Doctor Who — The Brain Of Morbius (1976, directed by Christopher Barry)

Posted on October 13, 2025 by Jedadiah Leland

The Time Lords once again decide that they need the Doctor to do their dirty work for them. The TARDIS, with the Doctor (Tom Baker) and Sarah Jane Smith (Elisabeth Sladen) on board, is sent to the rocky planet Karn.

On Karn, the crazed Dr. Solon (Phillip Madoc) lives in a castle and is kidnapping shipwrecked travelers and using their limbs to build a body for Morbius (Stuart Fell with the voice of Michael Spice). Morbius was once a Time Lord but, after being found guilty of war crimes, his body was destroyed but his disembodied brain survived. It now sits atop a makeshift body that has been constructed out of several different alien races. Solon takes one look at the Doctor’s head and decides that it would be the perfect house for the brain of Morbius.

There’s a subplot about the Sisterhood of Karn and the Elixer of Life but make no mistake. This is Doctor Who‘s take on Frankenstein, with the Baron reimagined as a mad scientist on a distant planet and the Monster reimagined as being not at all sympathetic. When I was a kid and first watching these episodes of PBS, The Brain of Morbius was one of my favorites because of the Frankenstein connection and also the look of Morbius. The original Doctor Who was known for its often-shoddy monsters but Morbius was a definite triumph. The brain sitting in a transparent bowl atop a stitched together body was one of the defining images of classic Doctor Who.

The Brain of Morbius is also known for a controversial moment during the final episode, where the Doctor and Morbius engage in a battle of the minds. On a view-screen, the faces of the three former Doctors appear, followed by several faces that had never been shown before. It was actually an in-joke on the part of production. The faces were all members of the Doctor Who crew. For decades, though, this in-joke led to a fierce debate whether or not William Hartnell was actually the first Doctor. This, of course, was back when it was still believed that a Time Lord could only regenerate 12 times. The Doctor Who revival tossed out that idea, along with a lot of other good ideas.

All these years later, The Brain of Morbius still remains one of my favorites of the Fourth Doctor’s adventures. This serial was the Tom Baker/Elisabeth Sladen era at its best.

Hercules (1958, directed by Pietro Francisci)

Posted on October 13, 2025 by Jedadiah Leland

In ancient Greece, Hercules (Steve Reeves) saves the life of the princess Iole (Sylva Koscina) when she nearly loses control of her chariot. Iole tells Hercules about how her father, Pelias (Ivo Garrani), become the ruler of the kingdom after the murder of the previous king and the exile of the rightful heir to the throne, Jason (Fabrizio Mioni).

Hercules accompanies Iole back to the kingdom, where he proves himself by doing typical Hercules things like defeating both a lion and a bull. When Hercules’s discovers that his best friend, Chiron (Alfo Poli) is the number one suspect in the murder of the previous king, he goes on a quest with Jason to recover the Golden Fleece, which will reveal the truth.

All sorts of Greek myths are crammed together as Hercules and Jason search for the Golden Fleece, fight a dragon, and are briefly held prisoner by Amazon Queen Antea (Gianna Maria Canale). (The dragon’s roar was lifted from a Godzilla film.) Hercules was the first of several Italian film to be made about Hercules. American bodybuilder Steve Reeves had the right physique for Hercules but the wrong voice and, even in the English language dub, it’s obvious that we are not actually hearing Reeves when he speaks.

Hercules has a deserved reputation for being campy but it’s not as bad as you might think if you’ve only seen the washed-out and heavily edited version that was used for Mystery Science Theater 3000. (I say that as someone who loves MST 3K and who dreamed of being one of their writers when I was growing up.) If you can actually see a restored print of the film, ancient Greece actually looks pretty good and the the deep colors go a long way towards establishing the grandeur of a mythological age. It’s easy to laugh at Steve Reeves and his expressionless acting but he had the right look for Hercules. The only thing really required of Hercules in this movie is that he be strong and Reeves was definitely that.

Distributed in America by Joseph E. Levine, Hercules was a worldwide success and there would be 18 sequels, with Reg Park eventually taking over the role. Steve Reeves, having been seriously injured while filming The Last Days of Pompeii in 1959, eventually retired from acting and spent the rest of his life running a ranch in Valley Center, California and promoting drug-free bodybuilding. Arnold Schwarzenegger frequently cited him as an inspiration for his own acting career. Steve Reeves passed away at the age of 74 in 2000.

Horror Scenes That I Love: Barbara Steele in Black Sunday

Posted on October 13, 2025 by Lisa Marie Bowman

The British-born actress, Barbara Steele, became a star in Italy in the 60s, working with directors from Riccardo Freda to Mario Bava to Federico Fellini. One of Steele’s defining roles was in Bava’s 1960 film, Black Sunday.

In this scene, Steele’s witch is sentenced to be executed and, since this is a Bava film, it won’t be a quick execution. What makes this scene stand-out is Steele’s defiance. It’s hard not to admire her refusal to give those judging her what they want. You watch this scene and you have no doubt that if you get cursed by Barbara Steele, it’s going to be a curse for life.

Horror Film Review: Kill, Baby…. Kill (dir by Mario Bava)

Posted on October 13, 2025 by Lisa Marie Bowman

Kill, Baby…. Kill!, Mario Bava’s 1966 masterpiece, opens at the turn of the 20th Century.

In a small German village, a woman named Irena Hollander (Mirella Panfili) runs up a set of stairs at an abandoned church. From the bell tower, she either falls or deliberately jumps and crashes into the sharp spikes of the gate below. Agck! Falling from that high of a spot is bad enough without then landing on a gate and getting pierced by several sharp points at once. Making it even more disturbing is that it’s suggested that the spikes don’t instantly kill Irena. It’s a grotesque and disturbing image, shown to us in bright color. It’s death as pop art. It’s the sort of thing that only Mario Bava could have paid off.

Dr. Paul Eswai (Giacomo Rossi Stuart) is summoned to the village by Inspector Kruger (Piero Lulli). Kruger suspects that Irena may have been intentionally pushed and he wants Paul to conduct an autopsy. However, the superstitious townspeople say that her body must be buried immediately and Paul and Kruger actually have to rush out to the local cemetery to prevent the Irena from being buried. The gravediggers warn Paul and Kruger that they will be bringing a curse on themselves by not burying Irena. Paul and Kruger don’t listen. At the autopsy, a local medical student named Monica (Erika Blanc) is assigned to serve as the witness. Paul discovers that a silver coin has somehow been embedded in Irena’s heart.

Paul discovers that the villagers live in fear of the ghost a little girl. They claim that if you see the girl, that means you are cursed to die. Paul, being a man of science, is skeptical. When the daughter of the local innkeeper becomes horrified after saying that she has seen the little girl, Paul is critical of the treatment offered up by her superstitious parents. (That treatment include a chain of leeches — agck!) Meanwhile, Kruger goes to the estate of the mysterious Baroness Graps (Giovanna Galletti) and disappears! It soon becomes clear that the key to mystery lies in the estate of the Baroness and her past. Karl (Luciano Catenacci), the burgomaster, knows the secret of the Baroness but soon, he finds himself being targeted by the little girl.

Maria Bava is a director who has been cited as an influence by everyone from David Lynch to Martin Scorsese and Kill, Baby…. Kill! is his masterpiece, a work of horrific pop art that is full of atmosphere, creative use of color, and an intentionally surreal style of plotting that makes the film less a standard story and more of a filmed nightmare. Towards the end, as Paul pursues the ghost of the little girl, an overhead view of a special staircase, lit in blues and greens, brings to mind Hitchock’s Vertigo while the village itself feels as if it could have been transported over from a Hammer horror film. Paul is a man of science and the villages are people of superstition and, in the end, both seem to be equally destructive. Paul is too quick to dismiss the old traditions while the villagers are too quick to put their faith in herbs and incantations. Bava creates an atmosphere in which everyone seems to be equally doomed.

Of course, the main reason why Kill, Baby…. Kill! works is because that little girl (played by Valerio Vali, about whom little is known) is absolutely terrifying. When she suddenly shows up at a window and stares straight at her latest victim, it’s a true jump scare. She had an intense stare but, even worse, she seems to be so happy after she’s cursed someone. The true horror is that she can basically pop up anywhere. It doesn’t matter if you’re a good person or a rational person or someone who doesn’t even believe in ghosts. Fate cannot be escaped.

Kill, Baby…. Kill! is a both a story of nightmarish horror and a love letter to pure cinema.

Kill, Baby, Kill

October True Crime: The Texas RailRoad Killer (dir by Luis Antonio Rodriguez)

Posted on October 13, 2025 by Lisa Marie Bowman

Angel Maturino Resendiz, now there was a scary person.

Resendiz was a drifter who hitched rides on trains and who killed at least 15 people over the course of 13 years. Because he traveled by stowing away on trains, his first few crimes went undetected. Even when people realized that there was a serial killer haunting the nation’s railroads, no one knew exactly where Resendiz would next turn up. He committed the majority of his murders in Texas, killing random people and using whatever method happened to be most convenient at the time. However, he also killed people in Florida, Georgia, California, Kentucky, and Illinois. He would steal his victim’s jewelry but leave behind their money. (He would return to his home in Mexico to give the jewelry to his sister and mother, both of whom apparently had no idea where he was getting his gifts from.) After he was placed on the FBI’s Most Wanted List, Resendiz eventually surrendered himself in 1999. Resendiz was apparently under the impression that he would not be given the death penalty if voluntarily turned himself in. Resendiz was wrong about that and he was executed in 2006.

Until Resendiz surrendered himself, everyone living near a railroad track was nervous. I know this from personal experience because, in 1999, my family lived close enough to the tracks that I could lay in bed in the middle of the night and listen to the sound of the trains rumbling in the distance. Resendiz was a killer who targeted those who were smaller and weaker than him, which basically would have included me, my mom, and my sisters. Apparently, whenever he did a home invasion, he would also eat whatever food he could find in the refrigerator. Whereas most killers would probably want to get away from the scene as quickly as possible, Resendiz would sit down and eat leftovers. For whatever reason, that little detail is the one that creeps me out the most.

2020’s The Texas Railroad Killer is loosely based on the crimes of Angel Resendiz. The film features Resendiz (Lino Aquino) as he wanders around South Texas, randomly killing. As played by Aquino, Resendiz comes across as being a somewhat dazed, paranoid shell of a human being, a shadow of death who doesn’t seem to be aware of the difference between reality and what’s only happening in his mind. Does he really witness a group of strippers being gunned down by law enforcement or is it something that he only imagined? It’s hard to tell. After Resendiz commits a murder, he looks over his victim’s identification as if he’s trying to absorb the life that he just ended. And yes, he does eat in a victim’s house. Agck!

The Texas Railroad Killer is an extremely low-budget film. Lino Aquino is convincingly out-of-it as Resendiz but some of the other performers are noticeably less convincing in their roles. The film is largely plotless and the slow pace will be a turn-off for many viewers. And yet, there’s a disturbing power to the film’s sun-drenched visuals. The images of the sweaty Resendiz walking down broken streets or stumbling dazed out of someone’s home stick with you. Flaws and all, the film captures the soulless existence of a man who lives for no other reason than to kill.

Personally, it makes me glad that he’s dead.

Horror Song of the Day: Tubular Bells by Mike Oldfield

Posted on October 13, 2025 by Lisa Marie Bowman

Mike Oldfield didn’t write Tubular Bells specifically for The Exorcist but it’s a song that works perfectly for the film. Oldfield’s song, which was rumored to have originally envisioned as being a Christmas instrumental, become an iconic horror them.

4 Shots From 4 Horror Films: 1950s Part Two

Posted on October 13, 2025 by Lisa Marie Bowman

This October, I’m going to be doing something a little bit different with my contribution to 4 Shots From 4 Films. I’m going to be taking a little chronological tour of the history of horror cinema, moving from decade to decade.

Today, we continue to look at the 1950s.

4 Shots From 4 Horror Films

La Bruja (1954, dir by Chano Urueta)

Cult of the Cobra (1955, dir by Francis D. Lyon)

Dementia (1955, dir by John Parker)

The She Creature (1956, dir by Edward L. Cahn)

Horror Film Review: Willy’s Wonderland (dir by Kevin Lewis)

Posted on October 13, 2025 by Lisa Marie Bowman

2021’s Willy’s Wonderland takes place in an dilapidated restaurant.

Back in the day, Willy’s Wonderland was the ideal place to go if you were young and celebrating your birthday. The animatronic mascots would sing “Happy birthday” and maybe meet your parents. Willy Weasel, Arty Alligator, Cammy Chameleon, Ozzie Ostrich, Tito Turtle, Knighty Knight, Gus Gorilla, and Siren Sara promised fun and cheesy entertainment to anyone looking for a nice family meal!

Unfortunately, people stopped going to Willy’s once it was discovered that the owner was a serial killer. Jerry Robert Willis (Grant Cramer) and his seven friends were cannibals who regularly sacrificed families. Eventually, the police caught up to him but, even under new ownership, no one wanted to eat at Willy’s. There were rumors that Willis and his friends had transferred their souls into the animatronic figures but surely, that could not have been true!

Right?

Nicolas Cage plays a man with no name. When his car breaks down, the local mechanic agrees to fix the car if the man agrees to spend the night as the janitor at Willy’s. Apparently, it’s been a struggle to keep a night janitor at the place. People find the location to be creepy and, of course, the animatronic mascots keep killing anyone dumb enough to try to mop the floors. Cage’s man with no name silently agrees. Everything that Cage does, he does without a word. This is one of the rare films where Nicolas Cage, usually a champion talker, says absolutely nothing.

Now, I should mention that there actually is a plot to Willy’s Wonderland. Liv (Emily Tosta) and her friends are trying to burn the place down because, years ago, Liv’s parents were murdered by the mascots. Unfortunately, Liv and her friends aren’t that smart and they end up trapped in Willy’s Wonderland. The majority of them quickly fall victim to the mascots. The deaths are appropriately gruesome, though tinged with the dark humor that would come from essentially being killed by a knock-off version of Chuck E. Cheese.

But really, the plot isn’t important. This film is entirely about Nicolas Cage, playing a man with no name. Cage takes the janitorial job and, over the course of the night, he battles the mascots. At the same time, he also makes it a point to continue to do his job. Besieged or not, he agreed to clean the place up. He takes his breaks and plays pinball exactly as scheduled, even if that means abandoning Liv and her friends. Normally, you might think that this would be bad behavior on the part of Cage’s character. Abandoning someone in the middle of a battle is not usually encouraged. But Liv and her friends are very annoying. Cage is ultimately the hero by default. Yes, he’s fighting and killing the mascots but he’s really only doing it because they’re getting in his way while he’s trying to do his job. The fact that he helps out Liv is largely coincidental.

Willy’s Wonderland proves that Cage doesn’t need a lot of lines to be the center of a film. Even without speaking, he’s such a wonderfully eccentric presence that you can’t help but watch him and cheer him on. Admittedly, Willy’s Wonderland is never that scary, though the “Happy Birthday” song is definitely creepy. The mascots are a bit too cartoonish to be truly frightening. But, if the film doesn’t really work as a horror film, it does work as an adrenaline-fueled Cage match. And that’s nearly as good.

Monday Live Tweet Alert: Join Us for The Satanic Rites of Dracula!

Posted on October 13, 2025 by Lisa Marie Bowman

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

Tonight, for #MondayActionMovie, the film will be The Satanic Rites of Dracula! So, if you missed the #ScarySocial live tweet, I guess this is your second chance.

It should make for a night of fun viewing and I invite all of you to join in. If you want to join the live tweets, just hop onto Mastodon, pull up The Satanic Rites of Dracula on YouTube, start the movie at 8 pm et, and use the #MondayActionMovie hashtag!

Enjoy!

Horror Film Review: The Vampire Bat (dir by Frank R. Strayer)

Posted on October 13, 2025 by Lisa Marie Bowman

In 1933’s The Vampire Bat, people are dying in a small German village, victims of blood loss. A woman named Martha Mueller (Rita Carlisle) was recently attacked by a bat, leading to rumors of a vampire. When the local town eccentric, a twitchy man named Hermann Glieb (Dwight Frye), argues that bats are actually harmless and admits that he likes bats because they are “soft” and “nice,” people start to suspect that he might be the vampire. Another man named Kringen (George E. Stone) claims that he was attacked by a vampire and insinuates that it was Glieb. Glieb may seems like a strange man who likes to collect bats but could he be something even more sinister?

Two town leaders have opposite feelings about the claim that a vampire is attacking the town. Karl Brettschneider (Melvyn Douglas) is the local police inspector and he deals with facts. He doesn’t believe in superstition and he initially scoffs at the idea that a vampire is attacking the village. Meanwhile, Dr. Otto von Niemann (Lionel Atwill) is the town’s doctor. He’s been treating the victims of the bat attacks and he’s even be letting some of his patients live at his home. Everyone knows that Dr. von Neimann is a kindly man of science. Karl is even dating Ruth (Fay Wray), one of Otto’s boarders. But is the doctor as benevolent as everyone assumes?

When answering that question, consider these four facts:

Dr. von Neimann is the one who encouraged Kringen to spread stories about a vampire haunting the town, despite the fact that Kringen himself said that he didn’t want to start a panic.
Dr. van Niemann is played by Lionel Atwill.
Glieb is played by Dwight Frye.
Karl is played by Melvyn Douglas.

Indeed, for horror fans, the casting of Lionel Atwill gives the game away. Lionel Atwill appeared in a number of horror films and it was rare that he wasn’t cast as the villain. (One of his non-villainous role was as the one-armed Inspector Krogh in The Son of Frankenstein.) From the minute the viewer sees Atwill, he seem to give off sinister vibes and it’s not really a surprise when he turns out to be less than trustworthy.

As for Dwight Frye, horror fans love him for playing a number of unhinged weirdos, like Renfield in the Lugosi-version of Dracula and the torch-bearing servant in Karloff’s Frankenstein. Frye was good at playing twitchy types but one thing that all of Frye’s characters had in common is that they were pretty much destined to be victims. Even when Frye played an unlikeable character, like in Frankenstein, it was obvious that he was going to end up getting killed at the hands of the Monster.

Finally, Melvyn Douglas was the epitome of propriety in every film in which he appeared. If Douglas thinks that there is something more going on than just a vampire attacking people, there probably is. And since we know Douglas can’t be the main bad guy, that pretty much just leaves Lionel Atwill.

The Vampire Bat is a short and enjoyable B-movie that puts an interesting spin on the typical vampire legend. Though the budget may be low, the cast of Atwill, Douglas, Frye, and Wray can’t be beat and all of them give fully committed performances. Dwight Frye, in particular, gives one of his best performance as the unfortunate Glieb. As always, Lionel Atwill makes for an entertaining villain. At its best, The Vampire Bat comments on the power of hysteria. Convinced that there is a vampire in their midst, the town goes mad and it directs its anger towards those who are seen as being on the outside, men like Glieb.

The Vampire Bat is more than worthy of your Halloween viewing.