October True Crime: Karla (dir by Joel Bender)


When it comes to true crime cases, few are as disturbing as the story of Paul Bernardo and Karla Homolka.

Paul and Karla were a young, married couple who lived in Ontario.  They were both attractive.  They were both popular.  They were both superficially charming, in the style of someone who you might have taken a class with but the only thing you can really remember about them is their smile.  And they were both killers.  Paul Bernardo, a wannabe rapper who had previously made his money by smuggling cigarettes and who was also a serial rapist, murdered at the least three teenage girls, including Karla’s sister, Tammy.  When Paul was arrested, Karla told prosecutors that she had helped Paul with his murders but only because he threatened and abused her.  Prosecutors, perhaps moved by a picture that Karla’s friend took of her bruised face after one of Paul’s beatings, made a deal with her for her testimony.  In return for testifying against Paul Bernardo, Karla was convicted only of manslaughter and given a 12-year prison sentence.  (She was 23 at the time and would only be 35 when released from prison, assuming that she served the full sentence.)  However, during the trial, video tapes of the murders were uncovered and showed that Karla had been a far more active participant in the murders than she had originally admitted.  That included the murder of her sister, Tammy.

There were calls to rescind Karla’s plea bargain and to try her for murder but since her plea bargain had only required her to provide enough evidence to convict Paul, it was ruled that she had upheld her end of the bargain.  While Paul Bernardo is currently serving his life sentence, Karla Homolka is now free and living somewhere in Canada.

Needless to say, the case drew international attention, both due to the circumstances of Karla’s plea bargain and also to Paul and Karla’s image of being the “Ken and Barbie Of Serial Killers.”  It’s a case that continue to haunt Canada, an example of how the accused was ultimately treated with more respect than the victims.  For her part, Karla continues to claim that it was all Paul and that she was forced into helping.  Paul claims that he and Karla were equal partners and that the actual murders were all committed by Karla.  Personally, I think they’re both lying.

2006’s Karla stars Laura Prepon as Karla Homolka.  The film opens with her already in prison and being interviewed by a psychiatrist (Patrick Bauchau) who has been assigned to determine if there’s a risk of her reoffending.  As Karla tells her story, we see flashbacks of Karla’s life with Paul (Misha Collins).  Prepon and Collins are both chillingly believable as the soulless Paul and Karla.  Laura Prepon plays Karla as being a narcissistic sociopath who is incapable of understand that she’s not the victim in this story.  I imagine that Prepon’s performance probably captures the essence of the real Karla, even if Prepon doesn’t really look like her.

That said, the film itself is largely a surface level exploration of the case.  The film’s script attempts to maintain some ambiguity as to whether or not Karla Homolka was a voluntarily participant in the murders or if she actually was just too scared of Bernardo to stop him.  Prepon plays her as being a sociopath but the script still tries to play both sides of the debate and, as a result, the film falls flat.  The film may be called Karla but it doesn’t really get into her head and, as a result, it has all the depth of an Investigative Discovery special.  In the end, the film feels like it’s trying to exploit the notoriety around a famous case without taking a firm position on the case’s biggest controversy.  When it comes to the crimes of Karla Homolka, that’s not an option.

Horror Song of the Day: Bad Moon Rising by Creedence Clearwater Revival


by Erin Nicole

Today’s song of the day is one that was used so memorably in An American Werewolf In London.  From Creedence Clearwater Revival, here is Bad Moon Rising.

Bad Moon Rising

I see a bad moon rising.
I see trouble on the way.
I see earthquakes and lightning.
I see bad times today.

Don’t go around tonight,
Well, it’s bound to take your life,
There’s a bad moon on the rise.

I hear hurricanes a-blowin’.
I know the end is comin’ soon.
I feel rivers overflowin’.
I hear the voice of rage and ruin.

Don’t go around tonight,
Well, it’s bound to take your life,
There’s a bad moon on the rise.
Alright!

Hope you got your things together.
Hope you are quite prepared to die.
Looks like we’re in for nasty weather.
One eye is taken for an eye.

Well, don’t go round tonight,
Well, it’s bound to take your life,
There’s a bad moon on the rise.

Don’t come around tonight,
Well, it’s bound to take your life,
There’s a bad moon on the rise.

4 Shots From 4 Horror Films: 1950s Part One


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 look at the start of the 1950s.

4 Shots From 4 Horror Films

The Strange Door (1951, dir by Joseph Pevney)

The Strange Door (1951, dir by Joseph Pevney)

The Black Castle (1952, dir by Nathan H. Juran)

The Black Castle (1952, dir by Nathan H. Juran)

The Maze (1953, dir by William Cameron Meznies)

The Maze (1953, dir by William Cameron Meznies)

House of Wax (1953, dir by Andre De Toth)

House of Wax (1953, dir by Andre De Toth)

Horror On The Lens: Teenage Caveman (dir by Roger Corman)


Future serious actor Robert Vaughn made his film debut in 1958’s Teenage Caveman.  Directed by Roger Corman, Teenage Caveman tells the story of a rebellious young man (that’s Robert Vaughn) who chooses to defy his father’s warnings and venture beyond the caves and into “the forbidden zone.”  He’s told that monsters roam in the forbidden zone and indeed, at least one of them does.  However, neither the Teenage Caveman nor his father are prepared for what lies at the heart of the forbidden zone.

(What will he find out there, Dr. Zaius?)

Robert Vaughn later said that, out of all the bad films that he made, this was the worst.  Personally, I think he was being a bit too hard on the film.  It’s not good but it is definitely fun.  Along with watching all of the dinosaur stock footage, you get to wonder how a caveman — especially a teenage caveman! — could possibly have such perfect hair.  Even more importantly, if you stick with it, this film has a twist ending that has to be seen to be believed.

Here is Teenage Caveman:

 

Horror On TV: Hammer House of Horror #10: Guardian of the Abyss (dir by Don Sharp)


Tonight’s episode of Hammer House of Horror features antiques and cults!  It’s a like a very British version of Friday the 13h: The Series.  This episode is not necessarily one of my favorite episodes of this series.  I always find the ending to be disappointing.  The said, it does feature an intriguing story and a cast of Hammer veterans.

This episode originally aired on November 15th, 1980.

The Human Duplicators (1965, directed by Hugo Grimaldi)


Who’s an android and who’s not!?

It’s hard to keep track in The Human Duplicators.  Dr. Kolos (Richard Kiel) is an alien who is sent down to Earth.  He thinks that he’s not an android but how can he be sure?  He goes to the laboratory of Dr. Vaughan Dornheimer (George Macready) and tells Donheimer that they will be working together to create androids that are perfect duplicates for humans and that Kolos will be the “master.”  But then an android is built of Dornheimer himself and android Dornhiemer declares that he is the master.  Kolos is distracted because he’s fallen in love with Dornhiemer’s daughter, a blind pianist named Lisa (Dolores Faith).

Glenn Martin (George Nader) of the National Intelligence Agency is assigned to figure out what is happening at the Dornhiemer mansion and, wouldn’t you know it, there’s already an android version of Glenn.  Glenn’s girlfriend is played the brassy Barbara Nichols, a comedic actress who was briefly groomed to be the next Marilyn Monroe and who comes on like the star of a burlesque show.  Glenn’s boss is Austin Wells and he’s played by Hugh Beaumont, which makes this film feel like a weird episode of Leave It To Beaver where Wally has to save the world.  I don’t think the bad guys ever duplicate Hugh Beaumont and that’s good because real trouble could be created by an evil version of Ward Cleaver.

The presence of Richard Kiel and Hugh Beaumont is really the only thing that The Human Duplicators have going for it.  There are plenty of fights between Glenn and the androids but it turns out that the androids are easy to beat into oblivion so there’s not much suspense or excitement to be found.  At times, it feels as if it’s trying to be an episode of The Avengers just without the wit of Patrick Macnee or the charm of Diana Rigg.  The Human Duplicators seems to take itself very seriously and I’m not sure why.

After The Human Duplicators, Richard Kiel later went on to play Jaws in The Spy Who Loved Me and Moonraker.  Hugh Beaumont retired from the movies.

Great Moments In Comic Book History #41: Tomb of Dracula #41


For my money, the original Tomb of Dracula is still the best horror comic to ever show up at a newsstand.  From 1975, The cover of Tomb of Dracula #41 is a classic.  Credit for this goes to Gene Colan, Tom Palmer, and Gaspar Saladino.

Previous Great Moments In Comic Book History:

  1. Winchester Before Winchester: Swamp Thing Vol. 2 #45 “Ghost Dance” 
  2. The Avengers Appear on David Letterman
  3. Crisis on Campus
  4. “Even in Death”
  5. The Debut of Man-Wolf in Amazing Spider-Man
  6. Spider-Man Meets The Monster Maker
  7. Conan The Barbarian Visits Times Square
  8. Dracula Joins The Marvel Universe
  9. The Death of Dr. Druid
  10. To All A Good Night
  11. Zombie!
  12. The First Appearance of Ghost Rider
  13. The First Appearance of Werewolf By Night
  14. Captain America Punches Hitler
  15. Spider-Man No More!
  16. Alex Ross Captures Galactus
  17. Spider-Man And The Dallas Cowboys Battle The Circus of Crime
  18. Goliath Towers Over New York
  19. NFL SuperPro is Here!
  20. Kickers Inc. Comes To The World Outside Your Window
  21. Captain America For President
  22. Alex Ross Captures Spider-Man
  23. J. Jonah Jameson Is Elected Mayor of New York City
  24. Captain America Quits
  25. Spider-Man Meets The Fantastic Four
  26. Spider-Man Teams Up With Batman For The Last Time
  27. The Skrulls Are Here
  28. Iron Man Meets Thanos and Drax The Destroyer
  29. A Vampire Stalks The Night
  30. Swamp Thing Makes His First Cover Appearance
  31. Tomb of Dracula #43
  32. The Hulk Makes His Debut
  33. Iron Man #182
  34. Tawky Tawny Makes His First Appearance
  35. Tomb of Dracula #49
  36. Marvel Publishes Star Wars #1
  37. MAD Magazine Plays Both Sides
  38. The Cover of Green Lantern/Green Arrow #85
  39. LBJ Stands Up For The Hulk
  40. Chamber of Chills #2

Horror Scenes That I Love: Bela Lugosi in Bride of the Monster


“Home?  I have no home.”

So begins the monologue that serves as the centerpiece of the 1955 Ed Wood film, Bride of the Monster.  The monologue is delivered by Bela Lugosi, appearing in one of his final roles.

Far too often, people tend to be snarky about the work that Lugosi did under the direction of Ed Wood.  But you know what?

He actually delivers a pretty good performance in Bride of the Monster.

Ignore all of the stuff about atomic supermen and instead, just pay attention to the way Lugosi delivers the lines.  Pay attention to the pain in his voice as he says that he has no home.  Pay attention and you’ll discover that Lugosi actually gave a good performance in Bride of the Monster.  He delivers the lines with such wounded pride that you can’t help but think that maybe we should let him create a race of atomic supermen.

Among the old horror icons, Lugosi has always been the most underrated actor.  He got typecast early and he appeared in some unfortunate films but Bela Lugosi had real talent and you can see it in this scene.

October True Crime: Looking for Mr. Goodbar (dir by Richard Brooks)


In 1977’s Looking for Mr. Goodbar, Diane Keaton plays Theresa Dunn.

A neurotic and single woman who has never emotionally recovered from her childhood struggle with scoliosis, Theresa is trying to find herself in the wild and promiscuous world of the 1970s.  After losing her virginity to a condescending college professor (Alan Feinstein), Diane goes on to have relationships with a needy social worker (William Atherton) and an hyperactive petty criminal (Richard Gere).  During the day, she teaches deaf children and she’s good at her job.  She even manages to win over the distrustful brother (Levar Burton) of one of her students.  At night, she hits the bars.  She buys drugs from the neighborhood dealer (Julius Harris).  She tries to read the book that she always carries with her.  (Some nights, it’s The Godfather and other nights, it’s something else.)  She picks up strange men and takes them to her roach-infested apartment.  One of those men, Gary (Tom Berenger), turns out to both be a bit insecure about his masculinity and also totally insane….

Looking for Mr. Goodbar is an adaptation of a novel that was inspired by the real-life murder of a New York school teacher named Roseann Quinn.  The book was best seller and, just as he had with a previous best-selling true crime novel, director Richard Brooks bought the rights and both wrote and directed the film.  Diane Keaton, who at that point was best-known for playing Kay Adams in The Godfather and for appearing in Woody Allen’s comedies, took on the demanding role of Theresa and, whatever one may think of the film itself, it can’t be denied that Keaton gives a brave performance as the self-destructive Theresa.  In fact, I would say it’s one of Keaton’s best performances, outside of her work with Woody Allen and The Godfather Part II.  If she had been played by a lesser actress, Roseann could have been unbearable.  As played by Diane Keaton, though, she’s everyone’s best friend who just need some time to find herself.  The viewer worries about her and wants to protect her as soon as they see her, making her ultimate fate all the more tragic.

As for film itself, I’ve watched Looking For Mr. Goodbar a few times and I’m always a little bit surprised by how bad the movie actually is.  The film actually gets off to a strong start.  The scenes between Theresa and the professor make for a sensitive portrait of a repressed young woman finally getting in touch with her sexuality and, in the process, discovering that she deserves better than the man she’s with.  But once Theresa moves into her apartment and starts hitting the bars at night, the film takes on a hectoring and moralistic tone that leaves the viewer feeling as if the film is blaming Theresa for the tragedy that’s waiting for her at the end of the story.  Diane Keaton and Tuesday Weld (who plays her sister) both give excellent performances but everyone else in the film either does too much or too little.  This is especially true of Richard Gere, who is very hyperactive but still strangely insubstantial in his role.  (Whenever Richard Gere appears on screen, one gets the feeling that they could just walk right through him.)  A scene where Gere jumps around the apartment is meant to be disturbing but it’s more likely to inspire laughter than chills.

It’s an overly long film and the moments in which Theresa has dark, sexually-charged fantasies are never quite as powerful as the film obviously meant for them to be.  (Brian Dennehy makes his film debut as a doctor who kisses Theresa’s breast during one of her fantasies.)  As opposed to the empathy that he brought to In Cold Blood, one gets the feeling that director Richard Brooks didn’t like anyone in this movie and that he was more interested in Theresa as a cautionary tale than as a human being.  With this film, Brooks seemed to be standing athwart the Sexual Revolution and shouting, “Stop!”  That said, the film’s final moments are genuinely disturbing and difficult to watch.  It’s the one moment where Brooks’s lack of subtlety pays off.  Those last minutes are about as horrific as anything you could expect to see.

As for Roseann Quinn, her killer was eventually arrested.  John Wayne Wilson hung himself in prison, 5 months after murdering her.