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.
A Hammer film that looks to Greek mythology for the basis of it’s plot with the mythical creature known as The Gorgon (a woman with snakes for hair and the ability to turn anyone who looks her in the eye to stone) being adapted and shone through the Hammer Films’ prism.
This film features the combined talents of Peter Cushing, Christopher Lee and Patrick Troughton who are all amazing. In fact, the storyline between Cushing, his wife and her lover overshadows the actual gorgon at one point. This isn’t detrimental to the film’s narrative though.
This film looks absolutely beautiful. I watched the restored Blu-ray version from the first Indicator boxset and they have done a phenomenal job. I hadn’t even heard of this film before the release of the boxset but I’m glad I did. It’s a brilliant film and deserves to be seen more widely. I would love a cinema release of some of Hammer’s films so that their full glory can be seen on the big screen.
An earthquake uproots cockroach-like bugs that can set fire to things and, more importantly for a horror film, also to animals and humans. But never fear, a biology professor played by Bradford Dillman is on the case.
This great little 70’s B movie is directed by Jeannot Szwarc (who would go on to make the hugely enjoyable Jaws 2 and the brilliant campfest that is Supergirl) and produced by William Castle (no introduction needed). Gorgeous Californian locations, bugs setting cats alight (is it un-PC to find this hilariously entertaining?) and also crawling into huge teased 70’s women’s hairdos and letting rip. This is a great popcorn movie.
But then the movie changes course and gets all metaphysical as the film’s designated bug expert starts to research the incendiary insects in greater depth and even starts to communicate with them!
This is the kind of film that you could stumble upon on a late night TV channel and absolutely love. A low-key joy.
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.
An eccentric millionaire invites five strangers to a haunted house with each receiving $10,000 if they last the night.
This is a William Castle film so you know it’s going to be genius. And it doesn’t disappoint. I love the house with it’s sliding doors, acid bath and shadow play. Vincent Price in the lead is once again perfect casting with his trademark wryness, camp and sarcasm being demonstrated in spades. There also seems to be more understatement and, dare I say, nuance in this role.
The film itself looks amazing. I wish director Castle would get the proper adoration and respect for his films and legacy. The gimmicks associated with his films seem to overshadow the actual films themselves. This is a shame. I honestly thing Castle was an auteur who seriously influenced the genre of horror for the better. The House on Haunted Hill influenced Hitchcock when he was making Psycho apparently. I’m wondering if Clouzot’s Les Diaboliques influenced Castle’s film with the numerous double-crossings and red herrings that keep the audience guessing until the very last frame.
Emergo was the gimmick Castle used for this film. During a scene concerning a skeleton an actual skeleton on a pulley would be flown over the startled audience. Genius.
This film is currently (and inexplicably) in the public domain. I look forward to a really great Blu-ray release and transfer. The film’s beauty is a gem yet to be seen in all it’s glory.
A group of teens find themselves the victims of urban legends that come true. These legends range from ‘The Stranger in the Backseat’ to ‘Eating Pop Rocks and Drinking Soda’ (never heard of this but I’m keen to try it).
In the late 90’s there were a slew of teen horror movies made in the wake of one of the most irritating and terrible films ever made, Scream. They involved a group of pretty young actors in movies completely devoid of likeable characters, tension or any kind of intelligence.
Urban Legend is an example of this wave. Stars from recent TV shows were cast to draw in the young audience members who wouldn’t know good from bad in terms of filmmaking. Even Robert Englund can’t save this turkey.
Aside from being a time capsule from the late 90’s this really doesn’t serve any purpose. When I went to see the vile Scream in the 90’s I saw David Cronenberg’s Crash straight after it. So my advice to you is to watch this auto-erotic car fetishist’s wet-dream instead. Crash proved that some great horror movies were being made in that time period.
When I was growing up I loved the Nanny State Public Information Films. They were akin to state produced horror shorts extolling the dangers of everything from playing near rivers to mixing different types of tyres on the same vehicle.
Beware The Rapist is an American PIF (called Public Service Announcements or PSA’s over there) made in 1979. Produced at the height of some of the most prolific serial killers being at large (Ted Bundy is obviously the inspiration for the preppy looking Christmas card salesman, the balaclava wearing perverts could easily be based on The Golden State Killer) this film offers common sense advice to vulnerable women so that they come to no harm.
This advice sometimes comes across as extreme (‘once you get home, lock yourself in!’) but this is shown to be better than becoming another victim. This film holds up a mirror to society at that time and the ghoulish events happening with shocking regularity. But it also reflects the somewhat doom-laden advice from American authorities. Protect yourself- or else!
This is a treat for horror and exploitation fans. Gritty, nerve-jangling and based on fact. Truth is stranger- and more brutal- than fiction.
Beware The Rapist depicts many different scenarios and locales that can suddenly turn nightmarish. Every setting is here- the laundry room, in the supposed safety of one’s car, the late night walk home. In many ways this film reminds me of the ‘urban horror’ situations depicted in the opening credits of the mid-80’s crime series The Equalizer.
The music used is library based. The same library music used for Dawn of the Dead or the genius Australian women’s prison drama Prisoner Cell Block H. And if that isn’t enough of a recommendation then what is?