Author Topic: Horror: The Final Chapter  (Read 8172 times)

1SO

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Horror: A New Beginning
« Reply #360 on: September 19, 2018, 12:04:46 AM »

Horror Castle (1963)
aka. Terror Castle
aka. Back to the Killer
aka. The Virgin of Nuremberg
★ ★ Ĺ
The genre is growing up fast with this Italian film challenging the acceptable amount of gruesome imagery. Hammerís atmosphere of colorful class is dragged through smoke and sleaze. The story is fairly standard early torture porn, aside from a connection to post-Nazi Germany that manages to not come off as bad taste.


The Curse of the Mummyís Tomb (1964)
★ ★
Iím coming to the conclusion that of all the classic monsters, The Mummy is the most limited. Thereís the defiled tomb, the ancient curse and learning it was all done for love. This one has a small wrinkle involving the monsterís offspring, but itís the same slow-moving revenge. The sets and props look too clean and the bandaged creature has all the personality of a killer refrigerator.


Devil Doll (1964)
★ ★ Ĺ
When a film appears on MST3K, it creates an automatic lowering of expectations, as if any film from that show should never be allowed on a list of the Best anything. This isnít a good film, but it has a couple of novel twists for the ventriloquist dummy sub-genre and the actor playing the entertainer is pretty good, creating some genuine unease with his wooden partner.


The Evil of Frankenstein (1964)
★ ★ Ĺ
ĒHe has a good brain and excellent eyes. I cannot tell you where I got them, but I assure you theyíre perfect.Ē
I wonder if thereís any continuity to the story of these Hammer Frankenstein films or if itís just the next adventure (excuse) for Peter Cushing to be excellent. (Among all actors who have played the role, Cushing gives Dr. F the best balance of intelligence and madness.) Iíve referred to Hammer as comfort Horror and this is perhaps the most comfy. A couple of small new wrinkles to the otherwise standard formula. Nothing exceptional.


Bloody Pit of Horror (1965)
aka. The Scarlet Hangman

Torture Porn done in the style of the old Batman TV Series, and I don't think that's a deliberate choice.

Junior

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Re: Horror: The Final Chapter
« Reply #361 on: September 19, 2018, 09:40:00 AM »
I'm trying to imagine 60s Batman torture porn and I just can't. Where do people come up with this shit?
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1SO

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Re: Horror: A New Beginning
« Reply #362 on: September 19, 2018, 11:33:14 AM »
I thought I'd have more to say, but that description summed it up perfect. Perhaps a few screenshots.










I get that some people like their horror with a high amount of camp and that's why the film is on They Shoot Zombies, but even as part of a Halloween film fest with friends and drinks, there are better options out there. Here's what the site says.

Quote
ďBy having a smooth pace, the right amount of action and cheese, and a good dolloping of the old fashioned castle dungeon ambiance, there definitely ends up being very little to not like about Massimo Pupilloís turn from the black and white Terror-Creatures from the Grave to this colored and near comic-like take on de Sadean torture. The sheer zaniness of it all makes the overly elaborate death devices and unlikely situations perfectly acceptable. Itís just that type of movie."

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Re: Horror: The Final Chapter
« Reply #363 on: September 21, 2018, 10:57:14 PM »
Wow.  Just wow.
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1SO

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Re: Horror: A New Beginning
« Reply #364 on: Yesterday at 01:03:39 AM »

Color Me Blood Red (1965)
aka. Model Massacre
★ Ĺ
Godfather of Gore Herschell Gordon Lewis is despised among critics because the heavy amounts of blood are further cheapened by wooden acting, stilted dialogue and poor lighting. I think they give the films their own style and usually Lewis has an original idea to work with. Here, heís (unofficially) remaking A Bucket of Blood, which is just lazy. The one thing I used to like about HGL is absent, inspiration.


Die, Monster, Die! (1965)
aka. Monster of Terror
aka. Colour Out of Space
aka. The House at the End of the World
★ ★ Ĺ
Spooky mansion mystery from a story by H.P. Lovecraft with Boris Karloff oddly seeming out of place, too classy for such a loopy film. Thereís a lot of aimless wandering, but the last 20 minutes throws in some wild turns, as if they werenít sure of what they were building to, so they throw in a handful of ideas all at once. Messy, but quite entertaining at the end.


Billy the Kid vs. Dracula (1966)
★ Ĺ
You look at that title and think this might be good for some unintentional laughs, but itís not even that entertaining. The highlight is the red filter they throw in front of Dracula (John Carradine) whenever heís supposed to be seducing someone with his hypnotic charms. This effect also highlights the contradiction of a 60-year-old immortal Dracula. Cast and sets are minimal and everything is filmed in daylight, including the night scenes. If there were any hints the filmmakers cared or understood the spirit of what they were selling, I might have more affection for it. This is just a bad film with a novel label.


Incubus (1966)
★ ★
Folk horror, similar to The Wicker Man or The Witch. (The goat here could be related to Black Phillip.) Full of atmosphere, thanks to legendary cinematographer Conrad Hall and the film being the only one filmed in Esperanto, a language foreign to everybody. All these dislocation tricks do the heavy lifting for too simple a story of demons corrupting pure souls. Casting William Shatner as the most innocent person in the village just brings another layer of strangeness. He does get a typical Shatner moment, however. Following a solar eclipse he tells a woman they just spent the night together.


The Diabolical Dr. Z (1966)
aka. Miss Death
aka. Miss Death and Dr. Z in the Grip of the Maniac
★ ★ Ĺ
This is actually the third film in the 7-film Orloff series that starts with The Awful Dr. Orlof, and my 2nd film from notorious exploitation filmmaker Jesķs Franco. This early work is more polished that I would've expected. Coming out before Franco could go wild with on-screen nudity, I actually admire the heavy suggestion of sexuality here with careful wardrobe choices and clever camera placement. The thriller plot is also better than most giallo, which still isn't very good but at least I didn't want to slam my head into the table watching stylish sensationalism steamroll over any substance.