to his hometown of Dunwich.  She finds herself enchanted by the mysterious Wilbur and she’s intrigued as to why so many people in the town seem to hate Wilbur and his father (Sam Jaffe).  Soon, she is staying at Wilbur’s mansion and has apparently forgotten about actually returning to Miskatonic.  She has fallen under Wilbur’s spell and it soon becomes clear that Wilbur has sinister plans of his own.  It’s time to start chanting about the Old Ones and the eldritch powers while naked cultists run along the beach and Nancy writhes on an altar.  We are in Lovecraft county!

Actually, it’s tempting to wonder just how exactly H.P. Lovecraft would have felt about this adaptation of his short story.  On the one hand, it captures the chilly New England atmosphere of Lovecraft’s work and it features references to such Lovecraft mainstays as Miskatonic University, the Necronomicon, and the Old Ones.  As was often the case with Lovecraft’s stories, the main characters are students and academics.  At the same time, this is very much a film of the late 60s/early 70s.  That means that there are random naked hippies, odd camera angles, and frequent use of the zoom lens.  The film makes frequent use of solarization and other psychedelic effects that were all the rage in 1970.  Lovecraft may have been an unconventional thinker but I’m still not sure he would have appreciated seeing his fearsome cult transformed into a bunch of body-painting hippies.

Really, the true pleasure of The Dunwich Horror is watching a very earnest Sandra Dee act opposite a very stoned Dean Stockwell.  Stockwell was a charter member of the Hollywood counterculture, a friend of Dennis Hopper’s who had gone from being a top Hollywood child actor to playing hippie gurus in numerous AIP films.  As for Sandra Dee, one gets the feeling that this film was an attempt to change her square image.  When Wilbur tells Nancy that her nightmares sound like they’re sexual in origin and then explores her feelings about sex, Nancy replies, “I like sex,” and it’s obviously meant to be a moment that will make the audience say, “Hey, she’s one of us!”  But Sandra Dee delivers the line so hesitantly that it actually has the opposite effect.  Stockwell rather smoothely slips into the role of the eccentric Wilbur.  Wilbur is meant to be an outsider and one gets the feeling that’s how Stockwell viewed himself in 1970.  Sandra Dee, meanwhile, seems to be trying really hard to convince the viewer that she’s not the same actress who played Gidget and starred in A Summer Place, even though she clearly is.  It creates an oddly fascinating chemistry between the two of them.  Evil Wilbur actually comes across as being more honest than virtuous Nancy.

Executive produced by Roger Corman, The Dunwich Horror is an undeniably campy film but, if you’re a fan of the early 70s grindhouse and drive-in scene, it’s just silly enough to be entertaining.  Even when the film itself descends into nonsense, Stockwell’s bizarre charisma keeps things watchable and there are a few memorable supporting performances.  (Talia Shire has a small but memorable roll as a nurse.)  It’s a film that stays true to the spirit of Lovecraft, despite all of the hippies.

6 Trailers For October 13th, 2025

Posted on by Lisa Marie Bowman

For today’s edition of Lisa Marie’s Favorite Grindhouse And Exploitation Film Trailers, we share some trailers from the maestro of Italian horror, Mario Bava!

  1. Black Sunday (1960)

After starting his career as a cinematographer and a visual effects engineer, Mario Bava made his directorial debut with 1960’s Black Sunday, starring Barbara Steele!

2. Black Sabbath (1963)

In 1963, Bava directed one of his most popular films, the horror anthology Black Sabbath.  The trailer put the spotlight on the great Boris Karloff.

3. Planet of the Vampires (1965)

One of Bava’s best films, Planet of the Vampires, was later cited by many as an influence on the Alien films.

4. Bay of Blood (1971)

One of the first slasher films, Bay of Blood was also a social satire that featured Bava’s dark sense of humor.

5. The House of Exorcism (1974)

When it was released in the United States, Bava’s Lisa and the Devil was re-titled House of Exorcism and, after new scenes were filmed, sold as a rip-off to The Exorcist.

6. Shock (1977)

Bava’s final film as a director was Shock, which starred Daria Nicolodi as a woman who is being haunted by the ghost of her first husband.

The TSL Horror Grindhouse: The Sadist (dir by James Landis)

Posted on by Lisa Marie Bowman

1963’s The Sadist opens with three teachers driving to a baseball game.

Ed (Richard Alden), Doris (Helen Hovey), and Carl (Don Russell) are planning on just having a nice night out but their plans change when they have car trouble out in the middle of nowhere.  They pull into a gas station/junkyard that happens to be sitting off the side of the road.  The teachers look for the owner of the gas station or at least someone who works there.  Instead, what they find is Charlie Tibbs (Arch Hall, Jr,) and bis girlfriend, Judy Bradshaw (Marilyn Manning).

Charlie is carrying a gun and he demands that the teachers repair their car and then give it to him so that he and Judy can continue their journey across the country.  Charlie has been switching cars frequently, largely because the cops are looking for him.  That’s because Charlie has been killing people all up and down the highway.  The intellectual teachers find themselves being held hostage by Charlie and Judy, two teenagers who may not be as smart as them but who have the killer instinct that the teachers lack.

It’s interesting to watch The Sadist after watching Eegah!  Arch Hall, Jr. and Marilyn Manning played boyfriend and girlfriend in that one as well but neither Hall nor Manning were particularly credible in their roles.  Hall seems uncomfortable with the whole teen idol angle of his role while Manning seemed a bit too mature for the role of a teenager.  In The Sadist, however, they’re both not only believable but they’re terrifying as well.

Charlie and Judy are almost feral in their ferocity, with both taking a disturbing glee in taunting the teachers.  Charlie kills without blinking and Judy enjoys every minute of it.  It’s easy to imagine Charlie and Judy at a drive-in showing of Eegah!, laughing at the sight of the caveman getting gunned down by the police and never considering that violence in real life is different from killing in the movies.  The teachers discover that it’s impossible to negotiate with Charlie and that Charlie’s promise not to try to kill them if they fix the car is ultimately an empty one.  And yet the teachers, dedicated to education and trying to reach even the most difficult of students, struggle to fight back.  They’re held back by their conscience, something that Charlie does not possess.  It’s intelligence vs instinct and this film suggests that often, intelligence does not win.

It’s a pretty intense and dark film, one that makes great use of that junkyard setting and which is notable for being the first film to feature the cinematography of Vilmos Zsigmond.  For those who appreciate B-movies, it’s memorable for showing that, when he wasn’t being pushed to be a squeaky-clean hero who sang sappy ballads in films directed by his father, Arch Hall, Jr. actually was capable of giving a very good performance.

The Sadist was based on the true-life crimes of Charlie Starkweather and Caryl Ann Fugate.  Interestingly enough, their crimes also inspired Terence Malick’s  Badlands.

6 Edward D. Wood Jr. Trailers For Horrorthon

Posted on by Lisa Marie Bowman

Since today would have been the 101st birthday of director Edward D. Wood, Jr., it seems appropriate to dedicate this week’s edition of Lisa Marie’s Favorite Grindhouse Trailers to him!

Below …. can you handle six trailers for six Ed Wood films!?

Watch, if you dare!

  1. Glen or Glenda (1953)

2. Jail Bait (1954)

3. Bride of the Monster (1955)

4. Plan 9 From Outer Space (1957)

5. Night of the Ghouls (1958)

6. The Sinister Urge (1960)

The TSL Horror Grindhouse: Dance of the Damned (dir by Katt Shea)

Posted on by Lisa Marie Bowman

In 1989’s Dance of the Damned, Cyril O’Reilly plays a vampire with a sensitive side.

The Vampire is out on his nightly prowl.  He goes to a strip club where he finds himself drawn to a dancer named Jodi (Starr Andreef).  The Vampire is drawn to Jodi because Jodi is thinking of committing suicide.  It’s her son’s birthday and the boy’s father refuses to even let her see him.  The Vampire approached Jodi and says the wants to talk to her because he hasn’t talked to anyone in a long time.  He offers to pay Jodi one thousand dollars if she’ll come back to his house and have a conversation with him.

Because the Vampire doesn’t drive, they take a city bus back to his place.  While sitting on the bus, they are harassed by two wannabe punks.  The Vampire pierces one of their eyes with the stem of a rose.  Oddly, Jodi barely notices.

At the house, the Vampire reveals his fangs and explains that he rarely feasts but tonight is one of those nights when he does.  He says that he picked Jodi because he could sense her loneliness and could tell that she wanted to die.  He also explains that, contrary to the vampire mythology, Jodi will not turn into a vampire after he drinks her blood.  Instead, she’ll just die.  Jodi’s response is to shoot the Vampire several times.  The bullets fall off of his body.

Jodi and the Vampire end up talking.  In fact, Dance of the Damned often feels more like a one-act play than a traditional vampire film.  Both Jodi and the Vampire are lonely and they discuss what its like to feel like they have nothing in the world.  The Vampire cannot exist in the daylight and, as a stripper, Jodi’s life is centered around the night as well.  When Jodi learns that the Vampire has never been to the beach because he never felt like there was much point in going during the night, Jodi insists that they go immediately.  The Vampire discovers what sand feels like.  He struggles to walk on it which was kind of weird but whatever.  At least the movie was trying to do something different!

The main theme of the film is that both the Vampire and Jodi are outsiders.  The Vampire was born a vampire and has no idea what it’s like to be a mortal being that can safely walk around in the daylight.  Because he has scars from a childhood incident with the humans, even the Vampire’s own people have rejected him.  Jodi, meanwhile, has been rejected by conventional society because she’s a stripper and now, she can’t even see her own child.  They are two outsiders who are linked together by their feelings of being lost.  Over the course of the night, they fall in love but it’s obvious that only one will still be around the next night and it’s also fairly obvious which one it will be.

I liked Dance of the Damned, though I imagine that it might be too talky for a lot of fans of the horror genre.  It’s more of a dual character study than a traditional vampire film.  Just as she did with films like Poison Ivy and The Rage: Carrie 2, director Katt Shea uses the horror genre as a way to explore the pressure that society puts on women to act, look, and dress a certain way.  Shea’s direction is moody and atmospheric and she gets an excellent performance from Starr Andreef.  Dance of the Damned is not a film for everyone but for those who are looking for a little emotional honesty to go along with their horror, it’s an intriguing film.

The TSL Horror Grindhouse: Messiah of Evil (dir by Gloria Katz and Willard Huyck)

Posted on by Lisa Marie Bowman

I can still remember the first time that I saw the 1973 film, Messiah of Evil.

It was on a Monday night, many years ago. I had recently picked up a 10-movie DVD box set called Tales of Terror and I was using the movies inside to try to deal with a bout of insomnia. I had already watched The Hatchet Murders (a.k,a. Deep Red) and The House At The Edge of the Park and, at two in the morning, I was faced with a decision. Should I try to sleep or should I watch one more movie?

Naturally, I chose to watch one more movie and the movie I picked was Messiah of Evil. So, there I was at two in the morning, sitting at the edge of my bed in my underwear and watching an obscure horror movie while rain fell outside.

And, seriously — this movie totally FREAKED me out!

Messiah of Evil opens with a man (played by future director Walter Hill) stumbling through the night, obviously trying to escape from something.  A mysterious woman appears and kills him.  We’re left to wonder who the man was supposed to be as the film doesn’t ever really return to his murder.  In most films this would be a weakness but it feels appropriate for Messiah of Evil, a film that plays out with the visual style and fragmented logic of a particularly intense nightmare.

The rest of the story tells the story of Arletty (Marianna Hill), a neurotic woman who drives to an isolated California town in order to visit her father. Her father is an artist who specializes in painting eerie pictures of large groups of black-clad people. However, once she arrives at his home, Arletty discovers that her father has vanished and left behind a diary where he claims that a darkness has overtaken the town.  Meanwhile, it sometimes appear as if the people in the paintings are moving or threatening to come out of the walls.

Meanwhile, one crazed man (Elisha Cook, Jr.) explains that “the dark stranger” is returning.  An albino (Bennie Robinson) drives a truck up and down the street and talks about how he likes to listen to “Wagner.”  The back of the truck is full of blank-faced people staring at the sky and the Albino eats a rat.  Finally, a mysterious man named Thom (Michael Greer) is wandering about town with two groupies (played by Anitaa Ford and Joy Bang) and interviewing random townspeople.  After meeting Arletty, they all end up moving into her father’s house.

Messiah of Evil is literally one of the strangest films that I’ve ever seen. It’s shot in a dream-like fashion and the much of the film is left open to the viewer’s interpretation.  Joy Bang goes to see a Sammy Davis, Jr. western and doesn’t notice as the theater slowly fills up with pale, red-eyed townspeople.  Anitra Ford goes to a grocery store late at night and discovers the townspeople indulging in their appetites.  If the film was only distinguished by those two scenes, it would still be worth saying.  However, Messiah of Evil is a total and complete experience, a film where every scene matters and the audience is tasked with putting the puzzle together.

This film was directed by Gloria Katz and Willard Huyck, two longtime associates of George Lucas.  (They wrote the screenplay for American Graffiti and Huyck directed Howard The Duck.)  There’s absolutely nothing else in their filmography that is as surreal as Messiah of Evil, leading me to suspect that the film itself might be a very fortunate accident.  Apparently, the production ran out of money before Katz and Huyck finished principal photography, which is what led to the film’s disjointed nature.  Accident or not, Messiah of Evil is a masterpiece of surreal horror.

Messiah of Evil (1973, directed by Willard Huyck and Gloria Katz)

The TSL Horror Grindhouse: The Beast Must Die (dir by Paul Annett)

Posted on by Lisa Marie Bowman

You have 30 seconds to decide who is the werewolf.  Is it the professor?  Is it the wife of the big game hunter?  Is it the long-haired hippie who has a history of cannibalism?  Is it the concert pianist?  Is it the diplomat?  Make your guess and then….

This is the challenge that is presented to the viewers of the 1974 film, The Beast Must Die.  The Beast Must Die is a werewolf film.  Calvin Lockhart stars as millionaire big game hunter Tom Newcliffe.  Tom has invited a group of people to his English mansion because, according to him, one of them is a werewolf and he plans to hunt down whoever it is.  It’s not a terrible premise and I imagine that, in 1974, it was probably quite revolutionary to cast a black actor as a millionaire with a large British estate.  (In America, the film was marketed as being a blaxploitation film under the title Black Werewolf.)

That said, The Beast Must Die is still best-known for its “Werewolf Breaks.”  At certain points in the film, a stopwatch appears on the screen and a narrator asks us if we’ve figured out who the werewolf is yet.  The viewer is given 30 seconds to make a guess before the film continues.  The “Werewolf Breaks” were apparently added to the film after production was completed and director Paul Annett was not happy about them.  The Beast Must Die is, in many ways, a pretty grim film or, at least, it would be if not for the campy narrator telling us that it’s up to us to solve the mystery.

But you know what?  I like the Werewolf Breaks.  They’re fun and, without them, The Beast Must Die would come across as being a film that takes itself way too seriously.  Calvin Lockhart, who was so good in Melinda, overacts to a tremendous degree as Tom Newcliffe and, as the film progresses, he goes from being merely eccentric to actually coming across as being rather unhinged in his attempts to discover who is the werewolf.  It’s never really clear how he settled on his suspects.  (All of them are described as being in the area of several unexplained deaths but it seems like the same could be said of probably hundreds of other people as well.)  But once he has them at the mansion, he’s determined to keep them there until he figures out which is infected with lycanthropy.  (In this film, the werewolf curse is described as basically being a virus.)

Fortunately, the suspects are played by an interesting gallery of British and American character actors.  Charles Gray plays the shady diplomat.  Malene Clark is Tom’s wife.  Michael Gambon is the pianist while Ciaran Madden plays his wife.  Tom Chadbon plays the hippie cannibal while Anton Diffring shows up as the head of security for the mansion.  Best of all, Peter Cushing plays the professor who is an expert on werewolves.  It’s always a joy to see Peter Cushing in any film.  He’s particularly good here, handling his often overwritten dialogue like the pro that he was.

The Beast Must Die is an uneven film.  The opening sequence, which features Tom testing the mansion’s security systems, seems to go on forever and the plot is full of twists that fall apart if you give them too much thought,  But the Werewolf Breaks made me smile and the supporting cast is a delight.  It’s a fun film to watch during the Halloween season.

The TSL Horror Grindhouse: Mary, Mary, Bloody Mary (dir by Juan López Moctezuma)

Posted on by Lisa Marie Bowman

In 1975’s Mary, Mary, Bloody Mary, Cristina Ferrare plays Mary, an American painter who lives and works in Mexico.

Mary seems to be living her ideal life.  She paints.  She travels.  Her work is popular.  She has glamorous and wealthy friends.  She has her independence.  Even when she starts a relationship with a young American diplomat named Ben (David Young), he seems like a genuinely nice guy who respects her need to have a space of her own.

However, Mary has a secret.

Mary is a vampire.  She doesn’t have fangs, she doesn’t sleep in a coffin, and she can go out in the daylight.  But she has an obsessive need to drink blood.  Whenever she can get away from Ben, she’ll pull out a knife and slit the nearest throat.  On the beach, a pushy, middle-aged man falls victim to her.  Back in the city, she kills her former lover (Helena Rojo), who is not happy that Mary is now dating a man.  Mary does her best to hide her murderous inclinations from Ben, even as she finds herself tempted to taste his blood.

However, someone else has recently arrived in Mexico and he appears to be looking for Mary.  The Man (John Carradine) dresses in black and wears a mask over his face.  The Man also carries a blade and, like Mary, he drinks the blood of his victims.  When Mary reads a newspaper story about a murder that she didn’t commit, she realizes that she’s not the only vampire in Mexico.  At the film progresses, we learn that Mary and the Man share a very close connection and Mary is forced to confront whether or not she can be both in love and a vampire.

One thing that I appreciated about Mary, Mary Bloody Mary is that it didn’t leave much ambiguity as to whether or not Mary was actually a vampire.  At first, it seemed like the movie was going to play the “Is-she-or-isn’t-she” game and maybe suggest that Mary was just mentally disturbed,  But instead, the film makes it clear that Mary is dependent upon drinking the blood of others.  It’s suggested that vampirism is something that was passed down to her, much like how I inherited my red hair from my father’s side of the family.  But, in the end, there’s no doubt that Mary actually is a vampire.  Cristina Ferrare occasionally seems miscast as a ruthless killer but, ultimately, she brings the right amount of sophistication to the role and John Carradine is, as always, a nice addition to the cast.

Unfortunately, the majority of Mary, Mary, Bloody Mary is very slowly paced.  I can appreciate a film that takes it time but the first 45 minutes of Mary, Mary, Bloody Mary really does sometimes feel like an endurance test.  Once The Man shows up, the film’s pace starts to pick up and Mary is very quickly forced to confront the truth of her cursed existence.  At times, I got the feeling that the director was trying too hard to convince me that there was more to Mary, Mary, Bloody Mary than there actually was.  The film is littered with scenes that suggest the story was meant to be a statement on the human condition but …. nah.  Ultimately, it’s just a film about a woman who drinks blood.

The TSL Horror Grindhouse: The Undertaker (dir by Franco Steffanino)

Posted on by Lisa Marie Bowman

In 1988’s The Undertaker, a small college town is rocked by a serious of viscous, sexually-charged murders.  While the professors and the students deal with their own dramas on campus, the bodies are piling up at the local funeral home.  Who could the murderer be?

Well, Joe Spinell’s in the film.  That really should be the only clue you need.

Spinell plays Roscoe, the town undertaker who has issues with his mother, cries at random, talks to dead bodies, watches movies featuring sacrifices, and occasionally performs what appears to be some sort of a ritual with his victims.  This film was Spinell’s final film and he gives a performance that alternates between being perfunctory and being fully committed.  On the one hand, there are plenty of scenes where Spinell appears to be making up his lines as he goes along,  In the scenes in which he appears in his office, it’s appears that Spinell is literally reading his lines off of the papers on top of his desk.  Then there are other scenes where Spinell suddenly seems to wake up and he flashes the unhinged intensity that made him such a fascinating character actor.  In the 70s and 80s, there were many actors who frequently played dangerous people.  Spinell was the only one who really came across like he might have actually killed someone on the way to the set.  Spinell was in poor health for most of his life and he also struggled with drug addiction.  In The Undertaker, he doesn’t always look particularly healthy.  Even by Joe Spinell standards, he sweats a lot.  And yet, in those scenes were actually commits himself to the character, we see the genius that made him so unforgettable.

As for the film itself, it’s basically Maniac but without the New York grit that made that film memorable.  Instead, it takes place in a small town and Spinell, with his rough accent and his button man mustache, seems so out-of-place that the film at times starts to feel like an accidental satire.  Roscoe is obviously guilty from the first moment that we see him and yet no one else can seem to figure that out.  Only his nephew suspect Roscoe but that problem is quickly taken care of.  Whenever anyone dies, their body is brought to Rosco’s funeral home.  Roscoe puts on his black suit, plasters down his hair, and tries to look somber.  Roscoe spends a good deal of the film talking to himself.  When a victim runs away from Roscoe, Spinell looks at a nearby dead body and shrugs as if saying, “What can you do, huh?”

If you’re into gore, this film has a lot of it and, for the most part, it’s pretty effective.  In the 80s, even the cheapest of productions still found money to splurge on blood and flayed skin effects.  If you’re looking for suspense or a coherent story, this film doesn’t really have that to offer.  It does, however, offer up Joe Spinell in his final performance, sometimes bored and yet sometimes brilliant.

The TSL Horror Grindhouse: The Toolbox Murders (dir by Dennis Donnelly)

Posted on by Lisa Marie Bowman

In 1979’s The Toolbox Murders, someone is murdering the female tenants of a building in Los Angeles.  The killer, who wears a mask and a leather jacket, uses tools.  One woman is killed by a hammer to the head.  Another is skewered by a power drill.  One is stabbed with a screwdriver.  Another is shot with a nail gun.  The identity of the killer would be a total mystery if not for the fact that we’ve already seen Cameron Mitchell’s name in the cast list.

Indeed, it’s a bit pointless to cast Cameron Mitchell in any sort of whodunit-type of film.  Nine times out of ten, Mitchell being in a movie means that that Mitchell (who, in the early days of his career, originated the role of Death of a Salesman‘s Happy Loman on Broadway) is going to be revealed as the murderer.  In this case, Mitchell plays Vance Kingsley, the owner of the building.  Vance has never recovered from the death of his daughter so he’s punishing women who he considered to be sinful.

The actual toolbox murders are pretty much finished after the first twenty minutes of the film.  The rest of the movie deals with Laurie (Pamelyn Ferdin), a 15 year-old girl who is kidnapped by Vance and his nephew, Kent (Wesley Eure).  Joey (Nicholas Beauvy), who is Laurie’s brother, attempts to find and then rescue his sister and turns out to very much not up to the task.  The film itself ends on a rather sick note, one that is followed by a title card that informs us that the film is based on a true story.  Yeah, sure, it was.

The Toolbox Murders has somehow earned a reputation for being a gory and shocking grindhouse film.  It was among the films that was banned in the UK for several years.  It’s actually not that gory and the use of tools to commit the murders is not quite as clever as the film seems to think it is.  Even the nail gun murder (which is the film’s best known moment) feels rather awkward as the victim (Kelly Nichols) never really makes a run for it despite the fact that Vance has to stop to reload after every nail that he fires.

The scenes with Laurie being held hostage are far more disturbing and weird, largely due to Mitchell’s characteristically over-the-top portrayal of Vance’s psychosis.  When you watch a movie called The Toolbox Murders, you’re probably not expecting a lengthy scene where Laurie — pretending to be Vance’s dead daughter — tells a long story about what it’s like in the afterlife.  In the role of Vance’s nephew, Wesley Eure is even more disturbing than Mitchell.  As opposed to the sinister-looking Mitchell, Eure actually has the look of a nice, young community college student and that makes his actions at the end of the film all the more icky to watch.

The Toolbox Murders doesn’t quite live up to its bloody reputation but it’s still a disturbing film nonetheless.  Did you know that Heaven smells like lollipops?  After this film, you’ll never forget.