a) A beautifully acted, nuanced and sensitive portrayal of the horror of the Nazis and those unlucky enough to have crossed paths with them?
or b) A badly acted slice of exploitation resplendent with terrible dubbing and almost no budget?
I’ll give you a clue- look at the film’s name! This is also known as The Beast in Heat (it’s on the UK Video Nasties list under that title) and Gestapo’s Last Orgy.
I’d love to give you a summary of the plot but I don’t want to be banned from this platform.
Be sure to run a bath before watching this. You’ll need it.
But when you know exactly what you’re letting yourself in for this movie ticks all of the depraved boxes regarding lurid and boundary pushing schlock filmmaking. Imagine watching this back in the day on 42nd Street or on VHS in the early 80’s in the UK. Your mind would have been well and truly blown.
And by a weird turn of fate it’s uncut on YouTube! Enjoy (if thats the word).
A privileged and thoroughly unlikeable woman ventures out to try to get into a party that George Clooney is supposedly to be at (really) and after failing to flag down a cab decides to get the last tube train from her local underground station. She then briefly falls asleep and on waking up discovers that she is all alone in the station. Or is she?
There have been horror films in the past that are either centred entirely around the London Underground (Deathline is one) or have had a scene set in a station on it (An American Werewolf in London springs to mind).
As someone who used to live in London I know how unsettling a tube line or station can be late at night when they are eerily quiet. Creep has this setting but unfortunately wastes this great location and premise.
Maybe it’s the fact that the female lead character is just so vile. At one point in the film she seeks help from the homeless living under the station. This social divide between the rich and poor should have been explored in more depth but wasn’t.
Also, when the person stalking her is finally revealed it’s a massive anti-climax. He’s a Jason Voorhees of the Piccadilly Line but without the hockey mask, charisma or ingenuity when it comes to killing.
I would have loved to see the brattish lead suffer more for her horrible personality and thus learn some compassion and humanity as a result, a kind of cathartic redemption. But this doesn’t happen. A wasted opportunity.
I actually saw this back in the 80’s when it was called Piranha 2: Flying Killers.
Theres really not much plot except that there is a shoal of piranhas who have wings terrorising a resort. Pulitzer Prize worthy stuff.
The lead female character seems to have been based on Stevie Wayne from The Fog if we got to see her a few years later.
This film is famous for being directed by James Cameron. He stated in an interview that in fact he was fired after a week, the producer shot and edited the rest of the film and Cameron couldn’t get his name taken off the credits.
The movie feels like an early sun-drenched porno flick with all the sex cut out.
This certainly isn’t the worst film I’ve ever seen and doesn’t deserve it’s reputation. But it certainly isn’t a patch on Joe Dante’s original masterpiece. It does possess a certain weird cheesy charm though.
The print I saw of this flick was pan and scan and somewhat fuzzy. I’d love to see Scream Factory’s Blu ray. Apparently it looks and sounds amazing.
I remember so well the 1981 BBC1 adaptation of Day of the Triffids. It may now be dated but, by Christ, it gave me plenty of sleepless nights as a 6 year old boy.
Years later I discovered the work of author John Wyndham who is now one of my favourite writers. Day of the Triffids is one of his best books.
I didn’t know that there was a 1963 film version of his opus. I’m glad I’ve now seen it as it looks gorgeous. In these days of Blu ray restorations this film is a prime candidate. If a 4K scan of an original and restored print was released this film may be appreciated as a long-forgotten gem.
The plot involves a meteorite shower making whoever saw it go blind. Fortunately our leading man Bill Masen is in an eye hospital after an accident which has damaged his sight. His heavily bandaged eyes mean that he was spared from seeing the meteors fall. Plants called triffids have started to grow and come to life seemingly because of the shower. They are carnivorous, can walk and possess a very high intelligence. Oh, and they seem to hate and want to kill humans.
This isn’t a particularly faithful adaptation of Wyndham’s book but it’s still interesting and holds perceptive observations into the breakdown of society when something catastrophic happens and how fragile the bonds that hold us all together really are. But it also shows how altruistic humans are when such an event happens.
The ending of this adaptation feels a little bit too simplistic and pat but it does very little to ruin the rest of this beautiful film.
Fun fact- it’s this version that had gained the ultimate accolade- its quoted in a lyric of the song ‘Science Fiction, Double Feature’ in The Rocky Horror Show- ”And I got really hot when I saw Janette Scott/Fight a triffid that spits poison and kills…’
A family rent a huge house for the summer from it’s brother and sister owners who have one condition for the rental- that their elderly mother stays in the house and they provide her with meals. Things then start to go crazy for the new inhabitants and it’s almost as if the house is alive and playing with their minds just for it’s own amusement (I hate it when houses do that). The family members start to act very differently to how they would normally as if the darkest parts of their psyches are being brought to the fore.
The genre of a house as a living being and force of evil can either work really well or can come across as very cliched and tired. Burnt Offerings does both. The big scares feel a bit overplayed and done better elsewhere especially after having seen the genre changing horror of The Shining on one end of the spectrum and the unabashed popcorn cheesiness of The Amityville Horror. But Burnt Offerings has smaller, more subtle scares that work brilliantly well. Check out the scene when Marian sees the family portraits for the first time or when Ben, taking a break from gardening, suddenly sees a pallbearer arriving in a hearse at the house.
It’s a shame that the film is such a mixed bag rather than being consistently brilliant as the cast (Burgess Meredith! Oliver Reed!! Karen Black!!! BETTE FUCKING DAVIS!!!!) reads like a wishlist of crazy brilliance who would work amazingly well together in a 70’s horror film. Davis especially is wasted in her role as she doesn’t have enough to do although wearing floral polyester prints and being Bette Davis comes close. I think it’s also because she’s playing a nice character. She disappears halfway through the film as if she had better things to do than last until the closing credits in some mediocre 70’s horror flick.
Even though there are slow moments and the film could be so much better, the ending of the film is completely crazy, gory and genuinely unsettling. If you make it through to the last five minutes you will be richly rewarded.
The look of Burnt Offerings is beautiful. It’s almost as if the whole film was filmed with a veil of mist in front of the camera.
Fun fact- The location used for the house was later used in the horror masterpiece Phantasm. The photos below show the house in Burnt Offerings, Phantasm and as it is today.
So, a film with interesting moments but not enough to fill 90 minutes. But stick around for the ending- it’s a corker!
I remember when I lived in London I loved perusing the list of films being shown citywide in the listings magazine Time Out. In those days (the mid 90s) there were plenty of funky little cinemas showing all manner of films old and new, renowned and obscure.
I remember going to see Witchfinder General and it instantly becoming one of my favourite films. The thing that shocked me most about the film was that it’s based on fact.
Set upon the backdrop of the Civil War between the Roundheads and Cavaliers, there was thought by those in charge to be a surge in lawlessness amongst the populace. With no state enforcers of the law being in place it was possible for self-appointed one-man ‘judge, jury and executioner’ figures to spring up. With these times being still very religious with that fanaticism stretching to superstitious extremes then such a figure could rationalise that he was doing God’s work and stamping out witchcraft and Satan worship.
Step forward Matthew Hopkins (Vincent Price). He leads his team of bloodthirsty underlings from town to town, stamping out ungodliness whilst accusing those who get in his way of being witches and so has the approval of the state to dispose of them in any number of ghoulish ways. One method in which he tests to see if people are witches is to throw them in a local lake or river. If they sink and drown, they weren’t a witch. But if they float then they are evil and need to be burnt, flogged or any other kind of torture. It’s lose/lose for the accused.
Director Micheal Reeves’ film doesn’t flinch away from the sadistic acts that Hopkins (who actually existed) inflicts and how utterly barbaric and cruel the times were. There are some great examples of dark gallows humour too- notice the children who have just witnessed a supposed ‘witch’ being burnt to death. We see them baking potatoes in her still smouldering ashes.
Witchfinder General was very controversial when it was first released with the BBFC demanding cuts and most critics denouncing the film’s unblinking depiction of the devilish practices carried out by Hopkins and his cronies. But, some critics saw the greatness in the film and over the years the film has gained a reputation as somewhat of a sick classic. Price’s performance is restrained and nuanced. Reeves’ direction is amazing and it feels almost as if you are watching a documentary rather than a British/American horror film from the late 60’s. American International Pictures invested some of the money for the film to be made but only thought of it as a tax write-off. They were actually very surprised when they saw the finished movie and how good it was. It’s name was changed to The Conqueror Worm for the U.S. Drive-In markets as this was a line from Edgar Allen Poe whose adaptations AIP were (in)famous for.
I love the stories about Price and Reeves not getting along during the shooting of the film. Donald Pleasance was originally chose to play Hopkins but Price was available and a bigger star which could translate as more money at the box office. With Price playing the lead instead the script had to be changed to accommodate him. Reeves wasn’t impressed by this and let it be known that he didn’t want Price in the leading role.
One of many examples of the bitchiness between them was from when they first met. Price’s opening gambit to the 28 year old Reeves was ‘I’ve starred in 87 films. What have you done?’ to which Reeves deadpanned ‘I’ve made 3 good ones.’
Witchfinder General is a warts and all classic. But don’t underestimate it. This is strong even by today’s standards and contains one of the most disturbing endings for a film I’ve ever seen.
There was a long standing tradition for Turkish remakes of huge Hollywood blockbusters. These remakes have miniscule budgets and are made quickly so that they can be released soon after the original.
The Exorcist was remade in Turkey for a tiny proportion of the original’s budget. This means that we get hilarious special effects, truly garish decors and the worst hairstyles ever committed to celluloid.
But whilst we know what we’re getting this film is a true cult movie through and through. It might be cheap and tacky but its also what a lot of more expensive films struggle to be- utterly charming, engaging and a pleasure to watch.
Let me leave you with a question- would you rather watch a film like this or a Hollywood studio multiplex movie that has a budget of millions but also has characters you couldn’t care less about, an uninspired plot and CGI that makes the film look more like a computer game?
I hope these Turkish remakes get restored and released on Blu ray. I’d buy them.