Horror On TV: Fear Itself 1.7 “Community” (dir by Mary Harron)


In tonight’s episode of Fear Itself, Bobby (Brandon Routh) and Tracy (Shiri Appleby) are a young couple who move to a gated community and learn that there are consequences to upsetting the HOA.  The story is familiar but Mary Harron does a good job of combining satire with chills.  Watching how Bobby and Tracy are pressured to conform to the rules of the community, it was hard not to be reminded of the excesses of the COVID era.

(Of course, the truly interesting thing about the COVID era was seeing how many self-styled nonconformists revealed their true selves once they were actually put in a position where taking a stand could have had consequences.  They know who they are.)

This episode originally aired on July 24th, 2008.  Mary Harron, of course, is best known for directing American Psycho.

The TSL Horror Grindhouse: House of the Damned (dir by Maury Dexter)


1963’s House of the Damned tells the story of an isolated mansion.  It’s a place that many people have tried to live in but no one has ever been willing to stick around for too long.  There are rumors that the mansion is haunted.  In fact, you could even make the claim that the mansion is a house of the damned!  Of course, we all know that there’s no such thing as ghosts, right?

Joseph Schiller (Richard Crane), the new owner of the mansion, calls architect Scott Campbell (Rob Foster) and tells him to go up to the house and check the place out.  Scott points out that he was planning on celebrating his anniversary with his wife, Nancy (Merry Anders).  Joseph say that there is no better way to celebrate an anniversary than to visit a house that might be haunted.  Scott and Nancy (who  is amazingly understanding) head for the house, where all sorts of strange things happen.

What type of strange things?  Keys disappear.  There are weird noises.  Sometimes, it seems like something or someone might be lurking in the shadows.  Could the house be haunted?  While Scott and Nancy try to figure out what’s going on, Joseph shows up with his wife, Loy (Erika Peters).  When Loy disappears, it becomes obvious that something is happening in the house of the damned!

House of the Damned is a briskly paced and occasionally effective haunted house story.  It was directed by Maury Dexter, who was a director who was so fast and so capable of stretching a low budget that, at his best, he gave Roger Corman a run for his money.  House of the Damned is only 63 minutes long and the film’s story isn’t particularly complex but Dexter still manages to create a properly ominous atmosphere and he does keep you guessing as to whether or not the house is actually haunted.  The house itself was the former estate of infamous gangster Bugsy Siegel.  Dexter reportedly spent ten days filming the movie at the Spiegel estate.  Hopefully, he was not bothered by Bugsy’s ghost.

None of the characters are particularly well-developed but they are well-cast and the actors are all likable.  The best performance comes from Erika Peters, who plays Loy as being slightly self-absorbed but ultimately good-hearted.  She also gets to wear a bathing suit that is simply to die for.  This film also features a very early performance from the great Richard Kiel, playing “The Giant.”  It’s always nice to see Richard Kiel in a movie.  Shortly before he passed away in 2014, Kiel visited my Alamo Drafthouse for a showing of The Spy Who Loved Me.  Though it was obvious that he wasn’t in great health, he still took time to answer questions and to show off a rather charming smile.  When a certain redhead told him that she loved him in a beloved 90s golf comedy, he smiled and said, “I believe that jacket belongs to Mr. Gilmore.”

House of the Damned was a nice surprise.  We need more 62-minute films.

Retro Television Review: The Love Boat 8.15 “Santa, Santa, Santa/Another Dog Gone Christmas/Noel’s Christmas Carol”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Wednesdays, I will be reviewing the original Love Boat, which aired on ABC from 1977 to 1986!  The series can be streamed on Paramount Plus!

Merry Christmas!

Episode 8.15 “Santa, Santa, Santa/Another Dog Gone Christmas/Noel’s Christmas Carol”

(Dir by Richard Kinon, originally aired on December 15th, 1984)

It’s time for the Christmas voyage!

Assigned to hire a Santa Claus for the trip, Judy McCoy has finally managed to find one in the surprisingly thin form of Max Phelps (Ray Waltson).  Uh-oh!  Apparently, Gopher didn’t get the memo and he hired a Santa Claus of his own, Patrick Turney (Avery Schreiber).  Well, this is awkward but surely …. wait a minute, who is that with Isaac?  Isaac also hired a Santa Claus, in this case Shakespearean actor Malcolm (Scatman Crothers)!

How did this happen and I mean that sincerely.  I guess I can understand Gopher having the power to hire a Santa Claus because he is the ship’s pursuer.  But why is Isaac hiring people?  How does the Captain not know who is and who isn’t being hired for his ship?  And why didn’t either Gopher or Isaac tell Judy that they hired a Santa Claus?

These are legitimate questions but they really don’t matter.  The three Santa Clauses are all wonderful in their roles and watching them try to outdo each other is actually pretty entertaining.  This is a storyline that worked better than it had any right to, largely because there wasn’t a hint of cynicism to be found on The Love Boat.  Most modern sitcoms would have made the Santa Clauses angry or bitter.  But, on The Love Boat, three Santas are always better than one!

As for the other stories, Carol Kelsey (Kim Lankford) lies to her mother (Anne Francis) and tells her that Ace is her fiancé.  Carol is just trying to get her mother off of her back.  But when Carol falls for Ace’s friend, Noel Kane (Shea Farrell), Carol’s mother fears that her daughter is cheating on Ace.  No worries!  What can go wrong when you fall in love with someone named Noel on Christmas?  Again, this is another episode that worked specifically because of The Love Boat’s utter and complete earnestness.  It was goofy and it was perfect for a Christmas voyage.

Finally, Vicki is sailing with her dog, Tundra (played by the adorable Tundra The Wonder Dog).  Because Vicki’s aunt and uncle can no longer look after Tundra and a boat is no place for a dog to live, she gives Tundra to a down-on-his luck stand-up comedian (Howard Morris).  This was such a sweet story that it brought tears to my eyes.  Tundra was adorable and he brought a lot of cheer to the entire boat.

Wow, Christmas in October!  Happy holidays everyone!

Brad spends some time ON THE LINE (2022) with Mel Gibson! 


As far back as I can remember I’ve been a fan of Mel Gibson. I also truly believe that the LETHAL WEAPON series is one of the greatest action franchises of all time. Of course, part of that could be because it meant so much to me when I was growing up. I remember renting the original action classic with my family when we were on a spring break vacation at a resort in Hot Springs. I was 16 when part 2 became a huge hit in the late summer of 1989, and one of my first real dates was to see the film at the theater. Part 3 didn’t have as lasting an impact, but part 4 introduced me to the action legend Jet Li. Needless to say, if the long-rumored part 5 ever materializes, I’ll be there.

So, when I recently came across the thriller ON THE LINE (2022) on Netflix, I was happy to see Gibson back in a leading man role that appears to give him a chance to have some real fun. Here, he plays Elvis Cooney, a controversial late-night radio host whose show takes a serious turn when a distraught caller threatens to murder his family if he doesn’t play a dangerous game with him. What begins as any other night at the station turns deadly, with Elvis trying to figure out who he’s dealing with and just how far he’s willing to go.

One of the things I’ve always liked about Gibson is his ability to play characters who can be funny, obnoxious, and downright nuts, sometimes all at the same time. He brings plenty of that crazy personality to Elvis, who often comes off as a complete A-hole. But Gibson has a way of making even a real jerk entertaining to watch, and I enjoyed seeing him carry this film. I’ll just say this right now, if you don’t like Gibson, this is probably not the movie for you. He’s the primary reason to watch. I know Gibson has had some very public controversies over the years, and I certainly don’t condone some of his actions. But that doesn’t change the fact that this guy, his performances, and his movies were a staple of those early years when I was falling in love with cinema.

ON THE LINE reminded me a little of THE GAME (1997), the David Fincher thriller starring Michael Douglas and Sean Penn. Both films use the lead character’s birthday to set into motion an elaborate deception. I don’t want to give away this film’s surprises, and I’m certainly not suggesting that it’s nearly as accomplished as THE GAME, but I found it interesting that the two movies brought those same thoughts to my mind.

Is ON THE LINE a great movie? I wouldn’t go that far, and I’m sure there are plenty of folks who may feel cheated by the twisty ending(s). While I understand all of that, I’m the kind of viewer who doesn’t need every movie I watch to be a masterpiece. First and foremost, I’m a fan of actors, and I enjoy having a chance to see Mel Gibson being the true lead in a film that allows him to shine. That goes a long way with me. 

Backrooms, Horror Film Review by Case Wright


I actually thought that I reviewed “Backrooms” already, but I had not. However, since it is October, it’s a perfect time to review this …. story. The fanbase is Star Wars-level obsessive and just because I don’t particularly care for something, it doesn’t mean it’s terrible- it usually does, but maybe this time is different. I can’t be correct – all the time…. or can I?

This film started as a 4chan post that went viral and the writer/director Kane Parsons built his life around this 4chan post. Then, he went all found footage on its ass. From the age of sixteen to twenty, his entire life was devoted to this magical world that looks a lot like a cubicle farm without the cubicles. The backrooms is a place where you expect to see sad data entry professionals working in sweatshop conditions. Maybe the backrooms is really just a front for an H1-B scam? Whenever a person enters the backrooms, all the workers are gone; so, maybe they used the backrooms as a means to move around their illegal data entry group and things got out of hand, creating a H1-B multiverse?

The film’s quantum mechanics are very intricate, but the movie itself has a very thin plot like saran wrap thin. Backrooms is 95% lore and the plot exists just to have more scenes wandering around the backrooms. Clark is the vehicle we use to get into the backrooms; he is the protagonist – sort of. He is an abusive alcoholic and failed architect who likely killed his wife. He also runs a furniture store and has employees who hate him, but that’s pretty normal for Clark because Clark is an asshat. In fact, his asshattery is so well-developed that even his therapist thinks he’s a boring jerk.

During one of his self-loathing sessions, Clark goes to his store’s basement and tries to do some electricity maintenance and he falls through a portal in his wall to …. wait for it…the backrooms! They basically look like the same room that he was in, but crappier and there are infinite backroom dimensions and quasi-fake people who you can eat- if you want. Apparently, it is okay to go Dahmer on these freaky people because they are “still lifes” – copies of copies of the earth prime people- I think.

He tells his therapist about the backrooms and she checks them out and nearly dies. I would have avoided this adventure and I would’ve been just fine. Clark, unlike me, becomes obsessed with the backrooms, gets his employees to explore them with him, and all the employees die because of a monster or because Clark eats them. Yes, Clark is a quasi-cannibal or a full-on cannibal or he is long pig curious. Don’t worry, Clark is stopped because he gets eaten by a paper mache version of himself. I always knew that arts and crafts were the devil’s workshop.

You could say that the backrooms are a Clark eat Clark world….

If you want to understand the backrooms, be prepared to have A LOT of homework like D&D dungeon master levels of homework!

Horror On The Lens: Robot Monster (dir by Phil Tucker)


 

I love this movie!

In this 1953 film, a gorilla wearing a diving helmet uses the Calcinator Death Ray to wipe out almost all human life on Earth.  Only 8 people survive, among them a professor, his family, and Roy (future Eurospy star, George Nader).  Ro-Man (George Barrows) is hounded by his superior to track down and destroy the survivors.  Ro-Man does his best, though the humans prove to be …. well, they’re not really that resourceful.  In fact, they’re pretty dumb.  But Ro-Man is pretty dumb himself.

Regularly (and incorrectly) cited as being one of the worst films ever made, Robot Monster is an enjoyably absurd hybrid of horror and science fiction.  Earth is destroyed through a combination of bad lighting effects and stock footage and the arguments between Ro-Man and his superior have to be heard to be believed.  Robot Monster is actually a bit more self-aware than a lot of people realize.  This is a low-budget Z-movie that realizes that it’s a low-budget Z-movie and which cheerfully embraces its identity.  Robot Monster is a personal favorite and it’s a bit of Halloween tradition around these parts.

And now, enjoy Robot Monster in all of its black-and-white glory!

 

 

Horror Song of the Day: Buio Omega by Goblin


Today’s horror song of the day comes from the 1979 film, Beyond The Darkness.

This film’s theme song, courtesy of Goblin, was so acclaimed that it later turned up in several other Italian horror film, usually without anyone bothering to credit Goblin.  In this video below, it’s performed by the members of Goblin Reborn, who should not be confused with the members of Claudio Simonetti’s Goblin or Goblin Legacy.

(I swear, the members of prog rock bands are almost as difficult to keep track of as the minor members of European royalty.)

As for the image behind the band, that is Cinzia Monreale, who played two roles in Beyond The Darkness.

Late Night Retro Television Review: Pacific Blue 4.22 “The Right Thing”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Tuesdays, I will be reviewing Pacific Blue, a cop show that aired from 1996 to 2000 on the USA Network!  It’s currently streaming everywhere, though I’m watching it on Tubi.

This week, the fourth season comes to a close.

Episode 4.22 “The Right Thing”

(Dir by John B. Moranville, originally aired on April 25th, 1999)

Businessman John Patrone (Fred Saldone) has negotiated a peace treaty between two gangs, one black and one Latino.  Finally, there will be peace in Santa Monica!  However, at a rally to celebrate the treaty, a sniper shoots Patrone dead.  At first, I was amazed that the police didn’t have anyone on those rooftops to prevent something like this from happening.  Then I realized that security for the rally was being provided solely by Pacific Blue.  Of course, the bicycle cops would screw this up.

Despite the fact that John Patrone was a major figure in Santa Monica, we never see any Homicide detectives working the case.  Instead, it somehow falls to the bicycle cops to investigate.  What they discover is that, despite his altruistic image, Patrone was actually a monster who sold weapons and drugs to the gangs and who raped and impregnated the daughter of Bruce Best (Kevin McClatchey).  Bruce’s daughter killed herself and that’s why Bruce assassinated Patrone.

Bruce doesn’t make any effort to disguise the fact that he killed Patrone.  He admits it to Bobby, Granger, Jamie, and Monica.  However, the four rookie cops are convinced that Patrone deserved to die and that Bruce did “the right thing” by shooting him.  In a move that is totally out-of-character for him, Bobby decides to throw all of the evidence implicating Bruce into harbor.  Unfortunately, Bobby is being watched by Susan Jessup (Holly Gagnier) of Internal Affairs.  Susan goes to TC and offers to let Bobby off the hook in exchange for sex.  (As ludicrous a character as Susan may be, Holly Gagnier’s wonderfully unhinged performance was the highlight of the episode.)  TC replies that he will arrest Bobby and Bruce personally.  This episode ends with a cliffhanger as all four of our rookies pose for their mugshots.

Meanwhile, Chris and Cory deal with a teenager who wants to shoot himself out of a cannon.  It’s a bit odd that the bike patrol’s two most experienced cops aren’t working the Patrone murder but whatever.  I’ve given up on trying to follow Pacific Blue logic.

We’ll find out the fates of Bobby, Jamie, Granger, and Monica next week, when we start the final season of Pacific Blue.  I really can’t wait for all this to be over with!

Horror On TV: Fear Itself 1.6 “New Year’s Day” (dir by Darren Lynn Bousman)


Tonight’s episode of Fear Itself is a macabre zombie story that takes place on New Year’s Day and which features a twist ending!  Watch this one with the lights off.

The episode originally aired on July 17th, 2008.  Director Darren Lynn Bousman is best-known for his Saw films.  Personally, I’m a fan of his 2010 thriller, Mother’s Day.

October Hacks: The Bye Bye Man (dir by Stacy Title)


There are certain films that have scenes that make you laugh even though you really shouldn’t. When I finally got around to watching 2017’s The Bye Bye Man earlier this year, there was one scene that almost caused me to fall off my couch from excessive giggling.

It really shouldn’t have made me laugh, but I couldn’t help it. It’s hard for me to explain what was so funny about it, but I’ll try. One of the film’s characters is standing in the middle of some train tracks. A train is rapidly approaching. Yikes! Nothing funny about that. The character does not move. She fully intends to get struck by the train. We get a close-up of the character on the tracks, and then we get a close-up of the train’s engineer suddenly realizing that she’s standing in front of his train.

“NO!” he says.

It’s the “No!” that gets me. He doesn’t yell, “Get out of the way!” He doesn’t yell, “STOP THE TRAIN!” In fact, as far as I can tell, he doesn’t even try to stop the train, and seeing as how he’s the engineer, one would think that would be something he would know how to do. Instead, he sees her and he goes, “NO!” When he says it, he uses the same tone of voice that I use when I’m telling a cat not to sharpen its claws on the furniture. He’s not saying, “No, this can’t be happening!” He’s not saying, “Oh God, NO!” Instead, he’s saying, “No, don’t you stand on those tracks!” It’s such a fake and awkward moment that I couldn’t help but laugh. Later, I couldn’t help but wonder why no one was willing to say, “Well, let’s just leave that NO! on the cutting room floor. It’s not like it really adds anything to the film.”

That’s the type of film that The Bye Bye Man is. It’s inept in almost every way, from the acting to the script to the editing to …. well, everything. It’s a film that was obviously meant to launch a franchise. The Bye Bye Man was meant to be the type of evil presence who would haunt the nightmares of a generation of filmgoers. If you don’t want The Bye Bye Man to come after you, all you have to do is not say or think his name. But as soon as you see that name, that’s all you can think about. He’s kind of like Candyman, just without any sort of subtext. One has to wonder how he ended up with a name like Bye Bye Man. Maybe it’s explained in the film and I was too busy laughing at that awkward “NO!” to notice. It’s entirely possible.

I may have also been busy wondering what Faye Dunaway was doing in this film. She only has a small role. It’s really more of a glorified cameo than anything else. She plays the widow of a reporter who, years earlier, discovered the existence of The Bye Bye Man. This film came out a month or so before Dunaway and Warren Beatty accidentally gave the Best Picture Oscar to the wrong film at the 89th Annual Academy Awards. I’d like to think that was her getting revenge on Hollywood for not giving her better roles.

The Bye Bye Man did not lead to a franchise, which is a shame. I would pay money to see the future adventures of that engineer.