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.
Hi, everyone! Tonight, on twitter, I will be hosting one of my favorite films for #MondayMania! Join us for Stalked By My Doctor: A Sleepwalker’s Nightmare! Dr. Beck is back!
You can find the movie on Tubi and then you can join us on twitter at 9 pm central time! (That’s 10 pm for you folks on the East Coast.) See you then!
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.
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!
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:
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.
In the creepy 1974 film, Peter Graves plays a father who goes on a camping trip with his two teenage children (one of whom is played by Kathleen Quinlan). A sudden earthquake and a solar flare causes the trio to try to return to civilization, where they discover that almost everyone has been reduced to a powdery substance and there are only a few crazed survivors. They try to make their way back to their home in Malibu, facing danger at every leg of their journey.
(It’s almost a low-budget and far more dramatic version of Night of the Comet.)
Effective despite its made-for-TV origins, Where Have All The People Gone? was obviously mean to serve as a pilot for a television series. The series didn’t happen but, even with a somewhat open-ended conclusion, the movie still works.
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!
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.
In 2010’s Holyman Undercover, David A.R. White plays Roy. Roy is an 18 year-old Amish dude from Kansas. It’s time for him to experience Rumspringa, a period in which he can live life amongst “the English” and decide whether or not he wants to commit to being Amish. Roy decides to go Los Angeles so he can track down his uncle and work with him as a missionary.
Roy struggles in Los Angeles. Giving money to one homeless man leads to him nearly getting mugged. When he meets his uncle, he discovers that Brian (also played by David A.R. White) is now a struggling actor who has a taste for cocaine. (Brian claims that he’s a holyman working undercover.) Accompanying Brian to an audition leads to Roy getting cast as Satan on a primetime soap opera. His wife is played by vapid supermodel Tiffany Towers (Jennifer Lyons). Meanwhile, the show’s producer is a former country girl named Annie (Andrea Logan White) and soon, Roy is having fantasies about Annie dressing up like an Amish woman and dancing in a field with him. However, the head of the network (Fred Willard) wants Roy to date Tiffany because it’ll be good publicity for the show.
Throughout it all, Roy remains innocent and confused about the modern world. He’s never watched television. He doesn’t know how to use a phone. He doesn’t understand what a credit card is. He’s earnest and honest to a fault and, even after Tiffany makes out with him, he continues to insist that he only has eyes for Annie.
Of course, in reality, I imagine that the typical Amish person knows how to use a phone. I imagine that they probably also know what a television is and they probably even understand that you’re expected to pay your credit card debt. The Amish may choose to reject a good deal of the modern world but that doesn’t mean that they don’t know what the modern world is. But this film isn’t meant to be a realistic portrayal of the Amish or of Hollywood or of really anything.
Indeed, I’m not really sure what to make of this film. It’s faith-based and it ends with Roy delivering a simple message about loving others but the film’s humor is often rather mean-spirited and there’s several jokes that are more than a little racist and homophobic. (Japanese tourists take pictures while shouting, “Godzilla!” When Brian ends up in jail, his cellmate is a hulking black man who says his name is Beef because “it’s what’s for dinner.”) David A.R. White is not bad as Roy but his performance as Brian is incredibly shrill and there’s really no reason, beyond ego, for director White to have cast himself in both roles.
Probably the best thing that one can say about the film is that the name actors — Fred Willard, Clint Howard, Edie McClurg, and Staci Keanan — all manage to survive with their dignity intact. Indeed, the highlight of the film is, believe it or not, John Schneider earnestly playing himself as the actor who replaces Roy as Satan and who then promptly launches a presidential campaign. “The country’s going to Hell anyway!” he says, with just the right amount of self-awareness.
Interestingly enough, the film does end with one particularly prophetic scene, as Roy and Annie leave Hollywood to produce an Amish dating show. Tiffany moves with them to the farm and a group of Amish men compete for her hand in marriage. Farmer Wants A Wife, anyone?
A true scene stealer, the character actor Dick Miller was a Navy veteran who earned a Phd in psychology, even while he was already appearing on stage. His 1952 move from New York to California was originally so that he could pursue a career as a writer. Instead, he ended up becoming one of the most beloved members of Roger Corman’s stock company. (Famously, in 1952’s Apache Woman, he played both a Native American and the townsperson who shot him.) Many of the directors who started their careers under Roger Corman continued to cast Dick Miller in their own films, keeping Miller busy as a character actor. Miller worked with everyone from Martin Scorsese to Joe Dante to James Cameron to Steven Spielberg to Jim Wynorski. Miller often played characters named Walter Paisley, a reference to his first starring role in Corman’s A Bucket of Blood.
In this scene from 1981’s The Howling, Dick Miller lets two reporters know what’s truly going on with the werewolves.
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.
Through the Shattered Lens 