Horror Film Review: Night of Dark Shadows (dir by Dan Curtis)


Since I just reviewed House of Dark Shadows, it only makes sense to now take a look at 1971’s Night of Dark Shadows today!

While Night of Dark Shadows is not a direct sequel to the first film, it is still definitely a part of the same cinematic universe.  There may not be any vampires in this film but it does take place in the same house and it features two members of the family that was decimated over the course of the previous film.  At one point, it’s mentioned that Joan Bennett’s character from House of Dark Shadows died after the first film but no one goes into any details.  I guess a vampire in the family is something that’s simply not discussed amongst polite company.

Night of Dark Shadows deals with Quentin (David Selby) and Tracy Collins (Kate Jackson).  Quentin is an artist who confesses that he wasn’t particularly nice before he married Tracy.  When they move into the Collins mansion, they bring two friends with them, Alex (John Karlen) and Claire (Nancy Barrett.)  Interestingly enough, Karlen and Barrett both played different characters in House of Dark Shadows.  Grayson Hall, who played Dr. Hoffman in House of Dark Shadows, also returns for Night of Dark Shadows.  This time Hall is playing Carlotta Drake, the creepy housekeeper.  (Needless to say, all mansions comes with a creepy housekeeper.)

Soon after everyone moves in, Quentin starts acting strangely.  He becomes obsessed with the painting of a beautiful woman who was named Angelique (Lara Parker) and with the story that Angelique was hanged when it was discovered that she was having an affair with Quentin’s ancestor, Charles.  (For his part, Charles was apparently walled up in the mansion.  That sounds a bit extreme to me but I guess that’s the way they did things in the 19th century.)  Quentin starts to have visions and nightmares involving his ancestor who, it turns out, looked exactly like him!  Meanwhile, Carlotta and the groundskeeper, Gerard (Jim Storm), seem to be determined to make sure that Tracy doesn’t feel welcome in her new home.  It’s almost as if they’re trying to drive everyone but Quentin away from the house.

Night of Dark Shadows is a much more polished film than House of Dark Shadows but it also unfolds at a far more leisurely pace.  It lacks the relentless energy that distinguished House of Dark Shadows.  This wouldn’t be as much of a problem if the plot itself wasn’t so totally predictable.  From the minute that Quentin first sees that portrait of Angelique, you know that he’s going to get possessed and start acting strangely.  There are a few atmospheric scenes but, for the most part, the film just doesn’t grab the viewer’s attention the way that House of Dark Shadows did.

On the plus side, David Selby is properly intense and brooding in the dual roles of Quentin and Charles Collins while Lara Parker does an equally good job as the wonderfully evil Angelique.  Grayson Hall, who tended to go overboard in House of Dark Shadows, gives a much better and far more menacing performance here.  Night of Dark Shadows isn’t a bad film.  It’s just not a particularly memorable one.

Horror Film Review: House of Dark Shadows (dir by Dan Curtis)


There’s a lot that you can say about this vampire film from 1970 but I think it can all be summed up with one word: relentless.

A lot of this is because House of Dark Shadows is a film adaptation of a daytime drama.  Over the course of six sesons, Dark Shadows ran for a total of 1,220 episodes.  That’s a lot of story to cram into a 97-minute film but director Dan Curtis does just that.  The end result is an incredibly busy film and I mean that in the best way possible.

Seriously, there are so many twists and turns in this film’s plot that it’s difficult to even know where to begin.  This is one of the most incident-filled horror films that I’ve ever seen.  No sooner does one plotline resolve itself than another begins.  Meanwhile, a surprisingly large cast wanders through the shadows and tries not to get transformed into a vampire.  Most of them do not succeed.

See if you can keep all of this straight:

In Maine, a lowlife handyman named Willie (John Karlen, giving the film’s best performance) breaks into a mausoleum and approaches a coffin that’s covered with chains.  Willie thinks that there’s a treasure hidden in the coffin but, after he removes the chains, he instead discovers that he’s stumbled across the home of a vampire!  Barnabas Collin (Jonathan Frid, who perfectly combines old world manners with thinly veiled menace) has spent 175 years trapped in that coffin and now that he’s been released, he’s not in a very good mood.

Soon, Barnabas has introduced himself to his descendants (including Joan Bennett, as Elizabeth, the family matriarch) as a cousin from England.  Everyone is impressed with Barnabas’s charm and courtly style.  Of course, some people are a little bit skeptical.  Prof. Stokes (Thayer David) notices that Barnabas doesn’t seem to know much about London while Dr. Hoffman (Grayson Hall) flat out accuses Barnabas of being a vampire.  Barnabas admits that this is true but fear not!  Dr. Hoffman’s fallen in love with him and wants to help cure him.

Meanwhile, everyone in town is growing concerned about all of the bloodless bodies that are showing up.  They especially get worried after Elizabeth’s daughter, Carolyn (Nancy Barrett), dies and then promptly comes back to life, complete with her own set of fangs….

While the town concerns itself with what to do about Carolyn, Barnabas has fallen in love with a nanny named Maggie (Kathryn Leigh Scott), who he thinks is the reincarnation of his former lover.  Unfortunately, Maggie already has a boyfriend named Jeff (Roger Davis) but when has the ever been a problem for a vampire?  Far more of a problem than Jeff is the fact that Willie is also in love with Maggie and Dr. Hoffman is so jealous of Barnabas’s love for Maggie that she’s willing to inject him with a formula that causes him to transform into an elderly man….

And all that’s just in the first hour!

Needless to say, it all leads to one final, gore-filled confrontation.  When I say that this film is gory, I mean just that.  Blood isn’t just spilled in House of Dark Shadows.  Instead, it flows like water busting out of a cracked dam.  When Barnabas bites a victim, he doesn’t just leave two neat little puncture marks.  Instead, he literally rips their neck to shreds.  Just how savage Barnabas and Carolyn get in this film is one of the things that sets House of Dark Shadows apart from other vampire films.  As opposed to the type of tragic figure who shows up in so many vampire films, Barnabas is ruthless, cruel, and unforgiving.  He’s a genuinely frightening creation.

House of Dark Shadows is a chaotic movie but it’s also a lot of fun.  This is one of those films that you watch in amazement as it just keeps going and going, piling on one incident after another.  Does the film always make sense?  No, but it doesn’t have to.  Quickly paced and featuring nonstop gore and fog, the film has a dream-like feel to it.  Curtis and the cast attack the material with such unbridled enthusiasm that it doesn’t matter if the plot occasionally doesn’t always add up or if the dialogue is occasionally a bit clumsy.  It’s impossible not to get swept along with the film’s insanity.

Probably because of its television roots, House of Dark Shadows is often dismissed by critics.  (I’ve never seen any old episodes of the show so I can’t say how the movie compares to it.)  Well, those dismissive critics are wrong.  House of Dark Shadows is one of my favorite vampire films and it’s definitely one that deserves to be rediscovered.

(And yes, it’s a helluva lot better than that movie that Tim Burton made with Johnny Depp….)

Live Tweet Alert: Join #FridayThrillerClub, #FridayNightFlix, and #FridayHeretics For An Epic Live Tweet


As some of our regular readers undoubtedly know, I am involved in a few weekly live tweets on twitter.  I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of #MondayActionMovie!  Every week, we get together.  We watch a movie.  We tweet our way through it.

Tonight, I will filling in for Matthew Titus and hosting #FridayThrillerClub and #FridayHeretics as well!  So, that’s going to be three live tweets in a row.  What are we going to be watching?  I’m glad you asked.

#FridayThillerClub starts at 7:30 pm et with 1987’s Angel Heart!  Mickey Rourke is a detective.  Robert De Niro is a very special client.  This atmospheric and controversial mix of noir and horror was directed by Alan Parker!

#FridayNightFlix follows at 10 pm et, with 1981’s Full Moon High!  In this comedy, a teen becomes a werewolf!  You might even say that he’s a …. teen wolf!

Then, at 12:30 am et, it’s time for #FridayHeretics!  This week’s film will be 1976’s Burnt Offerings, starring Oliver Reed, Karen Black, Bette Davis, and a house that just want stop killing.

All three of these films are on Prime and everyone is invited to join us on twitter for tonight’s epic three-part live tweet!

See you there!

Horror on the Lens: The Last Man on Earth (dir. by Ubaldo Ragona and Sidney Salkow)


Hi there and Happy October 28th!  For today’s treat from the ranks of horror films that have fallen into the public domain, I present to you one of the most important films in horror history.  Though it wasn’t appreciated when it was first  released back in 1964, The Last Man On Earth was not only the 1st Italian horror film but George Romero has also acknowledged it as an influence on his own Night of the Living Dead.

It’s easy to be a little bit dismissive of The Last Man On Earth.  After all, the low-budget is obvious in every scene, the dubbing is off even by the standards of Italian horror, and just the name “Vincent Price” in the credits leads one to suspect that this will be another campy, B-movie.  Perhaps that’s why I’m always surprised to rediscover that, taking all things into consideration, this is actually a pretty effective film.  Price does have a few over-the-top moments but, for the most part, he gives one of his better performances here and the black-and-white images have an isolated, desolate starkness to them that go a long way towards making this film’s apocalypse a convincing one.  The mass cremation scene always leaves me feeling rather uneasy.

The film is based on Richard Matheson’s I Am Legend and no, it’s nowhere as good as the book.  However, it’s a lot better than the Will Smith version.

If you have 87 minutes to kill, please enjoy The Last Man On The Earth.

Music Video of the Day: On A Wicked Night by Danzig (2010, directed by Glenn Danzig)


October is a good month for Danzig.  In this music video, Glenn Danzig gets back to nature.  Say what you will about Danzig because his music isn’t necessarily for everyone.  But Danzig could easily shove much of today’s wimpy rockers into a locker.

Enjoy!

Horror On TV: Tales From The Crypt 5.7 “House of Horror” (dir by Bob Gale)


Tonight’s excursion into televised horror is the 7th episode of the 5th season of HBO’s Tales From The Crypt!  

House of Horrors has everything that you could possibly want from a Tales From The Crypt episode!  A dumbass idiot frat boy (played by Kevin Dillon) forces three pledges to enter  a supposedly haunted house.  Mayhem ensues.  This episode is full of atmosphere, dark humor, plot twists, and unexpected turns and it features two wonderfully over-the-top performances, one from Dillon and one from Meredith Salenger as a Southern-accented sorority president who may have a secret of her own.

This episode originally aired on October 27th, 1993 and is currently celebrating its 30th birthday.

Enjoy!

The TSL’s Horror Grindhouse: I Was A Teenage Frankenstein (dir by Herbert L. Strock)


“I was a teenage Frankenstein!”

“Of course you were, dear.”

Sadly, that dialogue does not appear in I Was A Teenage Frankenstein.  Oh well, we can’t have everything….

This 1957 film tells the story of Professor Frankenstein (Whit Bissell), an English scientist who comes to America and promptly sets about trying to create his own creature.  I guess we shouldn’t be surprised, considering that his name is Frankenstein and all.  I mean, when you’ve got a name like that, there are certain expectations that you have to live up to.  You’re not going to become a stand-up comedian or the janitor at the local grocery store.  When you’ve got a name like that, you’re expected to tamper in God’s domain and screw things up.  With a famous name comes great expectations.  Frankenstein …. Kennedy …. Kardashian …. it’s pretty much all the same.

Anyway, the professor is lucky enough to come across a fatal car crash.  This supplies him with exactly the dead body that he needs.  He takes the corpse to his laboratory where, with help of some spare body parts that he just happened to have lying around, he manages to bring the dead teenager back to life!

There’s just one problem.

The teenager (played by Gary Conway) now looks like this:

Yep, Teenage Frankenstein is definitely not ready for his public debut.  No one’s happy about this.  Not the professor.  Not the professor’s assistant.  Even the professor’s secretary is upset about what’s going on in the laboratory.  Not even the alligator that Prof. Frankenstein for some reason keeps around the lab is particularly happy about how the operation turned out.

What’s a Teenage Frankenstein to do?  Well, he can always sneak out of the lab but, whenever he does, it seems like someone inevitably ends up dead.  Obviously, Prof. Frankenstein is going to have to find a new face for his creation but from where?  Well, luckily, there is a lover’s lane nearby….

I Was A Teenage Frankenstein was produce by American International Pictures to capitalize on the success of I Was A Teenage Werewolf.  (Whit Bissell plays a mad scientist in both movies and gets the best line in It Was A Teenager Frankenstein when he yells, “Answer me!  You have a civil tongue in your head!  I know, I sewed it in there!”)  Unfortunately, while the monster makeup is indeed impressive, I Was A Teenage Frankenstein is never as much fun as I Was A Teenage Werewolf.  While the teenage werewolf had an entire town to explore, Teenage Frankenstein is pretty much stuck in that lab.  Whereas the teenage werewolf spent his movie running wild, Teenage Frankenstein spends all of his time doing whatever the professor orders him to do.  As a result, I Was A Teenage Frankenstein is a much slower film and also lacks the rebellious subtext of I Was A Teenage Werewolf.

That said, I Was A Teenage Werewolf was enough of a box office success that both the werewolf and the Frankenstein makeup were later used in How To Make A Monster.

Film Review: The Good Nurse (dir by Tobias Lindholm)


It’s suspected that Charles Cullen might be the most prolific serial killer in U.S. history.

He’s currently sitting in prison, serving 18 consecutive life sentences.  (For those keeping track, he’ll be eligible for parole in the 25th Century.)  In order to avoid getting the death penalty, Cullen confessed to killing 29 people in New Jersey and Pennsylvania.  It is thought that, between the years 1988 and 2003, he actually killed over 400 people.  What made Cullen’s crimes especially horrifying is that he was a nurse and his victims were his patients.  When Cullen first confessed, he tried to portray himself as being a mercy killer, someone who only murdered those who would have no quality of life.  Cullen also claimed that he had been traumatized the first time that he saw a team of doctors fail to resuscitate a patient so he would specifically give overdoses to terminal patients so that they could die both with dignity and without leaving him traumatized.  It was subsequently discovered that few of Cullen’s victims had been terminally ill and that many of them were actually only a day or two away from being discharged from the hospital when Cullen killed them.  Cullen later said that many of his murders were impulsive acts and he wasn’t sure why he had committed them.  In the end, no one can be sure what drove Cullen to commit his murders.

Even before he was arrested, Cullen had developed a bad reputation as a nurse who lost a lot of patients.  He moved from hospital to hospital and he seemed to generate suspicion wherever he went.  Cullen would leave the hospitals whenever it became apparent that anyone was investigating any of the deaths in which he had been involved.  The hospitals were usually happy to be rid of him.  Despite all of the suspicions about him, no one ever tried to stop Cullen from getting another job.  Why risk getting sued for having had Cullen on staff when you could just dump him off on another hospital?

The Good Nurse, which just dropped on Netflix this week, stars Eddie Redmayne as Charles Cullen and Jessica Chastain as Amy Loughren, the nurse who worked with Cullen at his final place of employment.  In the film, Amy is workaholic single mother who needs a heart transplant but who still finds time to show compassion to the patients in the ICU.  She is, as the title states, the good nurse.  When Charles Cullen shows up to work the night shift, she is happy for the help and she takes an immediate liking to the polite and seemingly hardworking Cullen.  Just like Amy, Cullen has two daughters and they bond over their struggles to be both good nurses and good parents.  Cullen tells Amy about how his former coworkers were always plotting against him.  Amy, somewhat naively, invites Cullen to come to her house to meet her daughters.  But when patients start to die, Amy soon suspects that Cullen is responsible.  When she ends up as a patient in the hospital and is faced with the horrifying prospect of Charles Cullen being her nurse, Amy goes to the police and offers to to help them build their case against her former friend.

The Good Nurse is a typical Netflix true crime movie, complete with the slightly washed-out look that almost all of these films seem to share.  The film does a good of capturing the isolation of an ICU ward at night.  With only a handful of nurses and patients on the floor, it’s easy to see how someone like Charles Cullen could have committed his crimes without being caught.  Indeed, some of the film’s most disturbing moments are when Cullen appears to literally emerge from the dark shadows of the ICU ward, like some sort of ghostly hunter seeking his prey.  At the same time, there’s a few moments where the movie feels more like an extra-long episode of Law & Order than a feature film.  Noah Emmerich and Nnamdi Asomugha play the two detectives who are assigned to investigate Cullen’s crimes and their scenes often feel as if they could have been lifted from a dozen other similar true crime films.

As Amy, Jessica Chastain is well-cast, though the role itself is somewhat underwritten.  The film is stolen by Eddie Redmayne, who plays Charles Cullen with an intensity that is frightening to behold at times.  As played by Redmayne, Cullen is creepy from the first time that we see him but, at the same time, Redmayne plays the role with just enough needy charm that the viewer can understand how he was able to fool so many people at so many hospitals.  Redmayne plays Cullen as man who is incapable of compassion but who has learned how to fake it.  It’s only towards the end of the film that Cullen allows his mask to slip and what we see underneath is terrifying.  Eddie Redmayne brings to life a truly evil man, someone who is all the more nightmarish because he really exists.

In the end, The Good Nurse suffers from the same problem as Netflix’s Extremely Wicked, Shockingly Evil, and Vile.  It attempts to comprehend an evil that is beyond normal comprehension.  In the end, both films suggest that there’s no real way to understand what motivates a Ted Bundy or a Charles Cullen.  Instead, all one can do is remain vigilant and hope they’ll be stopped before they can cause any more pain. Cullen is in prison for life.  Bundy got the electric chair.  Both of them left behind many questions that will never be answered.