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.
This has one of the most crazy plots of any Hammer film I’ve ever seen. I won’t give away everything that happens though.
A Cornish village is suffering from some sort of plague that is bumping people off at such a rate that the local doctor asks an expert friend to investigate what is happening. When opening up the graves of the recently deceased they discover that all of the coffins are empty. Could the answer to this mystery be connected with the tin mine which is on the land of Squire Clive Hamilton? Is it also relevant that he used to live in Haiti and the fact that he practiced voodoo and the black arts whilst he was there?
I remember seeing this in the 80s as my local television station used to show a double-bill of Hammer films every Thursday night (a blessing!) It was scary then and it’s retained it’s ability to shock. The zombies themselves are the stuff of nightmares.
But unfortunately the film drags every now and again. But on the whole it’s worth seeing, even if it’s not the best of the studio’s output.
Fun fact- Martin Scorsese thinks highly of this film.
I knew this would be a great film when I saw it was written by Brian Clemens who wrote, amongst other things, the amazing series called Thriller. I wasn’t wrong. This is a cracking movie.
Mia Farrow plays Sarah, a girl who is returning home after being in hospital after a fall from a horse has made her go blind.
She is greeted by her mother and father. She goes for a nap and doesn’t realise that when she wakes up her entire family have been murdered. There is a VERY unsettling sequence in which she doesn’t realise this and goes about her business with the dead bodies of her nearest and dearest around her. When she enters the kitchen we are shocked to discover that as she makes a cup of coffee the killer is actually sat at the kitchen table watching her every move while she is completely oblivious.
She soon discovers everyone is dead. And thats when things start to become really tense.
The killer is kept secret from the audience but it identifiable only because of a distinctive pair of boots he wears, each with a star on them. The killer’s walk from the cinema at the very start of the film is an incredible sequence.
Theres stars from stage and screen in this film. Norman Eshley (Tristran’s dad from George and Mildred), Michael ‘Boon’ Elphick, Paul ‘Just Good Friends’ Nicholas and Lila Kaye, the landlady from The Slaughtered Lamb in An American Werewolf in London all appear.
Mia Farrow is totally believable in the lead role and coupled with some excellent direction and we have some truly tense, edge of the seat moments. Check out the scene where she moves around and through the arches in the huge house she lives in so that the killer won’t see her. Outstanding acting and camerawork.
I watched Indicator’s Blu ray for this review and it is exceptional. Theres even another cut of the film that went by the title ‘Blind Terror’ on the disc. Indicator are fast becoming a Blu ray label to rival the very best Blu ray companies out there.
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.
A wife fakes her own death to escape from her rich abusive husband. She then flees to the mid-west to try to rebuild her life under a different name so that he can’t trace her. Will she succeed?
This is a Julia Roberts movie. If there isn’t a big enough warning to stay away I don’t know what is (although The Mexican is a great film but that’s an exception in her oeuvre).
Everything from the scenes where she gets a beating (she’s like Bambi in these scenes- innocent and a pure victim) through to the scenes where she is predictably ‘learning to live again’ in her new locale (there is one scene where her and her new boyfriend have great fun trying on different hats. I kid you not. It’s as vomit-inducing as it sounds) to the final scenes where her hubby who has now traced her and seems to have morphed into a really rubbish version of Michael Myers, is big dumb Hollywood crud on every level.
I hate films that don’t warrant their audience with one iota of intelligence. This is one of those films. It took in megabucks at the box-office. In fact how this was made as a film to be shown in cinemas is beyond me. This feels like a Hallmark TV movie.
If you want to see a great, intelligent film about abuse and stalker-esque behaviour in a relationship, please watch Play Misty For Me instead. If you want to see a film about an abused woman who isn’t a victim seek out Ms.45.
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…’