Re: ***Official 8th Annual HTF October Scary Movie Challenge***
10/21/07:
KINGDOM OF THE SPIDERS (John “Bud” Cardos, 1977) 


This is certainly among the better of the monster animal cycle of the 1970s – its title probably derives from H.G. Wells’ story “Empire Of The Ants”, coincidentally brought to the screen that same year (and which I just watched last week). This viewing came by way of Goodtimes’ open-matte DVD release – touted as being a “25th Anniversary Special Edition” but is, actually, an utterly bare-bones affair!
Anyway, the film’s the main thing and it’s a solid, old-fashioned (meaning enjoyable and unpretentious) genre entry – even if the casting of William Shatner in the central role lends it definite camp value! As was the case with many similar films of its era, the atomic implications redolent during the subgenre’s 1950s heyday are largely jettisoned here in favor of an ecological concern which, if allowed to go out of hand and not looked after promptly, could bring an imbalance to our current system of life – with effects that would be just as devastating as any nuclear blast!
Interestingly, however, the narrative seems to be as much inspired by the recent success of JAWS (1975). The small town held in thrall by the spider ‘invasion’ is about to enter its most productive season; so the Mayor contrives to deal with the situation as quickly and with as little fuss as possible by having the crops in the entire area sprayed with insecticide. In the process, he completely disregards the warnings of an entomological expert called upon the scene who claims that, by doing so, he’ll effectively be accentuating the problem and not solve it! Having made the latter a woman (and sexy B-movie starlet Tiffany Bolling at that!), it comes as no surprise at all that romance soon blossoms between her and town doctor Shatner (after overcoming the equally predictable initial animosity). These, however, are reasonably fleshed-out characters – so that one genuinely cares about their plight (in this respect, a love triangle element involving the widow of Shatner’s brother and played by the actor’s current spouse is subtly incorporated here). Woody Strode appears as the farmer whose property is first hit by the ‘plague’.
Given the obvious low-budget afforded the production, visual and make-up effects are no more than modest – yet these extend to the corpses of the various human and animal victims, a plane explosion, and the mayhem caused by the spiders in the village center. The downbeat climax, then, sees the very last few survivors barricaded in the local tavern – capped by a great closing shot (which is alone worth the price of admission!). Unfortunately, the rental copy I watched was scratched – which resulted in minor freezing issues towards the end.
10/22/07:
FADE TO BLACK (Vernon Zimmerman, 1980) 


This one presents an interesting and original idea for a slasher: a disturbed film buff kills people who have wronged him while dressed up as his favorite movie characters! It even has a Hollywood backdrop: in fact, I visited some of the places where it’s set – such as Hollywood Boulevard (the violent climax itself takes place atop Grauman’s Chinese Theater) and Venice Beach – when I was there in late 2005/early 2006.
Still, despite some undeniably good moments, I don’t feel that the film extracts the full potential offered by this fascinating premise: to begin with, some of the references it makes are simply too obscure to be picked up by casual audiences (99 RIVER STREET [1953]) – while to others is attributed a significance beyond their worth (Hopalong Cassidy, THE PRINCE AND THE SHOWGIRL [1957]). The film is buoyed, however, by Dennis Christopher’s striking leading performance – who gets to ‘play’ popular roles, interspersed with genuine excerpted footage, from the horror (Dracula and The Mummy), gangster (James Cagney from WHITE HEAT [1949]) and Western (William “Stage” Boyd as the afore-mentioned cowboy hero) genres during his various stalk-and-kill maraudings; he even replicates the famous wheelchair-down-the-stairs murder of an old woman perpetrated by a cackling Richard Widmark in KISS OF DEATH (1947).
Also notable are Tim Thomerson (later of TRANCERS [1985]) and Linda Kerridge: the former appears as the Professor of criminal psychology who reveals himself sympathetic to Christopher’s plight (he’s assisted by a female rookie, but eventually gets overruled by the stuffy Precinct Captain); Kerridge’s uncanny resemblance to Marilyn Monroe, then, makes her the perfect ‘idol’ to drive Christopher in his warped crime-spree (among whose victims is a young Mickey Rourke). Finally, the film is equally enjoyable as a time-capsule – for the singular opportunity it offers of seeing various current releases on the marquee (ALL THAT JAZZ [1979], KRAMER VS. KRAMER [1979], COAL MINER’S DAUGHTER [1980], HIDE IN PLAIN SIGHT [1980], SERIAL [1980]).
10/22/07:
HAMMER HOUSE OF HORROR: CHARLIE BOY (Roger Young, 1980) (TV) 


This is another solid HHOH entry – dealing with a favorite theme (voodoo) and especially reminiscent of the famous Zuni doll segment from the made-for-TV anthology TRILOGY OF TERROR (1975); the “Charlie Boy” of the title is a similarly creepy (and powerful) fetish doll – though, rather than come to life and cause mayhem, it wills a number of people to their death after a knife has been stuck, almost in jest, into the puppet! A number of subplots, then, are added to the fray revolving around a family inheritance – a long-serving housekeeper is overlooked, the heir suddenly deciding to invest his money into something more secure than a film company (which he had promised a partner/relation he would do in case the estate reverted to him) – and a strange incident involving a facially-scarred road-hog. Most of the cast are unfamiliar but reasonably adequate; it was, however, a joy to watch Marius Goring (a stalwart of Powell & Pressburger films) as an antique dealer. The downbeat finale is typical of the cynical era in which this was made. By the way, director Young had helmed the unusual Hammer outing VAMPIRE CIRCUS (1972).
10/22/07:
THE MIND SNATCHERS (Bernard Girard, 1972) 


Interesting but hardly original drama with sci-fi leanings – though not quite the “horror”/”chiller” described by the ads! – involving the brain-washing of violence-prone subjects by the system (which must have seemed particularly trenchant at the time of the Vietnam war).
At this juncture, however, the movie feels quite dated – if reasonably intelligent and compelling nonetheless. Being also relentlessly talky (not surprising, given its stage origins) and low-key in nature, there’s a conspicuous lack of cinematic inventiveness – which doesn’t really allow for a sensible comparison with Stanley Kubrick’s stylized treatment of the same theme in A CLOCKWORK ORANGE (1971)! Still, it has some undeniably powerful moments – and the small cast is impressive: Christopher Walken (relatively inexperienced for this type of demanding role, but quite good in his Method approach to it); Joss Ackland (as the requisite mad scientist); Ralph Meeker (as the equally inevitable, and callous, military overseer); and Ronny Cox (as a fellow inmate of Walken’s who, after much soul-searching, willingly submits to the dehumanizing experiment).
Incidentally, the play was filmed under its original title – THE HAPPINESS CAGE – but this got changed (in case it was mistaken for an ode to hippiedom

) first to the sci-fi friendly and, in retrospect, more appropriate THE MIND SNATCHERS and eventually to the horror-oriented (and, consequently, wholly misleading) THE DEMON WITHIN!
10/23/07:
THE DARK HALF (George A. Romero, 1993) 


This pretty much emerges as an underrated Stephen King adaptation and, undoubtedly, one of Romero’s better films. Its
doppelganger theme is, of course, an age-old concept with prototypes in both folklore (“The Student Of Prague”) and literature (“Dr. Jekyll & Mr. Hyde”); other than the myriad adaptation of these sources, similar films include Alberto De Martino’s sleazy BLOOD LINK (1982), David Cronenberg’s cerebral DEAD RINGERS (1988) and Brian De Palma’s contemporaneous RAISING CAIN (1992).
Here, with the emphasis on psychology (there’s a notable surreal dream sequence) and an agreeable pulp literary slant (shades of King’s own “The Shining”), it’s very effectively handled – accentuated by inspired elements of mysticism in the swallow
motif (though the use of CGI is quite evident during the climax). Timothy Hutton is excellent in both roles (is that
really him as George Stark?); in support are Amy Madigan (as his long-suffering wife), Michael Rooker (Hutton’s conflicted policeman friend), Julie Harris (a sympathetic colleague of schoolteacher Hutton) and Royal Dano (the guardian of the cemetery where George Stark is ‘buried’ until his tombstone is violated).
Coming from this director, the use of gore is balanced throughout – not as excessive as it could well have turned out but, then, neither is it held back when demanded by some particular scene (such as the gruesome operation which reveals Hutton as a veritable dual personality). Unfortunately, the old MGM DVD I watched included only a pan-and-scan edition of the film!
10/24/07:
HAMMER HOUSE OF HORROR: THE SILENT SCREAM (Alan Gibson, 1980) (TV) 


A very good episode with, for Hammer, an unusual sociological theme – revolving around an original (and fascinating) premise, where a system of ‘prison without bars’ is tried on an inveterate petty thief (played by a young Brian Cox). The identity of his deceptively sympathetic captor (the ever-reliable Hammer stalwart Peter Cushing in his final effort for the studio which made him famous) supplies a twist eventually which is, frankly, predictable…but, imbued with the star’s idiosyncratic pragmatism and authority, the characterization is completely believable – chilling in its implications, but still essentially human. The pet-shop-housing-a-private-zoo setting adds flavor – and excitement – to the already tense proceedings (aided immeasurably by having two such powerful, yet totally opposite, personalities at work); along the way, Cox’ wife and even a police sergeant become involved in the situation. Improbable though it may be, the final twist – in which Cox and wife discover they’ve merely exchanged one prison for another, with rescue a lot harder to come by this time around! – is a real beauty; this is actually followed by yet another involving Cushing’s own ironic fate. By the way, the title refers to the sound-proof, electrically-wired booth in which virtually all the characters end up at one time or another. Director Gibson had helmed the last two sorry entries in the Hammer Dracula series; he proves more adept at dealing with psychological - as opposed to supernatural - issues

.
10/24/07:
HAMMER HOUSE OF HORROR: CHILDREN OF THE FULL MOON (Tom Clegg, 1980) (TV) 


Curiously enough, this is only Hammer’s second foray into Wolf Man lore after THE CURSE OF THE WEREWOLF (1961); intriguingly, it’s mixed here with a VILLAGE OF THE DAMNED (1960)-like brood of evil children – while the sinister procreation plot is a clear nod to ROSEMARY’S BABY (1968). An unsettling mood pervades this particular episode (helped by its central location, an English country-house situated deep into the woods) – even if, when finally glimpsed, the werewolf make-up is kind of goofy! The bewildered hero is played by Christopher Cazenove, his business partner by Hammer veteran Robert Urquhart, while Diana Dors is the deceptively genial housekeeper of the eerie mansion – who, apart from looking after the children by day, has the task of initiating the werewolf’s female victims (the latest being Cazenove’s wife) into their new ‘role’. The final twist – concerning a woodsman Cazenove meets when he goes looking for his missing wife – is predictable, but nicely handled all the same. As has been the case with some other episodes in the series – which, I have to admit, has taken me by surprise overall – this presents a far more chilling, and subversive, concept (bestiality) than is usually associated with Hammer Films!