Made-For-TV Horror: The Initiation of Sarah (dir by Robert Day)

Posted on October 23, 2025 by Lisa Marie Bowman

Oh, poor Sarah.

Sarah (Kay Lenz) is attending college with her sister, Patty (Morgan Brittany). Patty is pretty and popular and everyone wants to be her friend. Sarah is withdrawn and a bit moody and people seem to go out of their way to avoid her. Sarah, however, has a secret. She can move and break things with her mind. When a guy on the beach tries to force himself on Patty, Sarah uses her powers to push him away. Later, when Sarah’s upset, she stares at a mirror until it cracks.

When Patty and Sarah visit their mother’s old sorority, Patty is a hit but Sarah is less popular. The bitchy president of the Sorority, Jennifer Lawrence (Morgan Fairchild), is happy to invite Patty to join but she doesn’t want Sarah to be anywhere near her. Sarah ends up joining the outcast PDE sorority. Jennifer, however, remains obsessed with humiliating and destroying Sarah. And Sarah, when she gets angry, has a tendency to cause things to happen….

This film, which aired in 1978, probably sounds like a rip-off of Carrie and, in many ways, it is. For whatever reason, Sarah’s bullies seem to be obsessed with making her as miserable as possible. In Carrie, one reason you hated the bullies was because Sissy Spacek gave such a heart-breaking, vulnerable and empathetic performance as Carrie White. The bullies were terrible to begin with but then to pick on someone as fragile as Carrie? It sucked William Katt had to die but there’s still a reason why the prom inferno makes as many people applaud as scream. In The Initiation of Sarah, Kay Lenz is not particularly sympathetic as Sarah. Even before the bullies start picking on her, Sarah comes across as being angry and bitter about …. well, everything. Patty goes out of her way to take care of her sister but Sarah never seems to appreciate it. Bullies still suck, of course. There’s no excuse for being a bully and Jennifer really does go overboard when it comes to going after Sarah. But Sarah herself still doesn’t necessarily come across as being someone you would want to join your sorority.

What sets The Initiation of Sarah apart from other Carrie rip-offs is the character of Mrs. Hunter (Shelley Winters). Mrs. Hunter founded PDE when she was a student and now, as the school’s resident expert on paganism, she’s the housemother of PDE. As soon as Sarah joins, Mrs. Hunter starts to talk about how Sarah is destined to lead PDE to glory. When another member of PDE, Mouse (Tisa Farrow), takes a look in Mrs. Hunter’s room, she discovers a Satanic altar that is guarded by a fierce looking dog….

That’s right! This isn’t just a rip-off of Carrie. It’s a rip-off of The Omen as well!

Kay Lenz might be a bit on the dull side as Sarah but this film is worth watching for the performance of Morgan Fairchild and, especially, Shelley Winters. As played by Fairchild, Jennifer is more than just a bitch. She’s a sociopath with great hair. Meanwhile, Shelley Winters — especially once the 70s started — was never a particularly low-key or subtle actress. When you cast her as an overbearing housemother who happens to be the high priestess of a cult, you know that you’re going to get something worth watching. Winters attacks the role with a ferocity that is occasionally over-the-top and almost funny but always entertaining.

The Initiation of Sarah is an enjoyable made-for-TV movie. Watch it the next time you’re feeling nostalgic for college life.

Film Review: Fingers (dir by James Toback)

Posted on April 27, 2020 by Lisa Marie Bowman

Welcome to method actor Hell!

The 1978 film, Fingers, tell the story of Jimmy “Fingers” Angelilli (Harvey Keitel). Jimmy is a creep who works as a debt collector for his father, a small-time loan shark named Ben (Michael V. Gazzo). Jimmy is violent and brutal and often wanders around with a disturbingly blank-look on his face but we’re supposed to like him because he’s a talented pianist and he’s got a recital interview coming up at Carnegie Hall. Jimmy carries a radio with him wherever he goes and he’s obsessed with the song Summertime. He’s the type who will sit in a crowded restaurant and play the song and then get upset when someone tells him to turn off his radio. By the end of the movie, I was really hoping that someone would take Jimmy’s radio and smash into a hundred pieces.

Jimmy is in love with Carol (Tisa Farrow, who was a far better actress than her sister Mia and who would later appear in Lucio Fulci’s classic, Zombi 2), who doesn’t really seem to all that into him. Despite being in love with Carol, Jimmy still hits on every woman that he meets and, because this is a 70s films, he’s constantly getting laid despite being kind of a charmless putz.

Jimmy meets a former boxer named Dreems (Jim Brown). Carol is apparently one of Dreems’s mistresses. Jimmy silently watched while Dreems knocks two women’s heads together. Jimmy stands there with his little radio and a blank expression on his face. Is anything going on inside of Jimmy’s head? It’s hard to say.

Eventually, Jimmy finds out that a gangster (Tony Sirico) owes his father money but is refusing to pay. It all leads to violence.

As a film, Fingers is pretty much full of shit but that shouldn’t come as a surprise because it was the directorial debut of James Toback and there’s no American filmmaker who has been as consistently full of shit as James Toback. Fingers has all of Toback’s trademarks — gambling, crime, guilt, classical music, and a juvenile view of sexuality that suggests that James Toback’s personal development came to a halt when he was 16 years old. It’s a pretentious film that really doesn’t add up too much. Again, you know what you’re getting into when James Toback directs a film. Don’t forget, this is the same director who made a documentary where he was apparently shocked to discover that no one wanted to finance a politically-charged remake of Last Tango in Paris starring Alec Baldwin and Neve Campbell.

Fingers is a bit of an annoying film and yet it’s not a total loss. For one thing, if you’re a history nerd like I am, there’s no way that you can’t appreciate the fact that the film was shot on location in some of New York’s grimiest neighborhoods in the 70s. While I imagine it was more of a happy accident than anything intentional on Toback’s part (because, trust me, I’ve seen Harvard Man), Fingers does do a good job of creating an off-center, dream-like atmosphere where the world constantly seems to be closing in on its lead character. Jimmy is trying to balance his life as violent mobster with being a sensitive artist and the world around him is saying, “No, don’t count on it, you schmuck.”

As well, Harvey Keitel gives a …. well, I don’t know if I would necessarily say that it’s a good performance. In fact, it’s a fairly annoying performance and that’s a problem when a film is trying to make you feel sympathy for a character who is pretty unsympathetic. That said, there’s never a moment in the film where Keitel is boring. In Fingers, Keitel takes the method to its logical end point and, as a result, you actually get anxious just watching him simply look out of a window or sit in a corner. Even though Jimmy eyes rarely shows a hint of emotion, his fingers are always moving and, just watching the way that he’s constantly twitching and fidgeting, you get the feeling that Jimmy’s always on the verge of giving out a howl of pain and fury. It doesn’t really make Jimmy someone who you would want to hang out with. In fact, I spent the entire movie hoping someone would just totally kick his ass and put him in the hospital for a few weeks. But it’s still a performance that you simply cannot look away from. Watching Keitel’s performance, you come to realize that Fingers is essentially a personal invitation to visit a Hell that is exclusively populated by method actors who have gone too far.

Anyway, my feelings about Fingers were mixed. Can you tell? It’s an interesting movie. I’ll probably never watch it again.

Film Review: Some Call It Loving (dir by James B. Harris)

Posted on April 27, 2020 by Lisa Marie Bowman

1973’s Some Call It Loving tells the story of Robert Troy (Zalman King). He’s rich. He has a girlfriend (or maybe she’s his wife, we’re never quite sure) named Scarlett (Carol White). He lives in a big, beautiful mansion with Scarlett and Scarlett’s girlfriend, Angelica (Veronica Anderson), and several different women who Robert and Scarlett bring home so that they can all pretend to be someone other than who they are. (When the film begins, Scarlett is pretending to be the strict head mistress of a finishing school. Later, she’ll pretend to be a nun.)

Robert seems like he should be happy but, from the minute we see him, it’s obvious that he’s not. He’s mired in deep ennui and even playing in a jazz band at a nightclub doesn’t seem to bring him any real joy. Robert plays saxophone. His best friend in the band is Jeff (Richard Pryor), a barely coherent junkie who is probably only alive because of the pills that Robert keeps him supplied with.

One night, Robert goes to a carnival. He stops at a tent that apparently houses “Sleeping Beauty.” Inside the tent, a young woman named Jennifer (Tisa Farrow, later to star in Lucio Fulci’s classic Zombi 2). Jennifer is in a comatose state. People pay a dollar so that they can enter the tent and kiss her. Her “owner” says that Robert can do more with her if he’s willing to pay $50. Robert instead buys her for $20,000.

It turns out that Jennifer has been in a coma for eight years. She’s been kept in that state by a “sleeping potion,” a cocktail of drugs that has to be administered on a daily basis. Robert takes her back to his mansion and doesn’t give her the potion. Eventually, Jennifer wakes up.

Now, speaking for myself, if I woke up in a strange place after being in a forced coma for eight years, I’d probably be pretty pissed off. Jennifer, however, cheerfully accepts that the fact that she’s been asleep for eight years and now she’s living with a somewhat creepy man and his two girlfriends. She’s just happy to have her mansion and her Prince Charming!

While Scarlett and Angelica view Jennifer as being someone new to play games with, Robert starts to develop real feelings for her. He wants to have a real life with Jennifer but, unfortunately, the only life that Jennifer knows is the fake one that he’s created with Scarlett and Angelica. Robert finds himself torn between deciding whether or not to commit to Jennifer or to the fake world that he and Scarlett have created at the mansion….

Some Call It Loving is a strange film. It’s incredibly pretentious in the way that only an art film from 1973 could be. Reportedly, the film was a box office disaster in America but the European critics loved it. That’s not surprising because the film’s sensibility is far more European than American. Not only does the film refuse to judge its characters but it also ends on the type of ambiguous note that seems specifically designed to alienate mainstream audiences. Though the film’s plot has all the making for a kinky melodrama, it’s actually far more of an erotic fairy tale. Jennifer really is Sleeping Beauty but, unfortunately, Robert may not be quite prepared to be a true life Prince Charming. In the end, both Jennifer and Robert are trapped by their own fantasies.

As I said, it’s pretentious but it’s also strangely watchable. From the opening of the film, director James B. Harris achieves a properly dream-like feel and Zalman King manages to be both compelling and creepy at the same time. Tisa Farrow is perfectly cast as Jennifer and the mansion where the majority of the film takes place is simply to die for. Even if Robert is a creep, he at least has good taste when it comes to interior design. Some Call It Loving is obviously not a film for everyone. What some will find dream-like, others will find to be muddled and annoying. But it’s an intriguing artifact of early 70s arthouse cinema.

Horror Scenes That I Love: The Ending of Zombi 2

Posted on October 30, 2018 by Lisa Marie Bowman

For our next horror scene that I love, we have one of the greatest horror endings of all time.

As Lucio Fulci’s 1979 masterpiece, Zombi 2, comes to a close, Ian McCulloch and Tisa Farrow are on a boat. They’ve managed to escape from an island that been overrun by zombies. However, as they listen to a New York radio station, they discover that the zombie outbreak is not over. In fact, it’s just begun!

And then you get the final scene, in which hundreds of zombies are seen stumbling into New York!

Enjoy the end of the world!

Halloween Havoc!: ZOMBIE (Variety Film 1979)

Posted on October 21, 2016 by gary loggins

cracked rear viewer

I’ll admit, I’m a latecomer to the Lucio Fulci bandwagon. I viewed my first film by The Maestro, THE HOUSE BY THE CEMETERY , earlier this year, and absolutely loved it! I’ve been looking for more Fulci films to discover ever since, and recently recorded his most famous, ZOMBIE, off the El Rey Network (which I highly recommend to Grindhouse fans out there). ZOMBIE goes by many names, but this is the title I watched it under, so we’ll stick with that.

From that opening shot of a gun pointed at the camera, then blasting the head of a rising corpse, I knew I was in for a good time! After the credits roll, we see a derelict ship floating in New York harbor. The harbor patrol boards it, and find it deserted, with rotting food and supplies strewn everywhere. One of the cops investigates further, and is killed by a zombie…

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6 Action-Filled Trailers For Memorial Day Weekend!

Posted on May 29, 2016 by Lisa Marie Bowman

Well, it’s Memorial Day weekend! As some of you may remember, I ran into some trouble last weekend when I got my dates mixed up and I was forced to post a hastily compiled, somewhat random edition of Lisa Marie’s Favorite Grindhouse and Exploitation Film Trailers!

Fortunately, I’ve got my dates correct this weekend!

Anyway, without further ado, here are 6 action-filled trailers for Memorial Day!

Inglorious Bastards (1978)

No, not the Quentin Tarantino Oscar winner! This is the film that gave its name to Tarantino’s later work. The 1978 version of Inglorious Bastards was directed by Enzo G. Castellari and stars Bo Svenson and Fred Williamson.

From Hell To Victory (1979)

This World War II film was directed by Umberto Lenzi and features a surprisingly impressive cast for a Lenzi epic. (Surprisingly, for a Lenzi film of this period, it does not appear that Mel Ferrer is anywhere to be found in From Hell To Victory.)

The Last Hunter (1980)

This is actually one of the best Italian war films ever made. It was directed by Antonio Margheriti (who was given a shout out in Tarantino’s Inglourious Basterds) and stars David Warbeck, Tony King, John Steiner, and Mia Farrow’s sister, Tisa. Tisa also starred in Lucio Fulci’s Zombi 2.

Tiger Joe (1982)

Margheriti followed up The Last Hunter with Tiger Joe. Also returning (though in different roles from The Last Hunter): David Warbeck and Tony King. The female lead was played by Annie Belle, who is probably best remembered for her co-starring role in Ruggero Deodato’s The House On The Edge of the Park.

Tornado (1983)

Tiger Joe was enough of a success that Margheriti made one more Vietnam-set film, Tornado.

Last Platoon (1988)

I’ve never seen this movie but the title was probably meant to fool audiences into thinking that it was a sequel to Oliver Stone’s Platoon. I will say that, having watched the trailer, it’s interesting to see Donald Pleasence playing an American army officer. This Italian film was directed by Ignazio Dolce.

To all of our readers in the U.S: Have a safe Memorial Day weekend!

The Daily Horror Grindhouse: Zombi 2 (dir by Lucio Fulci)

Posted on October 28, 2014 by Lisa Marie Bowman

(After reading my review, please be sure to check out Arleigh’s thoughts on Zombi 2!)

Two questions:

1) Do you love Zombie movies?

2) Have you seen Lucio Fulci’s 1979 film Zombi 2?

If your answer to the first question was yes, then you should definitely have had the same answer for the second. Along with launching the long and extremely influential genre of the Italian zombie film and being one of the best zombie films ever made, Zombi 2 is also one of the best horror films ever made.

First off, a few words about that title. Zombi was the Italian title for George Romero’s Dawn of the Dead. Zombi was a huge hit on Italy and, in that shameless way that is beloved by all Italian horror fans, producers Fabrizio De Angelis and Ugo Tucci decided to take advantage of Zombi‘s success by naming their upcoming zombie film Zombi 2. And, while I have always liked to think of Zombi 2 as being a prequel to Romero’s Dead trilogy, Zombi 2 is actually in no way related to Dawn of the Dead.

It has often been assumed that Zombi 2 was directly inspired by Dawn of the Dead. While Romero’s film certainly provided more of an influence than just providing a title, Zombi 2 was actually in production before Dawn of the Dead opened in Italy. And, ultimately, Zombi 2 is a far different film from Romero’s film. Eschewing the social commentary and satire that ran through Dawn of the Dead, Zombi 2 is instead a work of pure horror. They’re both excellent films but Dawn of the Dead ultimately inspires debate while Zombi 2 inspires nightmares.

Opening with a previously dead body being shot in the head as it slowly sits up on a stretcher and ending with a haunting vision of apocalypse, Zombi 2 is coated in a palpable atmosphere of doom. A boat floats into a New York harbor and the two cops who investigate are greeted by a lumbering and hungry corpse. Tisa Farrow plays the daughter of the boat’s owner. When she and a reporter (Ian McCulloch, giving a likable and bemused performance that often finds him playing straight man to a bunch of decaying corpses and which provides a nice run up for his openly subversive performance in Zombie Holocaust) team up to find her father, their investigation leads them to an isolated island where the haunted and alcoholic Dr. Menard (Richard Johnson, bringing so much gravity and self-loathing to his role that he literally elevates the entire film) is struggling to deal with an outbreak of zombies. Along with a boat captain (Al Cliver) and his girlfriend (Auretta Gay), McCulloch and Farrow try to escape the island before they end up joining the ranks of the undead…

As a director, Lucio Fulci was known for bringing his own unique visual flair to the horror genre. Fulci, perhaps more than any of the other great Italian horror directors working during the Italian horror boom of the 80s and 90s, literally brought nightmares to cinematic life. As a result, Zombi 2 is probably one of the most visually memorable zombie films ever made. From the minute that McCulloch, Farrow, Cliver, and Gay arrive on the island, you can literally feel the oppressively hot wind and dusty wind that blows through every scene. When the dead walk across the desolate landscape, Fulci emphasizes the decayed state of these zombies, forcing the audience to consider just how fragile the human body truly is. The fact that the undead manage to be so pathetic and so dangerous at the same time only serves to make them all the more frightening. When a group of conquistadors come back to life, Fulci films it from their point of view and, for a few minutes, we literally are one of the undead, clawing our way out of a grave. Needless to say, Fulci doesn’t shy away from the gore of a zombie apocalypse either. His zombies are ravenous and destructive. The Walking Dead may be bloody but it’s got nothing on Zombi 2.

Along with the conquistador scene, Zombi 2 is especially remembered for two scenes, both of which showcase the best of both Fulci and Italian horror.

One is the scene where Dr. Menard’s wife (Olga Karlatos) is menaced by zombies after taking a shower. Even after she slams the bathroom door, a zombies hand breaks through the door and grabs her by the hair and starts to pull her through the jagged hole in the door. As she is slowly pulled to her doom, her eyeball is pierced by a splinter of wood. It’s definitely an over-the-top moment, the type of thing that we expect from an Italian horror film. But, as over-the-top as it may be, it’s also incredibly effective and terrifying. It’s a scene that lets us know that there is no escape from our fate. It’s a scene that reminds us that the zombies will always win because there is no way to lock out death.

(In fact, it’s such an iconic scene that almost all of Fulci’s subsequent films would feature a character losing an eye. Adding a certain poignancy to his trademark scenes of ocular destruction was the fact that Fulci, himself, was diabetic and reportedly often feared that he would lose his eyesight.)

The other is a scene that always seems to bring a smile to the face of anyone who see it. That’s the scene where a zombie gets into a fight with a shark while Auretta Gay swims nearby. Again, it’s a bit ludicrous but it’s also incredibly effective. If nothing else, it invites us to wonder how — if a shark can’t beat a zombie — can there be any hope for humanity?

The answer, of course, is that there isn’t. Ultimately, in the world of Fulci’s film, whether by causes natural or unnatural, we’re all destined to become one of the zombies.

(This review is cross-posted over at Fourth-Day Universe where all of October has been Zombie Month!)

Review: Zombie (dir. by Lucio Fulci)

Posted on March 18, 2010 by Arleigh

1979 saw the release of a film titled Zombi 2. It was suppose to be an unofficial sequel to Romero’s own Dawn of the Dead which was released in Italy under the title of Zombi. many thought this pseudo-sequel was a way to cash-in on the success of Romero’s film in Italy. This wasn’t true for the fact that it’s director and producers had already been working on their own zombie film as Romero started on Dawn of the Dead. It was by coincidence that both were released within the same year and in order to try and tie the two films together their titles reflected it.

Lucio Fulci’s Zombi 2 (or just plain Zombie in the US) has no connection whatsoever with Romero’s own Dawn of the Dead except for the zombies and the rules governing their destruction. This is not to say that Fulci’s Zombi 2 wasn’t good. In fact, I would say that Zombi 2 was, and still a great horror movie that’s been unfairly compared with Romero’s ultimate zombie classic. The two films tell different type of stories even when sharing similar plot devices and rules. Where Romero used the backdrop of the zombie epidemic as a damning visual commentary on the growing consumerism culture in the United States, Fulci’s film eschews any such social observations and goes for pure horror instead.

Zombi 2 helped begin the Italian cinema’s love of zombie movies and Fulci’s film still stands as the best of the lot. Starring Tisa Farrow as Ann, the daughter of a missing doctor working in the Carribean, and Ian McCulloch as reporter Peter West who helps Ann try to solve the mystery of her father’s disappearance in one of the Carribean Islands. The only clue they have being the mysterious reappearance of a boat belong to Ann’s father. A drifting yacht which, when inspected by NY Harbor Patrol, a disfigured, obese man violently attacks one of the patrolmen before falling overboard into the city harbor. From that moment on, Ann and Peter head off to her father’s last location on the Carribean island of Matool. Once on Matool, Ann and Peter discover that one of her father’s colleagues, a Dr. Manard, has been trying to solve the mysterious disease, or curse as the native islanders call it, which her father became afflicted with. A disease which seem to kill those it infects and then return them to life to attack the living.

These two are soon joined by a vacationing couple who seem to have arrived on Matool at the worst time. Ann and Peter soon enlist the aid of Brian and Susan, but before they could solve the island’s deadly mystery the island’s dead, both past and recent, rise up from their resting place and doom the remaining inhabitants. One sequence involving these zombies has gone down in horror history as one of the most cringe-inducing scenes on film. It involves the torturously slow sequence where a woman’s head is dragged forward toward a door splinter aimed directly at the woman’s eye. This gore-sequence in addition to the scenes of the zombies attacking and feeding on the visiting Westerners and the remaining living islanders were very well done and all due to make-up FX master Giannetto de Rossi. There’s even a spectacular sequence where a zombie tries to attack and feed on a live shark. Even to this day I still marvel at whichever stuntman volunteered for that action shot.

Zombi 2 has been called a dumbed down attempt to capitalize on Dawn of the Dead. I wholeheartedly disagree with this obeservation. Zombi 2 was never meant to be socially relevant, but one whose only goal was the scare, disgust and disturb its audience with scenes of extreme violence and gore. In this respect Fulci succeeded with the final cut of Zombi 2. The acting itself was very well done considering that half the cast spoke in English as their natural language while the other half were saying their lines in Italian. The dubbing of the Italian-spoken lines were done particularly well. A rarity when it comes to dubbed films.

The final few minutes of Zombi 2 where the Matool survivors make it back to New York through its harbor makes for a great ending. With a city radio station recounting the growing zombie crisis which seemed to have begun while Ann and Peter were on Matool, the final shot of zombies walking on the pedestrian level of the Brooklyn Bridge with cars below them seeming to be rushing out of the city to escape the crisis still makes for a haunting scene. Lucio Fulci’s Zombi 2 might not have been the iconic, cultural and societal masterpiece that was Romero’s Dawn of the Dead, but it more than holds its own when seen as a pure horror film.