Horror Song of The Day: Main Theme From Suspiria by Goblin

Posted on October 28, 2025 by Lisa Marie Bowman

Suspiria (1977, dir by Dario Argento, DP: Luciano Tovoli)

You knew this was coming!

Today’s horror song of the day is the classic main theme to Dario Argento’s Suspiria! (The Argento version is the only version that matters.) The iconic soundtrack was composed by Goblin. I saw an interview with Claudio Simonetti in which he said he wanted the song to be “almost annoying” in its intensity. While I could never be annoyed this song, I do understand Simonetti’s point. The score is designed to be as overwhelming as the evil at the center of the film.

All together now: “WITCH!”

October True Crime: Stolen Innocence (dir by Bill L. Norton)

Posted on October 28, 2025 by Lisa Marie Bowman

1995’s Stolen Innocence opens with 18 year-old Stacy Sapp (Tracey Gold) trying to sneak back into her house after a long night of drinking and partying. Unfortunately for her, Stacey isn’t very good at sneaking around and she’s caught by her mother (Bess Armstrong) and her father (Nick Searcy).

“I’m 18!” Stacy argues.

“You’re going to end up pregnant!” her mother yells.

Stacy says that that her mother is just scared that she’s going to end up a loser “like you!” Well …. yeah, Stacy, that’s kind of the point. If your mother has experience with the life decisions necessary to become a loser, maybe you should listen to her warnings.

Anyway, Stacy runs away with a friend of her’s. After her friend decides to go back home, Stacy hitches a ride with a trucker. When the trucker stops off at a truck stop so he can get his brakes looked at, Stacy meets Richard Brown (Thomas Calabro, wearing a really bad wig). Richard is long-haired and has got a tough guy beard and a cheesy tattoo of a heart on his scrawny forearm. Stacy, of course, is totally smitten and she goes off with Richard and his “friend,” Eddie (Matt Letscher).

It doesn’t take long for us to figure out what Richard is bad news. He carries a gun. He’s financing his trip through stolen checks. He might not even own the truck that he’s driving. He and Eddie have a bizarre relationship in which Richard continually abuses Eddie but Eddie refuses to leave. Richard is obviously a bad guy and we can all see it. When Stacy finally calls her parents from the road, they immediately figure out that Stacy is in trouble. However, it takes Stacy forever to figure it out because Stacy’s kind of an idiot.

I cringed a lot while watching Stolen Innocence, not so much because of the film’s depiction of Richard’s criminal lifestyle but because I used to have a definite weakness for bad boys and I could kind of understand what was going through Stacy’s mind when she first met Richard. That said, I’m pretty sure that I would have figured things out a lot quicker than Stacy did. Stacy quickly goes from being a somewhat sympathetic rebellious teenager to being someone who you really start to get annoyed with. Oh, he’s threatening you with a gun? Okay, that’s when you leave! That’s when you start plotting your escape. You don’t make excuses for him. He’s financing his trip with stolen checks? I’m sorry, is that not a red flag? Add to that, as played by a miscast Thomas Calabro, it’s not like Richard is some boiling cauldron of charisma. From the first minute we see him, with his long hair and his cowboy hat and his tattoo, the guy seems like a joke.

Eventually, Stacy does figure out the truth but, by that point, Richard and her are holed up in a motel room and Richard is exchanging gunfire with the FBI. The film ends with a title card, reminding us that this was a true story. “He’s not a bad person!” Stacy wails to the police. I guess some people really are that stupid.

Horror On The Lens: The Last Man On Earth (Dir by Ubaldo Ragona and Sidney Salkow)

Posted on October 28, 2025 by Lisa Marie Bowman

Today, I present to you one of the most important films in horror history. Though it wasn’t appreciated when it was first released back in 1964, The Last Man On Earth was not only the 1st Italian horror film but George Romero has also acknowledged it as an influence on his own Night of the Living Dead.

It’s easy to be a little bit dismissive of The Last Man On Earth. After all, the low-budget is obvious in every scene, the dubbing is off even by the standards of Italian horror, and just the name “Vincent Price” in the credits leads one to suspect that this will be another campy, B-movie. Perhaps that’s why I’m always surprised to rediscover that, taking all things into consideration, this is actually a pretty effective film. Price does have a few over-the-top moments but, for the most part, he gives one of his better performances here and the black-and-white images have an isolated, desolate starkness to them that go a long way towards making this film’s apocalypse a convincing one. The mass cremation scene always leaves me feeling rather uneasy.

The film is based on Richard Matheson’s I Am Legend and no, it’s nowhere as good as the book. However, it’s still a worthy adaptation and one that stays true to the tone of the text, including the fact that Price’s main tormenter was also once his neighbor and best friend. This is one of those films that just hits differently in the wake of 2020’s COVID hysteria.

And now, it’s time for The Last Man On The Earth….

October Positivity: Revelation Road 2: The Sea of Glass and Fire (dir by Gabriel Sabloff)

Posted on October 27, 2025 by Lisa Marie Bowman

Eric Roberts is in this!

That, in itself, isn’t a surprise. Eric Roberts was also in the first Revelation Road. He plays the same role in the 2013 sequel. Roberts is Sheriff Jenson, the not particularly religious sheriff who has to deal with a town that’s gone mad in the wake of the Rapture. Over the course of one night, dozens of people (including Jenson’s mother) vanished as their souls flew into the air. Jenson isn’t sure what happened but he knows that there is panic in the streets and that there is also a crazed motorcycle gang to deal with. In the first film, Roberts was onscreen for maybe two minutes. He gets closer to five minutes in Revelation Road 2 and you know what? it’s always nice to see Eric Roberts!

As for the rest of the film, it picks up where the previous one ended. Josh McManus (David A.R. White) is trying to get home to his family while also resisting the urge to become a killer. It’s not easy. Flashbacks reveal that Josh was actually brainwashed by the CIA to be a remorseless killer. He’s haunted by a mission in the Middle East and the amount of people he killed over there. He’s joined in his drive home by Beth (Noelle Coet), a teenage girl who has been sent by Jesus himself (Bruce Marchiano) to help guide Josh in the right direction. Pursuing Josh is the fearsome Hawg (Brian Bosworth), a motorcycle gang leader who is haunted by his own personal tragedy. Hawg’s daughter, Cat (Andrea Logan White), struggles to understand her father’s anger and hatred.

Revelation Road 2 is a definite improvement over the first film. If the first film seemed to take forever to go nowhere, Revelation Road 2 is all about Josh’s determination to get back home. Once he starts that car up, nothing is going to stop him. If the first film seemed to be a bit too eager to show off Josh’s talent for killing people, Revelation Road 2 features Josh trying to hold back on his murderous instincts. Flashbacks to Hawg’s past life bring some much-needed nuance and context to his actions and they keep him from being just a one-dimensional villain. I would dare say that Bosworth actually gives a legitimately good performance in this film.

Though the film wears its influences on its sleeve (Hi, Mad Max!), Revelation Road 2 is still a surprisingly well-done action film.

Previous Eric Roberts Films That We Have Reviewed:

Late Night Retro Television Review: CHiPs 4.19 “Vigilante”

Posted on October 27, 2025 by Lisa Marie Bowman

Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Mondays, I will be reviewing CHiPs, which ran on NBC from 1977 to 1983. The entire show is currently streaming on Prime!

It is time to leave the Bronx….

Episode 4.19 “Vigilante”

(Dir by Arnold Laven, originally aired on May 3rd, 1981)

A citizen’s patrol has taken to the streets of Los Angeles and, despite their good intentions, they’re getting in the way of the Highway Patrol. They’re supposed to call the cops if they actually see anything but one member of the group is trying to take the law into his own hands. If that wasn’t bad enough, Getraer has someone sending threatening messages to his house. Getraer thinks that he can handle things on his own but apparently, he’s forgotten the name of the show that he’s on.

This episode wasn’t bad. I actually appreciate any episode that gives Robert Pine a chance to do more than just bark out orders as Pine was one of the better actors on the show. Because Getraer was under so much pressure, he ended up snapping at a lot of the officer during the morning briefing and one got the feeling that Pine enjoyed getting to yell. Still, at one point, Getraer punishes Grossman by giving him desk duty and you have to wonder if maybe that’s why Los Angeles now needed vigilantes to keep the streets safe.

The vigilantes themselves reminded me a bit of New York’s Guardian Angels. I checked and the Guardian Angels were themselves formed in 1979 so I guess it’s possible that this episode was inspired by them. I can’t say for sure because I don’t know how prominent the organization actually was in 1981. Today, of course, the Guardian Angels are once again very prominent because their founder, Curtis Sliwa, is running for mayor of New York. Apparently, he’s stuck in third place, which is a shame when you consider who is in first and second place. Personally, I would vote for Sliwa because he owns six cats and I happen to be collector of berets but I’m also not a New Yorker.

As for vigilante justice, I don’t condone it but I certainly see the appeal.

Horror on TV: Spectre (dir by Clive Donner)

Posted on October 27, 2025 by Lisa Marie Bowman

Produced by Gene Roddenberry and directed by Clive Donner, 1977’s Spectre was a pilot film for a television series about an occult detective (Robert Culp) who solved supernatural mysteries while dealing with a curse that had been put on him by the demon, Asmodeus.

In this film, Culp’s William Sebastian and his associate, Dr. Ham Hamilton (Gig Young) travel to the UK to investigate a supernatural case involving an old family. Despite the efforts of a succubus and a cursed airplane, Sebastian and Ham are determined to solve the mystery. John Hurt appears as a member of the cursed family.

This pilot was not picked up and developed into a series but it was popular enough that it was released as a theatrical film in Europe.

The Hong Kong Film Corner – THE BRIDE WITH WHITE HAIR (1993), starring Brigitte Lin and Leslie Cheung!

Posted on October 27, 2025 by Bradley Crain

THE BRIDE WITH WHITE HAIR (1993), a Hong Kong fantasy film directed by Ronny Yu (THE BRIDE OF CHUCKY, Jet Li’s FEARLESS), follows Zhuo Yihang (Leslie Cheung), a master swordsman and reluctant young leader of the Wudang Sect, who is tasked with protecting his clan’s interests during a time of political turmoil and clan rivalries. The Ming Dynasty is weakening, and various factions vie for power, including an evil cult led by sinister conjoined twins, Gei Mou-Seung (Francis Ng and Elaine Lui). During a mission, Zhuo encounters Ni-Chang (Brigitte Lin), a fierce female warrior raised by the cult but disillusioned with their cruelty. Despite their opposing allegiances, Zhuo and Ni-Chang fall in love, drawn together by their unique senses of honor and a shared desire for freedom. Their romance faces intense opposition from both the Wudang Sect and the cult. A series of misunderstandings, betrayals, and tragic events, culminating in Zhuo’s hesitation to fully trust Ni-Chang, leads to her heart breaking. Will she be able to forgive Zhuo for breaking his promise to “always trust her” or will the pain of a broken heart transform her into the “Bride with White Hair,” where everyone else on Earth needs to watch TF out?!!

With its blend of fantasy action, romance and tragedy, THE BRIDE WITH WHITE HAIR is a visually spectacular and emotionally powerful masterpiece of Hong Kong cinema. In collaboration with cinematographer Peter Pau (Oscar winner for CROUCHING TIGER, HIDDEN DRAGON), director Ronny Yu creates a dreamlike atmosphere with surreal imagery that helps elevate the film into the unique awesomeness of early 90’s Hong Kong. The inventive choreography of the somewhat gory fight scenes, combined with flowing costumes and foggy landscapes, creates an exciting world for this film. This is bold visual and emotional storytelling, and I loved it. Brigitte Lin is amazing as Ni-Chang, balancing powerful strength with a surprising amount of vulnerability, which makes her ultimate transformation into the white-haired Bride both devastating and badass, cementing her as one of Hong Kong cinema’s most memorable heroines. Leslie Cheung is good as Zhuo Yihang, portraying a man who longs to be free, especially after he falls in love with Ni-Chang, but circumstances have a way of keeping him bound to his clan. The chemistry between Lin and Cheung drives this film, which makes the ultimate outcome of their romance very moving. Francis Ng and Elaine Lui are appropriately insane as the deadly and dangerous conjoined twins and cult leaders. The fact that Francis’ character is evil and in love with Ni-Chang himself ensures that our lovers are not going to get an easy path for flying off into the sunset together.

Ultimately, I consider THE BRIDE WITH WHITE HAIR to be a must-watch for fans of action-based fantasy films, or anyone drawn to stories of forbidden love and personal sacrifice. It’s one of the first “non-Chow Yun-Fat” Hong Kong movies I ever watched. The moving romance at the film’s center and the excellent performances from Lin and Cheung make it a standout of Hong Kong cinema.

Retro Television Review: Miami Vice 5.4 “Bad Timing”

Posted on October 27, 2025 by Lisa Marie Bowman

Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Mondays, I will be reviewing Miami Vice, which ran on NBC from 1984 to 1989. The entire show can be purchased on Prime!

This week, Crockett tries to find himself.

Episode 5.4 “Bad Timing”

(Dir by Virgil W. Vogel, originally aired on December 2nd, 1988)

With the case against him still unresolved, Crockett goes on vacation. He doesn’t tell anyone where he’s going, which is a bit unfortunate as he ends up being taken hostage in the Bayous by a group of cartoonishly evil escaped convicts. (Pruitt Taylor Vince plays one of the hostage-takers but is fairly forgettable. A young Melissa Leo appears as a fellow hostage and shows none of the grit that made her so memorable as Sgt. Kay Howard on Homicide.) Somehow, Tubbs still shows up at the last moment and, looking resplendent in a white suit, he shoots the final convict before the latter shoots Crockett. Crockett doesn’t even ask Tubbs how he knew where Crockett was. (If Tubbs had been following Crockett the entire time, why would he have allowed Crockett to have been taken hostage to begin with?) This episode might as well have been called Dues Ex Tubbs.

Watching this episode, it occurred to me that, as a character, Crockett really doesn’t have anywhere left to go. By having him turn into Burnett and become one of Miami’s most powerful drug dealers, the show pretty much pushed the character as far as possible. It’s impossible for Crockett to come back from that and it’s equally impossible to watch an episode like this one and not wonder why Crockett wasn’t in prison. He’s suspected of committing four murders. He was witnessed shooting a cop. He attempted to kill his own partner, twice. The episode begins with several high-ranking cops saying that they don’t buy Crockett’s excuse that he had amnesia. And yet, Crockett is allowed to leave Miami while the department tries to figure out what to do with him.

Really, the whole idea that Crockett — a minor celebrity due to his college football career — could maintain his Burnett cover for five seasons was already pretty hard to believe. Crockett and Tubbs’s cover got blown in nearly every episode during the first three seasons. Having Sonny “Burnett” marry a world-famous singer without anyone noting that Burnett looked just like Crockett was probably this show’s true shark jumping moment. Once that happened, it became increasingly difficult to take Miami Vice seriously. The whole arc of Sonny thinking he was Burnett was fun to watch and Don Johnson gave a good performance as a conflicted bad guy but it’s also left the show with nowhere to go. With this episode, Crockett has been reduced to being taken hostage by a group of backwoods yokels and waiting for Tubbs to materialize from out of nowhere.

In short, it’s time for Sonny to move on. And seeing as how this is the final season …. well, we’ll see what happens!

Horror Scenes That I Love: Life and Death in Dawn of the Dead

Posted on October 27, 2025 by Lisa Marie Bowman

Today’s horror scene that I love is from George Romero’s 1978 zombie masterpiece, Dawn of the Dead.

The first time I saw this film, I was so upset when Roger died. Not only was Roger my favorite character but I also knew that if Roger — who was so funny and so charismatic and so competent — couldn’t survive then that meant that no one was going to survive.

Horror Song Of The Day: Dawn of the Dead Main Theme by Goblin

Posted on October 27, 2025 by Lisa Marie Bowman

Dawn of the Dead (1978, dir by George Romero, DP: Michael Gornick)

Dario Argento not only produced and edited the European cut for 1978’s Dawn of the Dead, he also introduced George Romero to Goblin. The Italian band, famous for their horror movie soundtracks, provided the classic score to Dawn of the Dead.

(Admittedly, the score is is used far more prominently in Argento’s cut of the film than in Romero’s.)

For today’s horror song of the day, here is Goblin’s Main Theme From Dawn of the Dead.