Film Review: The Terror (1963)

Also known as: The Night of Terror, The Haunting, Lady of the Shadows (alternative titles)
Release Date: June 17th, 1963 (Buffalo premiere)
Directed by: Roger Corman; uncredited: Francis Ford Coppola, Dennis Jacob, Monte Hellman, Jack Hill, Jack Nicholson
Written by: Leo Gordon, Jack Hill
Music by: Ronald Stein, Les Baxter (uncredited)
Cast: Boris Karloff, Jack Nicholson, Dick Miller, Sandra Knight, Dorothy Neumann, Jonathan Haze

Roger Corman Productions, The Filmgroup, American International Pictures, 81 Minutes

Review:

“The crypt! It must be destroyed, and with it the dead.” – Helene

Man, The Terror is a really bizarre, nonsensical movie but if you are a fan of Corman’s ’60s gothic horror and know about this movie’s strange production, it’s a worthwhile experience to see this playout onscreen.

The movie shares the narrative and visual style of Corman’s Edgar Allan Poe pictures but this features an original, albeit very sloppy, story that was thrown together quickly in an effort to crank out this movie as rapidly as possible to recycle the still standing sets from Corman’s The Raven, which also featured Boris Karloff and Jack Nicholson.

While Karloff’s scenes were shot in just two days, the movie took a staggering nine months to complete, which was absolutely unheard of for a Corman production. But like almost every Corman film, this didn’t lose money.

This is also legendary for the fact that so many people worked on it that would go on to be pretty damn famous: Francis Ford Coppola, Jack Hill, Monte Hellman and Jack Nicholson, who even worked as one of the many directors, behind the scenes.

The story was written by regular Corman actor Leo Gordon, along with Jack Hill. The story itself is a mess but I don’t know if that’s due to Gordon and Hill’s initial script or if the chaotic production really screwed things up. There is a scene, leading into the finale of the film, where Dick Miller’s character just gives the audience a massive info dump, so that they can make sense out of what the hell they had been watching up to that point.

Overall, the story is all over the place and hard to follow. I feel like the info dump was necessary to salvage it somewhat. However, it doesn’t save the mess and honestly, there is more entertainment value in enjoying the mess itself.

Additionally, you also get to see Karloff work with Nicholson and Dick Miller in almost all of his scenes. It’s just cool seeing these three legends on the screen together despite the overall quality of the film.

In what must’ve been a real treat for a young Francis Ford Coppola, this was released on a double bill with his horror classic, Dementia 13.

Rating: 5.25/10

Film Review: The Premature Burial (1962)

Release Date: March 7th, 1962 (Chicago premiere)
Directed by: Roger Corman
Written by: Charles Beaumont, Ray Russell
Based on: The Premature Burial by Edgar Allan Poe
Music by: Ronald Stein
Cast: Ray Milland, Hazel Court, Richard Ney, Heather Angel, Alan Napier, Dick Miller

Santa Clara Productions, American International Pictures, 81 Minutes

Review:

“Can you possibly conceive it. The unendurable oppression of the lungs, the stifling fumes of the earth, the rigid embrace of the coffin, the blackness of absolute night and the silence, like an overwhelming sea.” – Guy Carrell

The Premature Burial is the only Edgar Allan Poe adaptation that Roger Corman directed that didn’t star Vincent Price. The reason being is that Corman started developing this picture outside of American International Pictures and because Price had an exclusive contract with AIP, at the time, Corman had to cast someone else. Oddly enough, AIP would eventually produce the film before it went into the shooting phase. However, by that point, Ray Milland, an Academy Award winning actor, had already signed on.

Sure, I would’ve liked to have seen what Price would’ve done with the lead role in this but I’m also not going to downplay Milland, how great he was in this and how great of an actor that he was in general. And even though Price is one of my all-time favorites, it’s hard to deny that Milland was probably the more accomplished actor, as far as mainstream, critical recognition goes.

So, yes… Ray Milland is pretty damn incredible in this low budget, Corman directed, Edgar Allan Poe story. I also really believed the connection he had with Hazel Court in this. She’s a horror icon of this film’s era and she was always great alongside the boys at Hammer, Christopher Lee and Peter Cushing, as well as Vincent Price. However, she had really strong chemistry with Milland, even if she turned out to be traitorous and the villain of the story.

This was just a really compelling tale and honestly, it’s one of Corman’s best movies and not just out of his Poe stuff. Milland brought a real seriousness to this and I think it made the rest of the cast really step up too. While Corman is known for rushing through his shoots because that’s his style, Milland’s presence and his ability to elevate his castmates probably made Corman’s job much easier.

I love how dark and brooding this picture is. While that fits with Corman’s other Poe movies, this one just has a thick, stifling atmosphere about it. It also features a trippy LSD-like dream sequence. I always loved that about these movies and this film boasts maybe the best one.

Overall, this isn’t my favorite of the Corman-Poe pictures and it does seem somewhat strange without it starring Vincent Price, but it’s still a damn fine classic horror picture and it is one of the best ones Roger Corman directed.

Rating: 7.5/10

Film Review: Sorceress (1982)

Also known as: The Barbarian Women (working title)
Release Date: October 1st, 1982 (Atlanta premiere)
Directed by: Jack Hill (as Brian Stuart)
Written by: Jack Hill (uncredited), Jim Wynorski
Music by: James Horner (reusing themes from Battle Beyond the Stars)
Cast: Leigh Harris, Lynette Harris, Bob Nelson, David Millbern, Bruno Rey, Ana De Sade, Roberto Ballesteros, Douglas Sanders, Tony Stevens, Martin LaSalle

CONACINE, New World Pictures, 83 Minutes

Review:

“I did not train you men in my arts so that you would hunt down and butcher women.” – Krona, “You never could understand the greater values!” – Traigon

This is an ’80s sword and sorcery film that I had never seen. Reading up on it before watching it, it looked like the critical and public consensus were trying to warn me away. For the most part, no one seemed to have a positive take on this movie but I also didn’t care, as I’ll watch anything once.

Considering that this was produced by Roger Corman, I kind of had an idea of its overall quality and style. However, it was directed by Jack Hill and even though he leans heavy into the schlocky side of things, he’s made a few films I kind of adore.

So this is, by academic standards, a bad movie. However, I liked it, as it’s the sort of bad that I enjoy and its wonderful level of cheese was the right flavor.

The costumes and sets are very basic and fairly hokey. The special effects are cheap but kind of cool. The acting is borderline atrocious. Yet, all these parts compliment each other, creating a smorgasbord of B-movie awesomeness.

I like the characters, regardless of how bad their line delivery is. The hero ensemble of the hot twins, the Viking, the satyr and the barbarian was really neat. I especially liked the satyr character and frankly, there aren’t enough satyrs used in movies. Mr. Tumnus doesn’t count because technically he’s a faun.

Anyway, this features a cookie cutter, paint-by-numbers sword and sorcery plot. Being that it came out in 1982, though, it was ahead of the curve in the emerging genre. It certainly came out before the genre peaked and was then beaten to death by schlockmeisters around the world.

The finale of this movie is pretty great. Once the two gods show up in the night sky and have their strange deity battle, things truly turn up to eleven and it’s hard not to enjoy unless you’re a heartless snob that pisses on fun and thinks every movie should be akin to The English Patient.

I know, most normal people couldn’t sit through ten minutes of this flick. However, most normal people, these days, lack imagination and embrace lowest common denominator blockbusters.

Rating: 5.25/10

TV Review: 100 Years of Horror (1996-1997)

Original Run: 1996 – 1997
Created by: Ted Newsom, Dante J. Pugliese
Directed by: Ted Newsom
Written by: Ted Newson, Jeff Forrester (uncredited)
Cast: Christopher Lee (presenter), Roger Corman, Hugh Hefner, Fred Olen Ray, Richard Denning, Bela Lugosi Jr., Hazel Court, Robert Wise, Beverly Garland, Gloria Talbott, Sara Karloff, Dick Miller, Caroline Munro, John Agar, Ralph Bellamy, John Carpenter, Richard Matheson, Linnea Quigley, various

Multicom Entertainment Group, 26 Episodes, 22 Minutes (per episode)

Review:

I’m glad that this documentary television series was made when it was, in the mid-’90s, as it allowed for the children of multiple horror icons to be involved and to tell stories about their fathers, their careers and their personal lives outside of the public eye.

Additionally, I love that this was able to include a lot of the filmmakers, writers and actors that were involved in a lot of classic horror films. Had this been made today, a lot of these people wouldn’t have been able to tell their stories in their own words, as they’re no longer with us.

Also, I love that Christopher Lee was the presenter of this series, as there wasn’t a more perfect choice available.

This series features 26 episodes, roughly 22 minutes apiece. Each episode tackles a different subject, be it a type of monster or a legendary horror actor. Plus, each episode covers a lot of ground for its running time, jumping through history and trying to show the audience everything it possibly can on the subject.

There really isn’t a dull episode, as there are so many different things that can be covered. There could’ve been more episodes and there still would’ve more topics to explore.

I like that this just dives right in and delivers so much. In fact, every episode showed me something I wasn’t aware of and helped me expand my list of old school horror movies that I still have left to watch and review.

All in all, this was pretty great and classic horror fans will probably find themselves lost in each episode, traveling through time and seeing things they still haven’t seen before.

Rating: 7.5/10

Film Review: Little Shop of Horrors (1960)

Also known as: The Passionate People Eater (working title)
Release Date: August 5th, 1960
Directed by: Roger Corman
Written by: Charles B. Griffith
Music by: Fred Katz, Ronald Stein (uncredited)
Cast: Jonathan Haze, Jackie Joseph, Mel Welles, Dick Miller, Myrtle Vail, Jack Nicholson

Santa Clara Productions, The Filmgroup, American International Pictures, 72 Minutes

Review:

“It’s a finger of speech!” – Mushnick

I often times come across people who don’t realize that there was an “original” version of The Little Shop of Horrors that existed before the ’80s movie and the stage interpretations. And since it was made by the great B-movie king, Roger Corman, it’s always something worth pointing out.

The origin of this movie is kind of cool, as Roger Corman was challenged to beat his previous record of filming a movie quickly and with that, set out to film this entire picture in two days. A big part of that two-day window was that he wanted to re-use sets from his movie Bucket of Blood before they were torn down. He succeeded.

The film features a few Corman regulars, most notably Jonathan Haze, as the film’s lead, as well as Dick Miller and Jack Nicholson, in what was his most bonkers role, early in his career. Nicholson actually plays a dental patient that loves pain, which was the same role that Bill Murray played in the ’80s musical remake.

Now this version isn’t a musical like the ’80s film and the stage productions. However, it features a cool musical score by Fred Katz and an uncredited Ronald Stein. I like the odd score so much that I actually own it on vinyl.

I think that the most impressive thing about the movie is the special effects. The fact that they were able to create Audrey, the giant, man-eating plant and utilize it so well for this quick shoot is pretty astounding. But then, Roger Corman continually astounded with how quickly he shot his films, the sheer volume of them and how he pinched his pennies while getting the most out of them.

The Little Shop of Horrors is really no different than Corman’s other horror and sci-fi productions of this era in his career. And the end result is an enjoyable, quirky picture that is fun to watch or revisit every couple of years.

Rating: 6.5/10
Pairs well with: its ’80s musical remake, as well as other early Roger Corman pictures.

Film Review: Forbidden World (1982)

Also known as: Mutant (Australia, France, Canada), Subject 20 (Germany)
Release Date: May 7th, 1982
Directed by: Allan Holzman
Written by: Tim Curnen
Music by: Susan Justin
Cast: Jesse Vint, Dawn Dunlap, June Chadwick, Linden Chiles, Fox Harris, Raymond Oliver, Scott Paulin, Michael Bowen, Don Olivera

Jupiter Film Productions, New World Pictures, 77 Minutes, 85 Minutes (VHS cut), 82 Minutes (Director’s Cut)

Review:

“Welcome to the Garden of Eden. We play God here.” – Dr. Cal Timbergen

At this point, I’ve probably reviewed more films produced by Roger Corman than any other producer in the motion picture industry. But I’d be lying if I didn’t say that he was my favorite and the fact that he literally has hundreds of pictures, means that I’ll probably still be reviewing his work for several more years. And that’s assuming that I can ever actually see all of his films.

Forbidden World came out in a time when Corman was making a lot of sci-fi space-centered movies. Where Battle Beyond the Stars was his Star Wars ripoff, this one was his Alien ripoff.

There were many movies that were “inspired” by Alien, however, and some of them are pretty good. This one, is actually one of my favorites but let me get into why.

To start, I love the overall vibe of this movie. It’s stylistically cool and it has pretty impressive practical effects from something in this era that wasn’t made by George Lucas or Steven Spielberg and for having such a small budget.

I thought the monster was pretty cool and while this takes several beats from Ridley Scott’s Alien it is still original enough to be a pretty unique experience. Plus, it’s disturbing in its own way and you can’t predict what’s instore just based off of what it’s ripping off.

I also think that the cast in this is pretty decent and better than what’s typical for a Roger Corman production. The lead, Jesse Vint, was a good, heroic everyman. I also enjoyed Dawn Dunlap and June Chadwick because… well, you probably know why. Dunlap is especially gorgeous and damn near perfect. Although, her screaming got to be a bit much.

Something interesting about this movie, which I discovered while researching it, is that James Cameron worked on the set design. Granted, these sets were built for another Corman produced Alien “homage”, Galaxy of Terror. However, many of those set pieces were recycled and reconstructed for this movie. I think it’s probably safe to assume that Cameron’s work on these productions helped him when he directed Aliens, the official sequel of the film this one tried to emulate.

Forbidden World is better than what one would probably expect. It has that patented Corman touch, borrows heavily from a better movie but it all comes together rather well and should entertain fans of ’80s sci-fi, practical special effects and Corman flavored cinematic craftsmanship.

Rating: 6.5/10
Pairs well with: other Roger Corman produced films of the late ’70s and ’80s.

Film Review: Cocaine Wars (1985)

Also known as: Top Mission (France), American Scorpion, Vice Wars (alternate English titles – Germany) 
Release Date: August 1st, 1985 (Argentina)
Directed by: Hector Olivera
Written by: Steven M. Krauzer, Hector Olivera, David Vinas
Music by: George Brock, Jorge Lopez Ruiz
Cast: John Schneider, Royal Dano, Federico Luppi, Rodolfo Ranni, Patti Davis

Aries Cinematografica Argentina, New Horizons, Concorde Pictures, 82 Minutes

Review:

“[while applying the cattle prod to Cliff’s teeth] “Tell me, Cliff… where are the papers?… You have no choice because I’m going to kill you…” – General Lujan

Sadly, this movie isn’t anywhere near as badass and cool as its poster. In fact, it’s kind of a letdown, if I’m being honest.

This does star John Schneider of The Dukes of Hazzard, though. So had I seen this as a kid, I probably would’ve loved it.

It also features Royal Dano, a character actor I like in all of his roles.

This was one of the ten films that Roger Corman made down in Argentina. He had some sort of deal with a studio down there and they pumped out a lot of shit like this, as well as pretty bad sword and sorcery flicks at the height of their popularity.

This film sees Schneider take on generic Latin American drug traffickers backed by military might. There’s a lot of action and gun play but overall, most of this stuff is poorly shot and executed.

For action flicks like this, all you need to do is “bring it” with the action shit and the plot and flaws almost don’t matter. However, if you fail at the most important part, everything else comes off looking like shit too.

Still, I did like Schneider and Dano in this but their presence doesn’t save the film in anyway. Well, other than making this not abysmally bad.

It’s still really bad, though and it’s damn forgettable. Schneider probably could’ve evolved into a legit action star if he were given the right vehicle. Cocaine Wars certainly wasn’t that.

Rating: 4/10
Pairs well with: other C-level action films of the ’80s.

Film Review: The Silence of the Lambs (1991)

Release Date: January 30th, 1991 (New York City premiere)
Directed by: Jonathan Demme
Written by: Ted Tally
Based on: The Silence of the Lambs by Thomas Harris
Music by: Howard Shore
Cast: Jodie Foster, Anthony Hopkins, Kasi Lemmons, Scott Glenn, Ted Levine, Frankie Faison, Tracey Walter, Charles Napier, Roger Corman, Chris Isaak, Harry Northup, Daniel von Bargen, George A. Romero (uncredited)

Strong Heart/Demme Production, Orion Pictures, 118 Minutes, 138 Minutes (original cut)

Review:

“A census taker once tried to test me. I ate his liver with some fava beans and a nice chianti.” – Hannibal Lecter

My memories of this film are as great as they could possibly be but after seeing this again, the first time in many years, I was still surprised by just how perfect it is. There are very few motion pictures that deliver so much and at such a high level that seeing this was incredibly refreshing and left me smiling from ear-to-ear, regardless of the dark, fucked up story.

That being said, as great as both Jodie Foster and Anthony Hopkins are as actors, I have a hard time thinking of anything else they were better in.

Sure, they’ve both had other legendary performances but man, they brought their best to this picture like their entire lives counted on it being a success. Plus, their chemistry is incredibly uncanny that in spite of knowing what Hannibal is, at his core, you almost kind of root for them in a sort of awkward, fucked up, romantic way.

I can understand why Jodie Foster didn’t want to return to the role with Hannibal, a sequel that took too long to come out, but I really would’ve liked to see this version of the characters come together again because the strange connection that they share deserved more exploration.

It would’ve been hard to live up to this masterpiece of a film, though, but I’ll save my added thoughts on Hannibal for that review in about a week.

Anyway, it wasn’t just Foster and Hopkins that were great. This film’s entire cast was perfect and this enchanting nightmare just sucks you in and doesn’t release its grip till well after the credits are over. This movie just lingers with you and a big part of that was the performances of every actor.

Credit for that also has to go to Jonathan Demme, who, as director, was able to pull the best out of this stupendous cast from the smallest role to the most iconic and pivotal.

Additionally, he really displayed his mastery of his craft in this like no other movie he’s directed. The tone, the atmosphere and the sound were perfect. This boasts some incredible cinematography, masterful shot framing, exceptional lighting and Demme employs some really interesting and cool techniques. The best being used in the finale, which sees Foster’s Clarice, terrified out of her mind, as she hunts the film’s serial killer, seen through the point-of-view of his night vision goggles, as he carefully stalks her through a pitch black labyrinthine basement.

That finale sequence in the house is absolutely nerve-racking, even if you’ve seen this film a dozen times. The tension, the suspense, it’s almost too much to handle and that’s the point in the film where you really come to understand how perfect this carefully woven tapestry is.

Plus, it really shows how complex Clarice is as a character. She’s brave as fuck but alone, up against a monster like Buffalo Bill, her senses and her primal fear overwhelm her. However, she still snaps out of it just quick enough to put him down, perfectly and exactingly. Foster is so damn good in this sequence too, that you truly feel yourself in her shoes.

Speaking of Buffalo Bill, Ted Levine was amazing in this role. Man, that guy committed to the bit so much that it’s impossible not to appreciate what he brought to the film. It could’ve been really easy to have been overshadowed by Foster and Hopkins but this guy rose to the occasion with them and excelled in this performance.

My favorite sequence in the film, after the finale, is the one where Hannibal Lecter escapes imprisonment. This is where you finally see how cold and vile he can be. It also shows you how damn smart he is at outwitting those who tried to cage this lion but took that cage’s security for granted. He exposes the flaws in their overconfidence and careful planning and leaves this story a free man, out and about in the world.

The Silence of the Lambs was an unexpected runaway hit and it’s easy to see why. I always thought that it was funny that this was released on Valentine’s Day, as it must have shocked many casual moviegoers just looking for a film to see on a date where they just wanted to smooch their lover. It makes me wonder how many married couples saw this on their first date.

Rating: 10/10
Pairs well with: the other Hannibal Lecter films.

Film Review: Tower of London (1962)

Release Date: October 24th, 1962
Directed by: Roger Corman
Written by: Leo Gordon, F. Amos Powell, Robert E. Kent
Music by: Michael Anderson
Cast: Vincent Price, Michael Pate, Robert Brown, Charles Macaulay, Joan Freeman, Morris Ankrum

Edward Small Productions, United Artists, 79 Minutes

Review:

“[as a ghost, showing the whip lashes on her bare back to Richard of Gloucester] Wouldn’t you rather look at my back? Is it not attractive as a woman’s back should be?” – Mistress Shore

Growing up a big fan of Vincent Price, Tower of London wasn’t really a favorite film of mine. Although, I have to say that I kind of enjoy it now.

Sure, it wasn’t as colorful and energetic as his other pictures with director, Roger Corman. However, it is well acted and showcases Vincent Price as a real bastard with a certain charisma. He takes this completely evil character and gives him life in a way that is unique, entertaining and chilling.

No, you never like Price’s Richard III but that doesn’t matter, as you’re not supposed to. He’s just a hell of a villain played by a hell of an actor and once he gets his just desserts, it’s damn satisfying.

Like all Corman pictures, this was made quickly and on the cheap. But also like many Corman pictures, the end results are much better than one should expect and that’s just a testament to the man’s skill and his brand of cinematic magic.

This is an often times unnerving story but it features ghosts, magic, murder, torture and a legitimate power hungry madman. What’s not to like?

I’m glad that I watched this for the first time in about twenty years, as my opinion on it has changed somewhat. 

Rating: 6.25/10
Pairs well with: other Vincent Price films of the ’50s and ’60s, especially those with director Roger Corman.

Film Review: Dementia 13 (1963)

Also known as: The Haunted and the Hunted (UK alternative title), Dementia (working title)
Release Date: August, 1963 (Indianapolis premiere)
Directed by: Francis Ford Coppola
Written by: Francis Ford Coppola
Music by: Ronald Stein
Cast: William Campbell, Luana Anders, Bart Patton, Mary Mitchell, Patrick Magee, Eithne Dunne

Roger Corman Productions, The Filmgroup, American International Pictures, 75 Minutes

Review:

“It’s nice to see her enjoying herself for a change. The mood around this place isn’t good for her…. Especially an American girl. You can tell she’s been raised on promises.” – Louise Haloran

Dementia 13 is the first film that Francis Ford Coppola directed that wasn’t a nudie cutie. It was also produced by Roger Corman, after Coppola had worked on Corman’s The Young Racers. With leftover funds and some of the same actors and being in the same country, Corman intended to shoot another quick low budget flick but he ended up giving the reigns to Coppola with the request being that he make something Psycho-like and it had to be done cheaply.

Coppola wrote a brief draft of the story in one night and gave it to Corman while also describing the most vividly detailed sequence. This impressed Corman and he gave Coppola the remaining $22,000. Coppola also raised some extra funds himself by pre-selling the European rights to the film without telling Corman.

Ultimately, Coppola’s antics didn’t really strain the relationship between he and Corman and the film has gone on to be somewhat of a cult classic. It’s hard to say whether or not it would’ve reached that status without being Coppola’s first legitimate movie but nonetheless, it’s definitely earned its money back more than tenfold over the years.

Overall, it’s not a great film and the story is kind of meh but I do enjoy the performances of Patrick Magee, a long-time favorite of mine, as well as William Campbell and Luana Anders.

Additionally, the film does create a solid, creepy vibe that has held up well.

For the most part, it is competently shot and Coppola showed great promise and a great eye with his work, here.

I think that the plot could’ve been better if there was more time to write it and refine it but Corman productions rarely had that luxury and these things were just pumped out on the cheap with the crew immediately having to move on to the next picture.

All things considered, this is still better than it should have been and Coppola did make chicken salad out of chicken shit. While it’s not the best chicken salad, it is certainly palatable and mostly satisfying with enough sustenance to get you by for the time being.

Rating: 6/10
Pairs well with: other horror films of the 1960s, as well as other very early Francis Ford Coppola movies.