Tag Archives: Horror

Dinosaur Island (1994, directed by Fred Olen Ray and Jim Wynorski)

Posted on by Jedadiah Leland

What do you get when a producer like Roger Corman notices that Jurassic Park was the most financially successful film of 1993?

Dinosaur Island!

Directed by not just Fred Olen Ray but also Jim Wynorski (and if that combination isn’t enough to spark your interest, I don’t know what is), Dinosaur Island is about what happens when a cargo plane transporting three AWOL soldiers back to the United States crashes near an uncharted island. Led by no-nonsense Capt. Briggs (Ross Hagen), the soldiers make it to the island.

They discover that the island is full of beautiful cavewomen who spend much of their time topless. For the film’s intended audience of teenage boys, that’s good.

They discover that the women are ruled by a queen (Toni Naples) who hates men. That’s bad.

When the women notice that one of the men has a smiley face tattoo, they decide that he is the chosen one who has been prophesized about in the ancient scrolls. That’s good, I guess.

Chosen or not, the men still have to battle the Tyrannosaurs Rex that rules the island. That’s bad. Or is it good? I don’t know anymore.

To save money, Roger and the gang reused the dinosaur who appeared in Corman’s previous Jurassic hit, Carnosaur. They also reused a lot of stock footage from that film. The Carnosaur footage often doesn’t match with the footage that was shot for Dinosaur Island but I don’t know that anyone would expect anything less from Corman-produced rip-off of Jurassic Park. There are some films where the cheapness of it all become a selling point and this is one of them. The special effects are less important than marveling at how the movie got a dinosaur without spending any money.

Dinosaur Island is a bad movie with less than convincing special effects and a lot of overacting but it seems to be aware of its limitations so it’s hard not to like it. It’s obvious that Ray and Wynorski both understood that there was no way that they were gong to be able to make a serious film with the resources that they had available so instead, they shot a flat-out comedy that made fun of its own cheapness. It was the right approach to take, even though the film’s jokes are as often groan-worthy as they are funny. Among the cast, Ross Hagen seemed to have the best understanding of what was needed because he deadpans his way through the entire film, delivering his weird lines with a straight face and giving a performance that wouldn’t be out of place in Airplane! or one of the other ZAZ films.

Not surprisingly, this was a popular film on late night cable back on the day. It’s combination of boobs, jokes, and dinosaurs made it a Cinemax mainstay. Rewatching it, I knew how stupid it was but I couldn’t help but laugh at a few parts. I enjoyed viewing it again. Nostalgia is more powerful than any dinosaur.

Scenes That I Love: Angela’s Dance From Night of the Demons

Posted on by Lisa Marie Bowman

Last year, a group of friends and I watched 1988’s Night of the Demons for our weekly #ScarySocial live tweet. Not surprisingly, everyone loved the film. This scene below, featuring a possessed Angela dancing, was especially popular. Since today is director Kevin Tenney’s birthday, it only seems appropriate to celebrate by making it today’s horror scene that I love!

Take it away, Angela!

Horror Novel Review: The Lost Mind by Christopher Pike

Posted on by Lisa Marie Bowman

First published in 1995, this is an odd one.

The book opens with our main character waking up in middle of the wilderness. She has no idea who she is or where she is. She doesn’t know why she’s covered in blood. What she does know is that there’s another girl lying a few feet away from her and she’s been stabbed to death! Did the living girl kill the other girl? She knows that she didn’t but, at the same time, she also knows that everyone will assume that she did.

It’s only after our main character stumbles across her car that she discovers that her name is Jenny. It’s only when she drives to a nearby town that she discovers that she lives with her overworked mom and her little brother. Apparently she goes to school and she has a job but Jenny can’t remember the specifics of any of it. Also, Jenny has a best friend named Crystal and they’re so extremely close that people are shocked whenever they see that Jenny is by herself. In fact, no one has seen Crystal for a while. Where could she be …. uh-oh.

Now, if this was an R.L. Stine novel, this is where you would expect some sort of cutesy twist to kick in. This is where you would look up from the book and says, “Ah-ha! I bet Jenny actually is Crystal and Jenny is just some imaginary character that she created to help her deal with a past trauma!” However, this is not an R.L. Stine novel. This is a Christopher Pike novel and Christopher Pike was always a hundred times darker than R.L. Stine ever was. If Stine always ended his books with a return to normalcy and maybe a joke or two, Pike’s novels took his characters to Hell and usually abandoned them there.

Even as she tries to figure out what type of life she’s led up until losing her memory, Jenny finds herself having dreams and visions where she’s in another person’s body, watching as they smoke hash, commit murders, and perform occult ceremonies. Soon, Jenny is investigating just what exactly it means to have a soul and whether or not a soul can move from one body to another. And, as she discovers more about the circumstances of Crystal’s death, she’s forced to consider just how far she’ll go to get revenge….

AGCK! Seriously, this is pretty dark stuff for a YA novel. I would have had nightmares if I had read this when I was a child. But that’s the thing with Christopher Pike. When he told a horrific story, he didn’t hold back. Instead, he created a world where happy endings often did not exist. The Lost Mind is dark and morbid and, even reading it now as an snarky and sarcastic adult, the book’s mystery was still intriguing. The book started out with a murder and it ended with a bang. Someone needs to turn this one into a Lifetime film.

Book Review: Murder By Design: The Unsane Cinema of Dario Argento by Troy Howarth

Posted on by Lisa Marie Bowman

Ah, Dario Argento.

That Argento is responsible for some of the greatest horror and suspense films of all time, everyone agrees. At the same time, there’s a tendency amongst critics to be unfairly dismissive of his post-Opera films. The claims that Argento either lost his touch or that he ceased to care about his films or that Asia Argento is somehow to blame for the uneveness of his later films have themselves become clichés, repeated by people who really should know better. Obviously, any director is going to struggle to follow-up the string of masterpieces that Argento directed early on in his career. And yet, the claim that Argento’s later films aren’t worth watching simply does not hold up under scrutiny. Unfortunately, these claims became even more widespread with the release of the unnecessary remake of Suspiria. When it become obvious that Luca Guadagnino’s film was a pretentious disaster, his online supporters responded by trying to destory the legacy of Argento’s masterpiece.

That’s why I’m grateful for Troy Howarth’s Murder By Design. Published in 2020, Murder By Design examines the life and the work of Dario Argento. It’s a combination of a biography and a critical analysis and it’s probably about as fair of an examination of Argento’s controversial legacy as I’ve ever read. Howarth, of course, writes about the films that everyone agrees are brilliant but, even more importantly, Howarth also gives the same amount of consideration to the films that are usually dismissed, like Phantom of the Opera and The Stendhal Syndrome. Though Howarth is hardly a blind Argento cheerleader — he’s critical of many of Argento’s later films — he also doesn’t give in to the temptation to lazily dismiss everything that Argento directed after 1985. He approaches Argento as both a fan and a scholar, critical but open-minded. As a result, he not only provides an interesting look at Argento but also a look at the development of post-World War II film industry and at the growth of horror as a genre.

Even better, Howarth explores all of Argento’s work. That includes the screenplays that he wrote before directing his first film. That includes the films that he produced and the television shows that he hosted. He makes the case for Argenton as an artist whose influence and vision goes far beyond just the films that he’s directed. Troy Howarth is one of the best writers about Italian cinema out there and Murder By Design is a must-read for anyone serious about Argento.

International Horror Film Review: Escape From The Bronx (dir by Enzo G. Castellari)

Posted on by Lisa Marie Bowman

The Slo Mo of Doom!

All bad action films tend to feature it.  (Actually, it shows up in some good action films as well.)  Whenever a group of soldiers step on a mine and slowly flip through the air as a result of the subsequent explosion, that’s the Slo Mo of Doom.  Whenever an important supporting character is shot and the film suddenly slows down so that each frame of their collapse is their highlighted, that’s the Slo Mo of Doom.  Sometimes, it’s a way of saying, “Hey, you should care more about this violent death than you care about all of the other violent deaths in this movie.”  Sometimes, it’s a way of showing off the fact that the producers could afford stunt people, even if they couldn’t afford anything else.  Other times, it’s just a way to pad out the running time so that a movie can at least reach the 90 minute mark before the end credits roll.  Regardless of the reason why it’s deployed, Slo Mo of Doom is usually a good sign that you’re watching a cheesy action film.

Last night, when I watched the 1983 Italian film, Escape from the Bronx, with a group of friends, we counted at least six instances of the Slo Mo of Doom.  There may have been even more, it’s hard to say.  Along with frequent slow motion, Escape from the Bronx features a lot of flame throwers, several corporate bad guys, and an abundance of graffiti.   It also featured Henry Silva as a villain named Floyd Wangler and Antonio Sabato, Sr. as a flamboyant rebel leader who dressed like he was appearing in an Off Broadway adaptation of The Fantasticks.  In short, it was a classic of its kind.

Escape From The Bronx takes place in, what was then, the future.  (To be specific, the story is said to take place in the year 2000.)  The Bronx has become such an eyesore that an evil corporation wants to blow up all the buildings and rebuild.  Unfortunately, the residents of the Bronx know how difficult it is to find an apartment in New York City and they don’t want to move.  In order to change their minds, Floyd Wangler and his army of jackbooted, flame thrower-wielding bad guys invade the Bronx.  “Leave the Bronx!” they announce.  “It is time to leave the Bronx.”  And, to be honest, the Bronx looks like a terrible place to live so maybe they have a point.

A motorcycle-riding bad boy named Trash (played by Mark Gregory) doesn’t want to leave the Bronx so he goes underground.  While the buildings are being blown up and people are being set on fire, Trash teams up with Doblon (Antonio Sabato, Sr.) and his gang of flashy rebels.  Working with a mercenary named Strike (Giancarlo Prete) and journalist named Moon Gray (Valeria D’Obici), Trash plots to kidnap the president of the corporation.  Of course, by doing so, Trash might be doing exactly what Floyd wants him to do.

Both John Carpenter’s Escape from New York and George Miller’s Mad Max films were very popular in Europe and Escape From The Bronx was one of the many Italian films to imagine New York (or, in this case, one unfortunate borough of New York) as being some sort of a post-apocalyptic wasteland.  (In fact, Escape From The Bronx was a sequel to another film called The Bronx Warriors.  The adventures of Trash could not be contained to just one film.)  One could argue that Escape From The Bronx was an early warning against the horrors of gentrification, with the poor being set on fire so that the rich can blow up their homes and make even more money.  Personally, I thought the film was much more about the struggle of the Italian film industry to come to terms with the legacy of Mussolini.  Floyd Wangler may have had a silly name but, as played by Henry Silva, he was the chilling epitome of the authoritarian impulse come to life.  With his black uniform and his steely gaze, it was easy to imagine Floyd as one of the fascists who marched on Rome in 1922.  There’s a definite political subtext to Escape from the Bronx, one that can easily get overshadowed by the prominent use of the Slo Mo of Doom.

That’s not to say that Escape from the Bronx is a particularly good film, of course.  There’s a few decent action scenes but the middle part of the film drags and Mark Gregory doesn’t have much screen presence.  Henry Silva is better-cast as the bad guy but it’s hard to take a villain named Floyd seriously.  That said, Escape from the Bronx is an entertaining film to watch with a group of friends.  This is a film that invites you to talk back to the screen and, with all of its costumed rebels, it’s actually a good film for October.  Whatever its flaws, I defy anyone to watch this film without getting “Leave the Bronx” stuck in their head.

And, if nothing else, you can always have fun counting all of the Slo Mo of Doom.

4 Shots From 4 Kevin S. Tenney Films

Posted on 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!

Today, we wish a happy birthday to Kevin S. Tenney, director of some of most best loved horror films of the 80s and the 90s!  It’s time for….

4 Shots From 4 Kevin S. Tenney Films

Witchboard (1986, dir by Kevin S. Tenney, DP: Roy Wanger)

Night of the Demons (1988, dir by Kevin S. Tenney, DP: David Lewis)

Witchboard 2: The Devil’s Doorway (1993, dir by Kevin S. Tenney, DP: David Lewis)

Pinnochio’s Revenge (1996, dir by Kevin S. Tenney, DP: Eric Anderson)

Horror Film Review: The Devil’s Rain (dir by Robert Fuest)

Posted on by Lisa Marie Bowman

Was I the only one who was relieved that William Shatner didn’t die this week?

Seriously, when I heard that the 90 year-old Shatner was going to be taking a trip on one of the Amazon rockets, I was really worried.  First off, you’re taking a 90 year-old into space.  Secondly, you’re doing it with a rocket that people don’t really know that much about.  And third, that 90 year-old is a cultural icon and one who probably played no small role in causing people like Jeff Bezos and Elon Musk to become obsessed with conquering space in the first place.  With the exception of George Takei, everyone loves William Shatner.  (And, at this point, Takei’s constant sniping about Shatner is coming across as being just a little bit petty.  Move on, George!  People love you, too.)

As I watched Shatner land back on Earth, I found myself thinking about The Devil’s Rain, a film from 1975 that starred William Shatner as a man whose exploration of the unknown led to a far less triumphant result.   

In this film, Shatner plays Mark Preston, a youngish man who lives on ranch with his father (George Sawaya) and his mother (Ida Lupino).  For some reason, the Preston family owns a book that is full of evil magic.  Satanic high priest Jonathan Corbis (Ernest Borgnine) wants the book and when the Prestons refuse to hand it over, he makes it his mission to destroy them.  He gets things started by turning Mark’s father into a weird, waxy zombie who melts in the rain.  Not wanting the same fate to befall the rest of the family, Mark grabs the book and heads to a desert ghost town that has been taken over by Corbis and his followers.  Mark never returns.

Mark’s older brother, Tom (Tom Skerritt) then shows up in town, searching for Mark.  Accompanying him are his wife (Joan Prather) and a paranormal researcher (Eddie Albert).  Tom discovers that Corbis is transforming his followers into zombies who have no memories and who exist only to …. well, I’m not sure what the point of it all is but I guess it basically comes down to Corbis needing something evil to do.  Not only has Mark become one of his Corbis’s followers but, if you keep an eye out, you might spot a very young John Travolta in the background.  This was Travolta’s film debut.  According to the end credits, the character he plays is named Danny.  Danny Zuko, perhaps?  That would serve him right for making Sandy doubt herself.

The Devil’s Rain is one of the many low-budget movies that William Shatner did between the end of the Star Trek TV show and the start of the Star Trek movies.  It’s a bit of an disjointed film, as I think any film starring William Shatner and Tom Skerritt as brothers would have to be.  Skerritt gives a very laconic performance, playing his character as if he was the star of a Western.  Shatner, meanwhile, does that thing where he randomly emphasizes his words and gets the full drama out of every sentence and facial expression.  But, as much as Shatner overacts, you can’t help but enjoy his performance because he’s William Shatner and that’s what he does.  The same is true of Ernest Borgnine, who overacts in his role just as much as you would expect Ernest Borgnine to overact when cast as an evil cult leader.  For that matter, Eddie Albert isn’t exactly subtle as the paranormal researcher.  Don’t even get me started on Keenan Wynn, playing yet another small town sheriff.  Let’s just say that, with the exception of Tom Skerritt, the cast of The Devil’s Rain is not necessarily full of actors noted for their restraint.  That said, there’s something rather charming about everyone’s attempts to steal every scene in which they appear.

The Devil’s Rain is a deeply silly film but that doesn’t make any sense but it’s hard not to get caught up in it.  Even if the fact that this film is perhaps your only opportunity to see John Travolta melt on screen isn’t enough to make you watch, Shatner vs. Borgnine with Skerritt approaching in the distance is just too entertaining to resist!  Thankfully, Shatner survived appearing in this film and revitalized his career through a combination of Star Trek movies and Canadian tax shelter flicks.  He’s a survivor.  In fact, I guess I shouldn’t have been surprised that, even at the age of 90, Shatner has no trouble going into space.  William Shatner’s going to be around forever.

Horror on the Lens: Dr. Jekyll and Mr. Hyde (dir by John S. Robertson)

Posted on by Lisa Marie Bowman

394px-Dr_Jekyll_and_Mr_Hyde_1920_poster

Ever since the birth of film, Robert Louis Stevenson’s Dr. Jekyll and Mr. Hyde has been a popular subject for adaptation.  Not only does the classic story of a good doctor who unleashes his evil instinct via potion serve as a potent metaphor for everything from sexual repression to drug addiction, but the dual role of Dr. Jekyll and Mr. Hyde has provides an excellent opportunity for an actor to show off.

The first film adaptation of Dr. Jekyll and Mr. Hyde is believed to have been made in 1908.  Two more version followed in 1912 and 1913 and then, suddenly, 1920 saw three different film versions.

The best known of the 1920 version is our film for today.  This version is best remembered for John Barrymore’s powerful performance in the title role but it also holds up remarkably well as a work of cinematic horror.

Horror on TV: Friday the 13th: The Series 1.23 “Badge of Honor” (dir by Michelle Manning)

Posted on by Lisa Marie Bowman

On tonight’s episode of Friday the 13th, Val Avery plays an angry cop who uses an antique sheriff’s badge to get revenge on the mobster who put his wife in a coma.  The mobster is played by David Proval, who later played RIchie Aprile during the second season of The Sopranos.  (You might remember Janice shooting him in the chest.)

This episode was directed by Michelle Mannings who, while working as an executive at Paramount, produced both Sixteen Candles and The Breakfast Club!

This episode originally aired on July 9th, 1988.