I love a sequel that not only ups the ante regarding the original film but decides to be as extreme as possible and really ‘go for it’.
In this film theres a new family who move into Amityville. You know that any family that includes Burt Young and Rutanya Alda as members is going to be dysfunctional. And, by Christ, I mean VERY dysfunctional. Any film that deals with incest is going to be special. Theres also a domestic violence subplot which is just as shocking.
Add to that some of the grossest special effects as the teenage son is possessed and transformed into an utter beast of a nightmarish character and you have a great, twisted and truly messed up (in a good way) sequel.
I remember this having one of the most disturbing sleeves of any horror video in my local video stores which instantly made me want to investigate this further.
There is also a scene involving a Sony Walkman which freaked me out so much that it made me question using mine for days after seeing this filth classic.
William Lustig’s depraved classic was massively controversial when first released. It garnered the ultimate accolades for an exploitation film- it was HATED by Siskel and Ebert (Gene Siskel said he made it to the shotgun murder then had to leave the preview screening as he couldn’t stomach anymore!) and it was picketed by feminist groups.
The film centres around serial killer Frank Zito who likes to scalp his victims and place the scalps on top of shop mannequins in his apartment. It’s also shown that hes a victim of abuse by his mother who later died in a car accident (did he cause this?) On the walls of his apartment are paintings of deformed children amongst other things.
Tom Savini provides the special effects and does so with gay abandon. He also stars in the film with explosive results!
Maniac isn’t just a great piece of sleazy horror cinema but is also a snapshot of a time when New York really was run-down, dangerous and crime-ridden. It feels more like a gritty documentary than a film made for 42nd Street. The scene in the deserted subway station at night is the stuff of nightmares!
The movie also places actor Joe Spinell centre stage in the role of Frank. He gives one of the greatest depictions of psychotic psychopathy ever captured on film. Spinell can also be seen in Taxi Driver (he delivers that ‘You talkin’ to me’ line in Maniac) and William Friedkin’s masterpiece Cruising. An amazing actor.
The film also looks gorgeous. Check out the framing of the murder of the couple on the beach that opens the film. It’s exquisite. In fact the film seems more like a giallo, an opera of blood, splattered brains and strands of hair.
The first time I learnt of the film was when I saw the poster for the movie in a copy of the French horror magazine Vendredi 13 in the mid-80s- a close up of the killer’s midriff and crotch (which leaves nothing to the imagination), the words ‘I warned you not to go out tonight!’ written in spiky font, a knife in one of the psycho’s hands and a severed woman’s head in the other. Even this poster wound up in trouble and had to be censored in certain countries.
The film was rejected for cinema release by the BBFC in 1980 and again in 1998 for a potential VHS release. It was then cut for a DVD release in 2002. But worry not- Blue Underground, the director’s Blu-ray label are releasing a 4K transfer in December.
A sick, disgusting film that proves itself to be worthy of the hype. Highly recommended.
A killer stalks a high school. And thats the plot.
This is a cookie cutter slasher film. The only interesting thing about this movie is it’s historical value as an atypical sub-genre piece. You get to see the sheer rubbish that was made to generate ticket sales and box office. Movies with no artistic merit or intelligence such as this were shot quickly in the wake of John Carpenter’s Halloween.
You could watch this to try and spot whats been stolen from other films. But don’t watch for it’s entertainment value as there is none.
Theres also a scene where a masked gang mows down fellow students that feels massively inappropriate and just plain tasteless.
In the words of Simon Cowell this is ‘distinctly average’.
If you have masochistic tendencies and feel a need to watch this then please watch the excellent Good Bad Flicks video on YouTube which goes into the chaotic and shambolic production of this folly.
A double date decide to investigate a travelling carnival that has just come into town. After strolling around the different attractions they decide to hide overnight in the actual funhouse (like a ghost ride) which is on the grounds of the carnival.
This film starts out so well with the carnival and the people who work there being shown as being utterly sinister and delightfully sleazy.
When the teens stow away in the funhouse they witness a murder following a paid for sexual tryst (seeing Sylvia Miles from Andy Warhol’s Heat give someone wearing a Frankenstein mask a handjob is worth the price of admission alone). When he prematurely ejaculates but isn’t given his money back (the quickest $100 she’s ever earned) he bumps her off.
But then, unfortunately, the film falls flat. Yes, the direction by Tobe Hooper is pretty good, the lighting and colour design make sure that the sets look amazing. But this can’t hide the fact that the script from here on in is badly lacking. There is also no characterisation and the teens might as well be robots. It’s a shame as earlier in the film the lead teen is shown at home with her parents who seem to not care about her whatsoever. Was this a sliver of social commentary from Hooper as to how he saw the American family at this time?
Also, when the Frankenstein mask disappears from the inbred freak (no doubt he would be labelled as ‘mentally and facially challenged’ today) who stalks the teens in most shots he just looks like a dude in a mask. Time had been spent on the look of the movie without a decent script being written or the killer being made to look convincing. All surface, no substance. This is such a shame.
This film was shown in the UK with the MPAA pillaged version of My Bloody Valentine. The poster stated it was ‘the most terrifying 3 hours of your life’. Swap ‘terrifying’ for ‘distinctly average’ and you’re nearer the mark.
The Funhouse ran into problems years later as part of the ‘Video Nasties’ furore in the UK. If anything shows how inept the police involved in this case were then this is it. Unless they were seizing horror films that had sub-par second halves, that is.
Sunday nights in the late 70’s/early 80’s here in the UK were great for TV. In my household we’d religiously watch That’s Life, a weird hotchpotch of hard hitting investigations into very dark subject matters with lighter fare which was designed to make the audience titter and guffaw (they loved vegetables that just happened to be shaped like genitalia). Going from a hard-hitting expose to a carrot shaped like a penis was sometimes very inappropriate but it worked somehow. This was all presided over by the ultra-camp Esther Rantzen (sometimes wearing a mumu).
After that was The Professionals, a very masculine (and thus, very camp) crime/action series tellingly made by the same company who made The New Avengers. These have now been reissued on Blu ray and are well worth seeking out. I fancied Lewis Collins like crazy.
Last, but certainly not least, there was Tales of the Unexpected. This gem of a series told a different story every week and each episode was introduced by Roald Dahl. You may have heard of Dahl as the writer of Charlie and The Chocolate Factory, Matilda and other classic children’s books. But he also wrote short stories for adults, many of which were very dark and had a twist in the tail. And that’s precisely what this series was based on. Most episodes were written by Dahl but not all. He introduced each episode from what appeared to be his favourite comfy chair in front of a roaring fire. His introductions were just as brilliant as the stories themselves. And these tales were executed (pardon the pun) very well indeed- in fact, a bit too well.
This programme was the last thing I saw every Sunday night before going to bed. I remember not sleeping most Sunday nights because of this and Mondays at school being very tiring affairs.
A number of the episodes of Tales of the Unexpected have stayed with me as they terrified me as a child. I bought a boxset containing all of the episodes recently and can report that they still terrify me.
The opening credit sequence was enough to have me cowering behind the sofa. Creepy organ and saxophone music that sounded like the ultimate in sleaze and menace. Over this were images of silhouetted dancing naked women, guns, lion-like gargoyle faces, tarot cards and skulls. Nothing traumatising there for a 5 year old boy. The woman dancing in front of the flames was later referenced in the video for Cities In Dust by Siouxsie and the Banshees (as if Siouxsie couldn’t be cooler- she then shows she’s a fan of this TV programme).
I’ll recommend the two episodes that freaked me out the most. Firstly, theres The Flypaper written by Elizabeth Taylor (no, not that one). A schoolgirl who doesn’t feel like she fits in is preoccupied with other stuff going in her life when she quickly comprehends that the accidental stranger on her bus in fact being a bit too over-friendly and overfamiliar with her. She decides to get off the bus to try to get away from him. And that’s all I’m telling! When this was transmitted here in the UK it seemed like kids were going missing every other week. This grim tale reflected what was going on in society at that time all too well.
The second is Galloping Foxley. A man on a train recognises the bully who regularly beat and humiliated him at boarding school. The young Foxley is played by the always brilliant Jonathan Scott-Taylor from Damian: Omen 2. I went to private school myself after passing an exam which was designed to allow poorer families to send their ‘academically gifted’ children there without having to pay the hefty fees. Whilst I experienced no bullying or brutality from my fellow peers, I did very quickly pick up on how oppressive the actual system was, the teachers especially. I started within this system in 1986- the same year that corporal punishment was outlawed in all schools in the UK. My timing was impeccable! I could see that the angriest teachers hated this decision and would rather have been inflicting some kind of painful punishment out on us for some real, imagined or fabricated misdemeanour. Friends have told me about when they went to school in the days of such physical punishment and were themselves beaten. One friend tells me of his time at a strict Catholic school where they were beaten with a studded leather strap. If they didn’t say ‘thank you’ after their beatings they would be beaten some more.
To me the best horror comes from the unembellished factual accounts from people’s lives. Truth is stranger than fiction. And sometimes a lot more warped and fucked up.
Please peruse these two episodes but proceed with caution. They aren’t for the fainthearted. For more episodes click here.
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.
30 years ago to the day something extraordinary happened. Let me elaborate. I grew up in York in the UK. My local TV station was Yorkshire Television who were the first UK regional station to transmit twenty four hours a day. Because of this during the night and early hours of the morning they would show some of the most eclectic fare imaginable. One night they might show Spawn of the Slithis, another they might show a Warhol movie, the night after it might be a series of rare Scorsese short films. In between whatever they showed they would transmit 70’s and 80’s Public Information Films and ads for sex lines.
It’s Monday 3rd Oct, 1988. I forget what I was recording on my VCR but it was what was after it that made my jaw hit the floor. I was suddenly watching a late 70’s/early 80’s drama depicting Australian women in denim serving time in a Melbourne prison. The programme was of course Prisoner Cell Block H, a programme that I had seen listed plenty of times but never thought of taping to investigate. For a fan of exploitation cinema and cult movies the discovery of this programme was the equivalent of hitting the jackpot. This was also my first taste of ‘Ozploitation’.
This first episode that I watched was (I later found out) episode number 125. This was a great point in the whole trajectory of Prisoner’s history to start watching it. At this point Prisoner had just entered it’s ‘Imperial Phase’- characters had been clearly defined and established, there was a firm nucleus of these characters who the audience recognised and had grown to love. Hence there were viewers favourite prisoners (Bea, Lizzie, Dor and relative newcomer, Judy) and favourite ‘screws’ even if some of them weren’t goodies (Vera ‘Vinegar Tits’ Bennett is far from a pleasant character but audiences loved her being vile and sour just as much as they did fellow officer Meg Morris being all ‘sweetness and light’). These characters were eagerly watched by viewers as they moved through different situations and encountered opposition from various characters who entered their orbit.
This was also a great episode to act as an introduction as it featured one of Prisoner’s greatest characters- Noeline Burke. If you want to experience how brilliantly funny, well written and acted this inmate was then please do investigate her scenes here.
I started to watch every episode after this. I had my fingers crossed that this first episode that I had recorded by mistake wasn’t some kind of fluke. I was relieved to find out that it wasn’t. Every episode was consistently brilliant. The characters were hugely likeable, the dialogue crackled with character and the storylines were by turns intelligent, perceptive, daring and sometimes downright outrageous. I was looking for sex, violence and gritty fare. I had found the motherlode for this in Prisoner Cell Block H.
Yorkshire TV’s history of showing Prisoner (as it was called in Australia) was very good. They were the first UK regional TV station to show the programme in the UK.
They had started showing it in 1984 when the programme was still being made and shown in Australia (it ran from 1979 until 1986 in Oz).
My friend who I had grown up with had actually told me about seeing the first episode when it was first shown and gleefully regaled the plotline to me involving the ‘baby that was buried alive and found by tracker dogs just in time’.
After watching Prisoner for several months on Yorkshire TV I suddenly had a brainwave- what if other regions had started showing Prisoner from different time-points. One region could have just started showing it from the very beginning whilst another might be up to a later point in the programme’s history. I had another TV aerial which allowed me to watch programmes on another regional station (Tyne Tees). I found out that they showed Prisoner on a Thursday as opposed to the Monday in Yorkshire. When I tuned in I was astounded to find out that they were showing episode 30 and so I had the luxury of almost starting from the beginning of the programmes history.
In no time Prisoner was starting to gain popularity as seemingly everyone from students (Prisoner regularly featured in the NME end of year Reader’s Poll in the Best Programme category) to OAPs started to religiously tune in every week. There were estimates that weekly viewing figures for the programme in the UK ranged from anywhere between 3 to 10 million. When shown in America it had primetime viewing figures of 39 million.
But there were still those who didn’t get the programme and just saw it as cheap trash. They probably came to see Prisoner after hearing that it was another Aussie soap and so surmised that maybe it would be like Neighbours and Home and Away. Rumours of wobbly walls started around this time. Which is very strange as Prisoner was filmed in the headquarters for Channel 9 the company that made it in Australia. And for what it’s worth, I’ve watched Prisoner in it’s entirety several times. It may have been rushed in places (and these occasions were few and fair between) but Prisoner was shown twice a week in Oz- thats two hours of telly to be made and so the cast and crew never had the luxury of multiple takes and plenty of time to shoot these in.
Also, if you watch other soaps from this time period you will see similar techniques, imperfections and production practices at play. I’ve seen shaking sets and moving bannisters/staircases in Coronation Street before. But then maybe this is why Prisoner was criticised as sub-par or cheap in the early days of it being shown on ITV- it’s Australian and maybe this was pure snobbery on the parts of the minority of British critics and viewers who didn’t like it. The same criticisms would never have been levelled against home-grown fare.
To understand Prisoner and enjoy it is not just to recognise the conventions of the ‘Women in Prison’ sub-genre but also to understand ‘cult’ viewing in the first place. Prisoner is so sophisticated that it can fit into multiple categories with their own viewing demographics all at once- soap opera, drama, exploitation vehicle with heightened storylines and a pessimism/realism not seen on many other TV programmes at that time.
Another great thing about Yorkshire TV showing Prisoner before any other region was that they didn’t think to check the programmes content. When word spread that there were some scenes or storylines that were close to the bone and needed to be possibly cut, they had already been shown on Yorkshire and devoured by yours truly. Hangings, decapitations, brandings, shootings- they all featured and in many cases in graphic detail.
Even 30 years on Prisoner Cell Block H is still my favourite TV show. Do yourself a favour- if you’re a fan of all things exploitation, ‘cult’ and extreme watch Prisoner. You’ll be glad you did.
All of the episodes of Prisoner are on YouTube. Start here.