Spanish Poster & Lobby Card Fever!

When I was younger and living in southern Texas – from about the fifth grade until I graduated from high school – my parents would take my siblings and I into Mexico every weekend to visit and check on my grandparents. Sometimes we’d spend complete Christmas vacations and Spring Breaks there and the more we spent time there, the more I absorbed things from food, culture, television shows, and movies. Surprisingly, there was a lot of the American influence down there. I mean, I could watch every Hanna-Barbera cartoon known to man in Spanish. I could watch Garfield and Friends and Who’s The Boss? in Spanish. So why could I watch horror films in Spanish? Oh yeah, right. I wasn’t old enough to get into a horror film at the cinema, much less be allowed to walk into a cinema back in those days. One thing I used to remember doing – rather vividly – is thumbing endlessly though Monterrey’s local newspaper El Norte and staring longingly at the full page of ads for all of the little cinemas and grindhouses of the city. And back then there were ads ranging from American films to Italian films to Adult XXX films sprawled in black in white across that one page. So where am I going with this? Well, it so happens that as I was on the night shift tonight at work and looking through some horror articles online, I came across an a random one regarding Mexican/Spanish lobby cards and posters for American/European horror films and I was immediately taken back to the 80’s, lying on my grandmother’s bed and looking through the newspapers, trying to see how many horror ads I could point out. Here are a couple of them that I remember looking at as a kid and another reason why I long for the days when 80’s horror ruled!

 

Lobby card for Lucio Fluci's Zombie (title on this card is The Living Dead).  I remember this title but I remember seeing the ad that was a dupe of the now-infamous U.S. one-sheet.

 

 

One for Graduation Day. The title on this one reads Infernal School. The caption reads "Graduating wasn't just an obstacle, it was a killer!"

 

One for Creature. The tagline reads "For 2000 years it has been sleeping peacefully on Saturn's moons and now it's just awakened!"

One for All The Colors of the Dark. I think there's a typo in the title as the Spanish word for "darkness" or "the dark" is actually Oscuridad. The "B" here changes the definition to "Obscurity". So this actually says "The Colors of Obscurity"... which is quite funny. The inner caption reads "A Labyrinth of Terror, of Madness, Witchcraft and Death!"

 

 

 

Demonoid: Messenger of Death! Tagline reads "The hand from another world that comes to grab hold of you!" The title here is literally translated as Macabre: The Devil's Hand.

 

 

 

 



 

 

One for the classic Bay of Blood (Twitch of the Death Nerve). Here the title is actually Bay of Blood. Note the non-corresponding art on the top right. If you know your 70's/80's horror (Of course you do, why else would you be here?) you will note that art belongs to The Night Evelyn Came Out of the Grave. The tagline reads "The true essence of horror and panic will penetrate your mind!"

 

 

 

 

A really nice one for The Dark. Top caption reads "After the sunshine and the fog comes The Dark." Bottom caption reads "Beyond the terror, beyond the panic you will find...THE DARK."

 

 

 

 

One for Squirm or better known on this poster as The Infernal Worms.

 

 

 

 

One for the awesomeness that is the original Nightmare On Elm Street known in Mexico on some of the original promotional items/posters as Nightmare on Hell Street (Pesadilla En La Calle del Infierno) (which I personally prefer). The tagline on top is the exact one on the U.S. one sheet. The bottom caption reads "A camera films, finally, the inside of a nightmare."

 

 

 

 

These is for some of my all time favorites Friday the 13th Part 2 and Friday the 13th part V: A New Beginning. I like the slight differences in the taglines and titles. Here Part 2 reads "Just like a nightmare, the body count continues."  Later titles such as Part VI have the title as Tuesday the 13th as in Mexico that is considered the one "unlucky day". I added a few lobby cards, too. (I'd wanted to include some I found for Jason Lives but they wouldn't upload properly.)

 

 

 

 



 

 

 

 

 

And lastly, the Spanish lobby card for my all time favorite horror film Suspiria. The literal Spanish translation of the title, though, would be Scream.

 

 

 

 

 

There are several  that stick out the most in my head from those years (which I sadly, could not locate): The one for Madman known across the border as La Hacha Asesina (The Killer Axe), No Entres Al Bosque...Solo! (Don't Go In The Woods...Alone!), Supersticion (Superstition/The Witch) and Pesadilla known better to us as Nightmare or Nightmares In a Damaged Brain. As strange as this is going to sound, these bring back some of the best memories of my childhood as I did spend a lot of time looking through newspaper after newspaper just to see what I could find. As a horror fan, I would love to have some of these in my collection as now that I think about it, I don't have anything in Spanish in my vast arsenal. I hope that you enjoy these as much as I did. If you know of any websites where I can see more of these, feel free to comment!

 

Thanks for reading!



 

 

 

Linus Meets John Saxon! (17 Aug 2013)

When I was nine years old, my father was into two things: M*A*S*H and martial arts films. I can remember vividly that he loved USA’s Kung Fu Theater (click here for the memorable intro) and he watched it as much as he could. One day, he brought over the videocassette for this little movie called Enter the Dragon that starred Bruce Lee. In that film, there was a man who from the moment I laid eyes on him was one of the most beautiful men in the entire world (Yes, I know what you’re thinking: You had those thoughts at nine years old?) and I was immediately fascinated by a gentleman going by the name of John Saxon. I didn’t know his name back then and I wouldn’t see him again in another film until I would sit down in front of Nightmare on Elm Street for the first time many years later. I remembered his eyes, his voice….that physique and instantly became a fan. Over time (especially once after I’d become the budding horror fan during my formative years), I found out that though he’d been a mainstream success in Enter the Dragon, he was a huge horror/B-film name and I started watching all his films one-by-one beginning with Blood Beach and sitting though Black Christmas, Zombie Death House and his small but fantastic role in Dario Argento’s Tenebre. Little by little I was falling for the man (in a cinematic sense, of course) and as I was watching him one day (in Blood Beach nonetheless), I knew one day I would welcome the opportunity to meet him.

About a year and a half ago (ish), it was announced that he would be appearing at the Time Tunnel Toy Show in San Jose, California to meet, greet and sign autographs. I usually frequent that show so I was immediately dead-set on attending. I mean, I wasn't going to miss out on the chance to finally meet Señor Saxon face to face. As the day drew nearer, I was disappointed to find out that because of work and other circumstances way beyond my control, I wasn’t going to be able to attend the show, thus meeting him was now forever out of my reach. I was very overjoyed to hear through the grapevine later on that he ended up not being able to attend due to professional commitments and had plans to reschedule. What?! I was thrilled to hear that I hadn’t missed my chance after all and that he’d be coming back to make up for his absence. Several shows passed (as they happen at or about every three months or so) and no news had surfaced about him coming back. So, I slowly gave up hope and let the fantasy go.

 

Then, to my surprise, a postcard came in the mail announcing the show that took place this past Saturday, August 18 and I was psyched to see that John Saxon himself was returning! Immediately, I cleared my schedule for that date and made sure there’d be nothing to keep me from going. Before I knew it, the date came and my cousin and I were on our way to the San Jose Fairgrounds to check this off my bucket list.

He ended up appearing after 11am, once the early bird period was over and I was overwhelmed when I saw him sitting at his table smiling. It was actually going to happen! When I approached him and when he threw me that smile of his, I was charmed. I shook his hand and uttered to him that I’d been waiting to meet him since I was nine years old, when my father first brought home Enter the Dragon. His response? How old are you now?  I chuckled and answered, I’ll be forty years old next year, sir to which he immediately replied, Oh geez! And yes, folks, that was how my meeting with Mr. John Saxon began.

I had brought my laserdisc of the original Nightmare on Elm Street for him to sign and he made a point to tell me that everyone else at the toy show had come to see him for his portrayal of Roper from Enter the Dragon and here I was coming to see Lt. Don Thompson. Duh! He was very handsome in person and he was very nice and cordial and was happy to sign my laserdisc and a photo of him as Thompson in NOES. Oh yes, and by the way, this appearance was officially his last as it was announced on the show’s website so I was very relieved and very happy that I was able to see him before retiring from the convention circuit. It was one of the people on my bucket list that I hoped to meet before either of us passed, and I was thrilled to have been able to meet him face to face. Hats off to you, Mr. Saxon. You will forever be amazing.

 

V/H/S (2012)

Happy New Year everyone! Welcome to the first post for the year 2013. Apologies for taking a week and a half or so but know that I’ve been spending a lot of time searching and collecting so that I can have lots more to bring you this year. I’ve gotten some nice emails from readers and I thank you all for continuing to read this little ditty. I’m excited for this upcoming year as I have so many films to share with you guys so let’s get started. Now before I begin this review let me assure you that I haven’t abandoned the “80’s” aspect of this blog as I’m sure those of you who read this regularly have noticed that this and the previous posting all have to do with films made since the year 2000. Though I don’t normally spend a lot of time watching more modern films but every once in a while one manages to peak my interest and I seek it out, hoping that I won’t be disappointed. Sometime last year Magnet Releasing starting promoting an independent film called “V/H/S” boasting with confidence to spare that it would be one heck of a film. There were little hints about it on Facebook and I was one of the fish that took the bait and ‘liked’ the film’s page. Soon there were little bits released here and there regarding the directors of the film who included Ti West, one of my current favorites – and little by little I was becoming more and more intrigued. I’m going to admit though that the only reason that I had any interest it at all in this was because it was inadvertently paying homage to every classic horror fan’s long-gone, favorite and beloved format, the Video Home System. And that’s the reason why I’m including it here, as we all know – and recall – how much the VHS format meant (and still does) to an entire generation of devoted horror fans in the 80’s. I started reading about it and did some research and was a little weary to read that the film was a collection of found-footage shorts each helmed by different and current horror director. Now I’m going to stop right here and say that I’m not a fan of found-footage films at all, period. Since The Last Broadcast and The Blair Witch Project did it in the late 90’s – both having paid homage to the 70’s verite shock-fest Cannibal Holocaust, though neither of the film’s directors will openly admit it – there was a resurgence of the style within the last ten years with films like the Paranormal Activity and [REC] series and so on and the more that these films were made, the less impactful and memorable they became until ultimately, the entire sub-genre was run into the ground with such a force that the fire and debris can still be seen from space. I know that’s a little melodramatic but that’s the best way for me to describe it. Just the mention of a found-footage film is an instant turn-off to me, just as the torture-porn sub-genre did years ago. Thank heavens that style has been finally officially laid to rest.

But there was something about this film that wouldn’t let go of my interest. There were little contests and promotions on the film’s Facebook page, everything from ‘create your own V/H/S VHS box’ to comic-style posters with illustrations based on the stories within the film and not for anything, but those little gimmicks were strong enough to keep my attention and for that, I give them props. Then came the news that they would be releasing the film on-demand on local cable/satellite providers. I’d just seen Piranha DD in that same fashion so I was really looking forward to seeing this. But I was disappointed to find out after a couple of months of waiting, that DirecTV was not going to be broadcasting it at all. So I had no choice but to wait for its DVD release, which meant even more waiting. So this past week, I was finally able to watch it via streaming on Netfilx. The film is comprised of five found-footage shorts all tying in with another storyline being recorded in what only I can assume is real-time about a group of bad-guy thugs who get paid to run amok and cause chaos – only to later post it online - to be assigned by an anonymous third party to locate and nab a special videocassette located in a specified house (This piece/narrative in the film is known as “Tape 56”). They bust their way inside to find a dead man sitting in a chair, with several television sets in front of him playing white noise with stacks of unmarked VHS tapes all around. As the others in the group begin to scour the house, they begin to believe that someone or something is with them (is it the old man in the living room?). As this is going on, one of the bad boys stays behind to watch one of the tapes that has already been inserted into one of the players. The others soon come back to the main room and find that their friend and cohort has disappeared (again, could it be the old man?). This narrative here is intertwined with all five stories until it climaxes at the end with the now-zombiefied old man (see? It was him!) having decapitated one of the others and the leader finding his remains only to be attacked and killed by the old man himself, prompting the start of the final tape.

I’m not really fond of horror anthologies, though honestly a few of them coming from the 80’s are actually in my collection – The wonderful Deadtime Stories, After Midnight, Twilight Zone: The Movie, and Tales From the Darkside: The Movie in particular. So, that was going to be the implied ‘second strike’ for the film. But, I have to admit that it became something that I wasn’t expecting. At first, I was going to dissect each and every chapter in the film but it might result in something too long to sit through as far as reading goes, but if you all would settle for a quick run-though then I should be able to give it a good run-down.

Amateur Night – Premise: Three friends construct a pair of seemingly normal eyeglasses that are, in fact, home to a small mini-cam in which they rent a hotel room, take on the town with the goal of bringing back women to the room for sex, all to which they plan to document for their own ‘score book’ with the goal of turning it into an amateur porn film. The guys take 2 girls back to their room, one of them named Lily who screams ‘Creepy’ with a capital ‘C’. One of the girls passes out on the bed as she’s filmed and as Lily coaxes two of the heavily inebriated boys into a three-way, she begins to show her true colors. And they are horrifying. Not for anything, but if you really sit and analyze the storyline this second chapter brings us, it is completely and utterly preposterous and comes way out of left field, bordering on silly. So then why were the final five and ½ minutes forever burned into my mind? Because the execution was splendidly done and it was able to suspend you into disbelief due to the story being well set up. Everyone’s had that night out at one point. Everyone’s had that moment when you’re about to score in the most fantastic of ways then ends up not going the way you thought it would. But not everyone has had the fate that these three poor bastards were dealt. It subliminally incorporates that old 80’s slasher-film hypothesis that the promiscuous will get what’s coming to them and that they will get it good. And here, they do. Toss in some great gore effects, the perfect casting of Hannah Fierman as Lily, and some nice (but sadly, brief) gratuitous frontal male nudity (Rrrawr!) and you’ve got the makings of a well-executed not-to-be-soon-forgotten horror gem.  Seriously, it was in my mind for days after.

Second Honeymoon – Premise: A married couple, Sam (played by the unbelievably gorgeous Joe Swanberg. I am forever now a devoted fan. Seriously, I want to hang out with this guy) and Stephanie take a trek out West to bask in a second honeymoon. Stephanie takes a camcorder to record their goings on along the way and as they travel from town to town they rent a hotel room and hit the local tourist attractions, including a little spot with a heavy Country-Western theme. It is here where they put some money into a fortune-telling machine inhabited by a mannequin of an old man dressed in Western wear (think Tom Hanks and the movie Big) to which her fortune is revealed to be that she will be soon reunited with a ‘loved one’. Could it be the hooded visitor that came to their hotel room asking Sam for a ride? Could it be that same hooded visitor that breaks into their hotel room as they sleep later on that night just to video themselves caressing Stephanie’s body with a switchblade and steal a hundred bucks out of Sam’s wallet? So when he confronts her the next day about the missing money, the tension between them overtakes the situation and sends their vacation downhill. And when the hooded stranger comes back into the room the next night and (shockingly) offs poor unsuspecting (e.g., sleeping) Sam in a very brutal matter, you suddenly ask yourself who the hell is this person and how is it that they’ve gotten into the room? Before you can finish asking the question, here comes the reveal: The hooded person is actually Stephanie’s lesbian lover who’s followed them with the mission of offing Sam so they can be together. The ‘twist’ ending here didn’t provoke the emotions it should have, though. For starters let me say that I just love Ti West who directed this short. His films The House of the Devil and The Innkeepers are a great example of how movies in the new millennium can echo everything we loved about horror films from the 70’s and 80’s and I feel he’s going to become one of the most respected and beloved horror directors of this generation. But I have to say that by the way this story was presented, I would have never known this was the segment he’d directed. When the short ends with Stephanie and her girlfriend fleeing the scene with Stephanie frantically asking 'Did you erase it?', I will be honest and say that I was left with an uncomfortable feeling as it came to a close due to the issue of how the bi-sexuality of the characters was addressed.  Let’s just say if you know of/understood the controversy behind 1992’s Basic Instinct, you’ll know what I’m referring to. 

Tuesday the 17^th – Premise: A couple of friends, the absolutely cute Joey (pictured top and right), Wendy, Samantha and “Spider” go down to an old campsite where some murders took place, all guided by Wendy, who says she was there to witness the massacre as it happened. When she tells the group the story of how this killer offed her friends at the same place they’re hiking through, the others immediately dismiss her theories as madness,. The only problem is that the killer can only be seen in Wendy's camera as a figure obscured by tracking errors and we can’t see who he really is. When the entity end up killing Spider and Samantha, Wendy frantically takes Joey back to the lake to reveal to him that she’s lured them there to supposedly once and for all get revenge, with the intention of disposing of the killer herself. Sadly, this is the best part of this segment because as Wendy tries to seduce the slightly dim-witted Joey, he begins to rub his (hot) half-naked body in awkward shyness, tugging at his shorts and grabbing at his crotch. All I can say is that by this time, I’d lost interest in the story and spent the next fifteen minutes or so rewinding this part a few times. When I’d finally had enough, I pushed through the rest of the story and watched as Wendy sets up booby traps around the forest in an attempt to ‘kill’ the unseen force – but not after it slashes Joey’s throat – only to be ultimately killed herself by the same evil force she’s hunting. I didn’t care for this story very much, if I cared for it any at all. The previous two installments had some kind of originality and genuine scares to them, yet this one felt way too amateur to be included in a feature film as this. It felt like it had been put together by a high school AV club at the last minute and rushed to meet some sort of deadline. I didn’t feel anything for any of the characters – well, except Joey during that one sequence where he gropes himself – and I was actually very happy that they all met their demise. I was even happier when the segment came to a close. I was so unexpectedly put off by this one that I almost turned the film off altogether, but something told me keep going. I’d stay clear of this one, though.

The Sick Thing That Happened To Emily When She Was Younger – Premise: We are watching a Skype conversation between a woman named Emily and her boyfriend James, who is a doctor-to-be. They are talking back and forth about an accident that happened to her when she was a little girl, and that weird things are happening to her in her apartment. She mentions to him that she has some kind of growth in her arm and concerned about it, she takes to it with a scalpel, trying to remove it herself with grisly results. James reprimands her as she now believes her apartment is haunted. The next few minutes are some of the most confusing and bizarre sequences I’ve probably ever sat in front of. Something about aliens impregnating women and James being a cohort and Emily being a host for alien impregnation. I don’t know, It was so completely painful that I almost shut the movie off, but something again told me to hold on. Granted, the actor playing James was really good looking and we got to see him with his shirt off for a while, but that wasn’t enough for me to keep any sort of interest, which was slowly now beginning to frustrate me as this and the previous story had faltered to keep up the originality and dynamic of the stories that preceded it. It was confusing enough to the point where once the film had ended, I had to go to the Wikipedia link online for the film to read and understand just what it was that I’d sat through. This installment ends with James diagnosing Emily with schizophrenia and hooking up with a different girl via the same type of video-chat whom the aliens have chosen as a new host and who are now doing experiments on. The worst part of this was to read that this had been directed by Joe Swanberg, the same guy who played Sam in the “Second Honeymoon” short. Yikes.

10/31/98 – Premise: Four friends (one dressed as a nanny cam) are invited to a Halloween party and end up at what appears to be the wrong address. They go inside the house and weird paranormal things start happening to the point to where they conclude - and are convinced - that they’ve been duped into attending a haunted attraction for Halloween. The house is well kept and well set up, the décor is outright eerie, and the fact that they can’t find anyone in the house begins to freak them out. Well, that is until they get upstairs to the attic and walk in on a group of men shouting Bible verses at a woman bound by ropes. The guys think it is part of the attraction and join in on the chanting until one of the men – who happens to be their friend - begins to scream at them to get out. What they’ve actually walked in on is an exorcism that's well underway and let’s just say that the devil isn’t happy tonight. It is here that the story gets going and going it does. It immediately turns into a roller coaster ride of chills and spills and I’ve got to say, this was the most fun I’ve had watching any sort of found footage ever. It didn’t really scare me, but it sure as hell kept my interest up until the very end. I’ve never heard of the directing quartet known as Radio Silence, but let me say that they left their mark on me with this little piece of tape. The fellas think the poor girl is the victim and they try and rescue her, managing to get her out of the house as the house itself is now possessed, only to find later that she truly is a minion of the prince of darkness and she’s turned against them, despite their attempts to save her life. So what does she do? She teleports out of the car they’re in that's on the way to the hospital, causing it to stall onto some train tracks just as a train is careening toward them. And just as this chapter is about to close in the most violent manner, with the guys screaming at the top of their lungs, the tape comes to a stop, leaving us hanging. This was probably my favorite of the group of tales as it was so well done, set up and executed and the effects were fantastic (e.g. the arms protruding from the walls. Excellent!)

One of the things I feel needs to be said about the film, and it’s actually something that should be duly noted, is that a film of this nature should have failed miserably regarding content and execution. But, it doesn’t. It absolutely works. I was actually very impressed when the credits rolled and was very satisfied with the overall presentation of the material. Of course, I’m going to stick to my guns when I say that with the omission of “Tuesday the 17^th” and the alien story, the film would be close to perfect. Granted that the running time on the film is nearly two hours, cutting those two stories would bring the overall film to more of a standard and more viewer-friendly running time. There are a lot of unknowns in the cast and that’s another factor that makes the overall anthology work as a whole. Even though two of the stories weren’t to my liking, I do have to say that all of the directors did a good job. The only note that I have regarding the technical aspects of the film were the slight over-usage of the “video effects” that both connected the stores and that were present during most of the shorts did get a little cumbersome as they were presented here as part 'main part of the cast' instead of just using them sparingly. The homage to the Video Home System itself was noted throughout the film, especially during the narrative segments and it was great to see VCR’s lined up everywhere. I think it’s a travesty that VHS was phased out during the start of the new century. It’s great to see that there are other people in the world besides myself – especially people in the film industry – that still appreciate the format and are determined to keep its memory and legacy alive. I was reading an article online as I’m writing this that there is going to be a sequel, V/H/S 2 or better yet, S-VHS. On the sole merit of this film being what it was, I’m going to give the next collection in the series a chance. If I would have seen this just a few months sooner, V/H/S would have been included in my entry for the best of the 21^st century so far. This is one not to be missed. Good job, Magnet!

Silver Bullet (1985)

I was flipping through the television channels on Direct TV this morning when I was delighted to see that AMC was showing this entry in the Stephen King film series. Though it’s been a really long time since I’ve sat down in front of it – try about eleven years or so – I was tickled pink to see that it was being broadcast, albeit in a slightly truncated form. I didn’t care, though because my favorite time of year has just kicked off. I just adore October – all the cool channels on cable start busting out classic slasher films and it’s fantastic to see which channels show which films. Everything from the endless Friday the 13^th and Halloween movies to the more random cult favorites peppered out amongst the other networks (Sleepaway Camp 2 on Logo tonight, anyone?)

I was first introduced to this film in late 1985 while I was in the seventh grade, but first in the form of Stephen King’s novella, Cycle of the Werewolf. During those years, my family did not even remotely entertain the idea of going to the movie theater for any reason whatsoever, and from the first moment I’d seen the television spot, I had this obsession with wanting to watch it. Primarily because I wanted to be on the same level as the cool kids whose parents had taken them to the local cinema or drive in to give it a gander, but at the same time there was something about the storyline that intrigued me. My grade-school best friend had been subjected to hearing the ranting and the raving about not being able to go to the theater to watch it like everyone else so he went as far as to keep it from me that he’d gone to the theater with his father to watch it the weekend it was released which, of course, devastated me.  But, he went out of his way,  as only a childhood best friend knows how, to hunt down the book and presented it to me the week the film was released so I could keep up with the cool kids and be able to join in on the ‘playground talk’. I mean, I believe every kid who was a horror nut during the 80’s was at one point a Stephen King fanatic. King at that time was the epitome of everything horror, everything definitive when it came to the phantasmagorical.  There wasn’t anyone like him in the world at the time and everything he released in the 80’s still has yet to be matched. Though I have to admit that I was a bit disappointed to see that not only was Cycle of the Werewolf a very short book, it was illustrated as well, something I wasn’t expecting. I took me one night to read it and I can tell you it wasn’t enough. I would stay up late at night and see the TV spots on the local affiliates and silently act out this little fit of anger within me as I had to surrender to the idea that being able to sit in front of this film was completely out of my reach.

I got a nice surprise two years later during one winter as the eighth grade was about to let out for the Christmas Break of 1987, though, as Mrs. Glasgow, the eighth grade American history teacher wasn’t up to putting up with us on the last day of classes. When we got to class on that day’s period, I was pink with barely controlled glee when I saw the school’s TV and VCR sitting at the front of the room with the rental box for Silver Bullet was lying on the tape deck. Boy, did I love the advent of VHS! This was the moment I’d been waiting for. So I pushed through everyone to make my way to the front of the class that was already seated on the floor in front of the television. As excited as I was, and as I sat down, I’d become oblivious to the fact that period only lasted for fifty-five minutes…which meant that I was only able to get just over half-way done with the film before the bell rang to let us out. I was heartbroken. I actually didn’t get to sit in front of this film again until after I graduated from high school and secured my first video rental membership at the local H-E-B Video Central. The first two movies I ever rented on my own at the age of eighteen were Friday the 13^th and Silver Bullet. I rented them both that same day; on a weekend my folks were out of town and knowing that I would have the house to myself. I was ready to finally sit in front of this in its entirety.

The film opens up with a narration by Jane Coslaw, the eldest of a family living in Tarker’s Mills, Maine. She is the eldest of two children, the other being her younger brother, Marty (played by 80’s cutie Corey Haim) who happens to be a paraplegic. Their relationship has its ups and down and is very strained but soon begins to change after a bizarre series of murders rock their sleepy town. After several murders, including a railroad worker, and pregnant woman (who’d planned to commit suicide), the father of Marty’s girlfriend and Marty’s best friend, the town decides to take matters into their own hands before more murders occur? But who’s the one responsible for killing off the townspeople? Being led by the town’s gun shop owner, the townsfolk form a local vigilante justice group in order to find the killer. As the local sheriff (the always hot daddy that is Terry O’Quinn) and his only deputy attempt to stop the mob from carrying on its mission, the father of Marty’s best friend who was mutilated by the killer changes their minds and they set off. But not before Reverend Lowe – who has been presiding over the funerals of the slain victims – tries to stop them and prevent any other bloodshed. As the group enters the forest to search for the assailant, they are brutally attacked including Owen, the owner of a local bar who carries around a baseball bat engraved with the words “The Peacemaker”. Those who survive keep the incident to themselves and deny seeing anything out of the ordinary. But then the film gets going when we see the funeral taking place for the victims and as the reverend gives the service, everyone in attendance including the dead victims, begin transforming into werewolves right before him. He wakes up in a sweat-filled terror and asks God to “let it end”. Does he know more than he lets on?

The local authorities put a strict curfew in place in order to protect the town and when the local carnival’s fireworks show is cancelled due to the unsolved murders, the family decides to have their own celebration in their backyard and here is where we get to meet the kids’ charismatic, alcoholic and family outcast uncle Red (brilliantly played by Gary Busey). Having a deep love for his nephew, he builds Marty a brand new motorized wheelchair dubbing it the “Silver Bullet”. Knowing how much the fireworks show had meant to Marty, as well, Red brings him a bag of fireworks to have his own private show and has him keep it under wraps from everyone else. So when Marty goes out to have his own fun on a small bridge quite away from his home, the fireworks his Uncle gave him light up the night sky. But little does Marty know that he’s being watched. Something is looking at his every move and slowly begins to approach the wheelchair. And before the next set of roman candles could be lit, Marty is confronted face to face with the perpetrator: a werewolf. Frightened, he takes a bottle rocket and lights it, having it go off directly into the eye of the monster. He flees and leaves the creature behind. This part of the film is a now-classic scene in werewolf cinema.

Scared beyond belief, Marty enlists the help of his sister to go around the town to collect bottles and cans while looking for anyone in town with an injured eye as this would immediately pinpoint the identity of mysterious killer. As she carefully looks for any signs of eye trauma in every member of the neighborhood, she comes across Reverend Lowe at the church to turn her bottles in and as she goes into the garage to put the bottles with the others that have already been collected, she sees an object under a stack of cans. As she slowly pushes the cans aside, she reveals Owen’s baseball bat, the one labeled “The Peace Keeper”! In sheer fright she stumbles back in horror to be confronted by the Reverend himself. And what do you know? His eye is missing! I love how this scene is executed. This part always makes me scream and giggle in pure glee. Now that both siblings know the identity of the creature, Marty begins to send anonymous notes to the poor eyeless reverend, teasing him and letting him know that they know who he really is and suggesting that [Reverend Lowe] commit suicide so that the killings can cease. So one day as Marty is out with the “Silver Bullet”, he suddenly and frighteningly becomes involved in a terrifying cat-and-mouse chase with Reverend Lowe hot on his tail and determined to make him pay. He manages to drive the wheelchair off the road and into a condemned covered bridge. Here is where we hear the truth for the very first time: the Reverend states that he is clueless to when he turns into the world, that it isn’t his fault, and that he’d killed the others to preserve their souls.  He also states that he would never carry out Marty’s wishes of him committing suicide, stating that would be the greatest sin of all. So when he tells the boy that he’s next, he looks out into the distance and sees a farmer who he screams out to for help. Reverend Lowe then disappears.

Here is where the siblings confess to their uncle about their letter-writing and that Lowe is the werewolf and that it tried to kill Marty at both bridges. So Red does a little investigating of his own and discovers paint from Reverend Lowe’s car on the wheelchair. He then goes to the Sheriff and persuades him to do his own investigation as Red is slowly starting to believe that Marty’s story could possibly be true. Skeptical, but desperate to find the killer, the Sheriff goes to the Reverend’s home to investigate and see just really what is going on. But before he can arrest him, the Reverend turns into the monster and kills him. With the sheriff now dead and out of the way, the siblings are now convinced that they are next. They give their uncle their silver necklaces and ask him to have a real silver bullet made as, according to the folklore Marty had been researching, this would be only way to dispatch of the creature once and for all. Red grants them their request and enlists the help of a local gunsmith to make them one shiny silver bullet, and they plan to take the Reverend out.

That night, it being Halloween with a full moon, the creature comes to their home with a mission to murder them all. Having fallen asleep in front of the television whose channel has just signed off, Red burns himself with the cigarette that was in hand and the threesome see the wolf outside hunting them in which now Red believes everything the children had ever said to them. Leaving them in complete darkness by cutting the electricity off outside, the monster smashes his way into the house and terrorizes them. The silver bullet falls out of the gun and into a furnace grill, leaving the siblings to try and retrieve it as Red fights off the werewolf. Just as it seems all hope is lost, Marty grabs hold of the bullet, places it in the gun and shoots the monster in the other eye, killing him instantly. The three of them hover over the body in horror as they watch the corpse morph back into Reverend Lowe. The siblings then profess their feelings for each other, realizing that what they’ve gone through together has made them stronger.

There is warmth to this film that isn’t felt in many conventional horror films. There’s a sense of community and a sense of family that makes me love this film in the manner that I do. I have to admit that I’m not a fan of Busey at all, but I really like his character in this film. There’s an esteem that he has for his niece and nephew and a devotion to them that makes the viewer believe that he really does love them. The way he surprises Marty with the new wheelchair and bag of fireworks, the way he pays attention to them – though up until the end he doesn’t believe anything they’re telling him – he sticks by them until the very end. The siblings look up their uncle, as well, knowing that though what they have to say is absolutely absurd, they can trust him. Haim plays the perfect Marty and he becomes the character so well that you can’t help but love the guy and his plight of wanting to be normal like the other kids, and his plight to win the love of his older sister. The film does a great job of setting up the small little town of Tarker’s Mills and you feel the sense of small-town sensibility among its inhabitants and a great job of setting up and presenting us the Coslaw family and their own relationships with one another. The murder scenes are set up and executed well and though not overtly gory, they are presented in a very terrifying manner. And though the film doesn’t exactly follow the original novella, it is worth multiple viewings.

I really need to find this DVD and get it into my collection. It’s been on my “Saved” Netflix list for the last year and half so I’m not sure if it’s out of print or just hard to locate. I have to admit thought that I’m not a fan of the whole werewolf genre. I’ve seen Wolfen, The Howling, An American Werewolf in London but I will say that this one is probably my favorite entry in this type of film. Maybe because there isn’t a whole lot of screen time given to the beast? Maybe because there’s more of a story that drives this film that just creature make up? Or is possibly because the characters in this film are so relatable and likeable that you root for them for the duration of the movie? Hands down, I love this film. If you don’t already have it/seen it, you need to. This is back when horror films were actually memorable, not like these modern-day PG-13 shit fests. Enough said. 

The Killing Hour (The Clairvoyant) (1982)

I recently spoke to – well, actually ‘instant messaged’ – a fan of this here bloggo who was telling me how much he loved to read what I had to say. As flattered as I was by that much-welcomed compliment, what intrigued me was how the only complaint that he had was that I don’t update it enough. Though he admitted the prior was a selfish statement, he was absolutely right. And though I have admitted here on occasion that I don’t have the time to devote myself to this little piece of handiwork as much as I’d like to, one of the real reasons I don’t – or in this particular statement, can’t – update it as much as I’d like to is because with the monstrosity of a collection I have, there are many a night when I want to stay up and write but have the bloody hardest time choosing which film to review next. Should I go for a classic? Or should I try and maybe take a shot and review something a little modern? I can’t tell you how many times I will sit in front of my shelves and cases of endless slasher booty and just spend hours – literally – trying to decide which one to sit in front of next? There are many of those nights where I get so frustrated that I just give up and go to bed, telling myself, we’ll try this again tomorrow. Yeah, right.

Now that I’ve cleared that up, I’d like to take a quick moment and say ‘thank you’ to all of you that have taken time to read this little ditty. Within the last few months, my hit count has skyrocketed into the atmosphere and I know that it’s because of you all that it’s been possible. You guys send me the greatest emails and messages telling me how much you enjoy reading LL80’sH so for that, again, I extend my gratitude. It’s great to see that there are people out there not only reading what I have to say, but both relating to it and enjoying it. Mil Gracias! And I do have to pause and say thank you to Jay Rinella and John Gibben for hooking me up. You guys rock.

I did not know anything regarding The Killing Hour until about a year ago when I was doing some research online about the giallo genre and came across it in another horror blog. I had seen the cover to the DVD before at the San Jose Rasputin’s but never bothered to pick it up. I did a little bit of reading on this one and decided that I would seek it out, as everyone knows I love a good thriller. I also read that it was very minimal on gore which piqued my interest even more as some of the best fright films out there have little to no gore at all. They rely on set pieces, atmosphere, mood, and character development. Most of all, they rely on a good story and this one fits that bill like a glove.

The film opens up with an art class in session. An unseen student is sketching a nude model on her pad as police pull a handcuffed body of a dead woman out of a lake. Suddenly, student’s hand begins to sketch on its own and reveals a drawing of the same cuffed hands. The art student is beautiful Verna Nightbourne (Elizabeth Kemp) who has a special gift of seeing things and sketching them as they’re happening somewhere else. We then cut to the interior of a gymnasium’s swimming pool and watch rather voyeuristically as a man is frightened by having the lights in the building shut off as he is doing his laps. He calls out into the darkened room and is immediately taken underwater by an unseen assailant who handcuffs his ankle to the ladder under the surface, trapping him there. The slayings continue, with the third victim having been electrocuted while working in a manhole next to a local diner.  With the modus operandi being exactly the same in each murder, the police force, albeit with not much evidence to go on, begin to investigate.  The case is being led by officer Larry Weeks (Norman Parker) who has a penchant for stand-up comedy and impersonations of classic comedians.  For fear that the murder spree will turn into an uncontrollable media circus, the chief forbids any sort of communication with the media. But not before local talk show host Mac McCormack (the always unbelievably gorgeous Perry King), who just happens to be a personal friend of Weeks’, approaches him in the hope of getting the ‘inside scoop’ on the case. They make a deal: In exchange for information on the investigation, Mac will attempt to bring Week’s comedic talents to the TV network he’s employed by. Having obviously disobeyed a direct order from the Chief, he agrees to give Mac inside information on the now-dubbed “Handcuff Killer”.

Verna, convinced that she is able to see and draw the murders in this case as they are happening, is convicted to go to the police and aid them in their search for the killer. She presents them her sketches and they begin to analyze them in hopes of somehow using them to piece everything together. Weeks begins to date her, as does Mac and she soon becomes a part of both their lives. The only setback is that Mac wants her to appear on his television show to show the public what she can do and how closely it’s connected to all of the murders. This is not part of the deal that Weeks had intended and threatens to cut him off from any and all information regarding the investigation if she appears on his show. She agrees to appear just as a third victim is murdered, being handcuffed to the bottom of a freight elevator shaft and killed. The victim appears close to the beginning of the film in a hotel room with the likes of a Latino thug named Willie who actually becomes a very red herring at this point. Because it doesn’t make sense how – and why – he would be the one responsible for the murders. The police’s question now is, if a handcuffed woman was pulled out of the lake, why are all these victims of the same style of murder all men? We begin to wonder now if any – or all – of the victims had a connection to the woman from the lake. Who was she? And why is it that Verna can see – and draw – the murders as they are happen?

One day as Mac is returning to his apartment, he is attacked by Willie and beaten to the ground. When Mac’s housekeeper comes in and interrupts the altercation, Willie flees the scene and leaves a set of handcuffs behind. Mac immediately showcases them on his show and tells the police that he could very well have the identity of the Handcuff Killer. The police begin a manhunt for Willie and find him in his apartment and gun him down, thinking he’s the culprit. But, he isn’t. Well, at one point he very well could be because once Verna does appear on the show and draws the shape of a hand grabbing hold of a steering wheel, we see that someone assaults a friend of hers at the exact time she draws it and ties her up in her own car as she is going home from work and has her car tossed over a body of water. The film never really says who killed her but the only other person it could have been was Willie. Maybe because she was starting to ask so many questions about Verna’s drawings, was he afraid she would go to the police?  

I’m going to admit here that though the story as intriguing as it is, it’s very slow paced. If you’re expecting any kind of action or tension of any kind, you’re not going to find it right away. One of the reasons that I sought this film out is because it was recommended to me by a friend who claimed it was a ‘American-made giallo’ and that I would instantly fall in love with it. I hate to tell that friend that he was wrong…well, at least for the first half of the film. I will have to agree with him though that if this film had been made in Italy with Italian actors, it would be a giallo right on track with films such as Short Night of Glass Dolls and Who Saw Her Die? It concentrates on character development and story and if you’re not the type of person who can tolerate a slow-moving movie, you’re going to be very disappointed here. The murders aren’t gory. They are more implicit than explicit. But, one thing I will tell you is that if you love thrillers of any sort, don’t make the mistake I almost made and turn the film off! (I will confess that at about the hour mark, I was ready to turn it call it quits. Not so much because it’s very slow paced but because I’d decided to sit in front it during the late night hours and couldn’t keep my eyes open for much longer – and even Mr. King with his piercing eyes and fantastic body was somehow managing to lose my attention.) This is one of those films that you have to really sit in front of without any sort of distraction and one to definitely not watch in pieces. You have to pay attention to what’s going on in order for everything to make sense. Director Armand Mastroianni does a good job here of setting up the plot and silently begs you to just sit back and give the movie a chance. It’s not going to disappoint you. This is one of those films in which you have to be patient and wait for the goods to make themselves known.

So one night, Verna decides to have a glass of wine at Mac’s house and show her the latest picture that she’s drawn. It’s a drawing of all the victims so far and he begins to push her to draw her next one, but she can’t. With everything that’s been going on, she doesn’t have the mental energy to push through and draw and flees to the bedroom. It is here where the entire film begins its unexpected and amazing rush: Mac picks up the drawing while enjoying a glass of wine and begins to stare at the objects that she’s drawn. As he does, the police are looking at the other drawings that Verna has given them. They have been able to connect the sketches together to correspond with each of the victims. But there is one drawing that they can’t decipher. What is it? Is it a drawing of the inside teeth of one of the handcuffs? One of the detectives takes another look at it and suggests that it also looks like the inside of a crab’s claw. And when the scene immediately reverts back to Mac’s apartment to reveal Verna lying on his bed…next to a crystal sculpture of a crab’s claws on the nightstand…the film takes an amazing turn. We see Mac in the living room holding the sketch and we are immediately taken to a particularly disturbing flashback scene of a black-haired woman being handcuffed and tied to a bed in a random hotel room. She is obviously a hooker and she is surrounded by three burly men who are preparing lines of cocaine with the intention of gang-banging her silly. Her feet are being bound to the bed and as one of them unzips his fly and takes his pants off, inching to the bed and taking her head in his hands to bring her in close, I suddenly realize that the men are all the victims that were killed by the Handcuff Killer! And I seriously instantly emit a loud scream of shock when I see that the fourth man who slowly lies down on top of her and rapes her brutally as he kills her while the others watch is none other than Mac himself! What the f—k?!

Everything suddenly made sense. The woman found in the lake was the hooker whose body they’d disposed of in hopes that nobody would find out. Mac hired Willie to take out the other three either to throw the cops off or in case there was any chance of them going to the police. And once news had reached Mac that the other’s had been killed, he approached Weeks to get the inside scoop so he could know exactly what was going on, hoping that maybe Willie would take the fall for him. He’d asked Verna to come on the show out of his own disbelief that she would have known anything about the murders as they were happening and the more he got to know her, the more terrified he’d become that she was telling the truth! That’s was why he’d asked her to his home…to see exactly what she was going to draw next. He was afraid that she was about to figure the whole thing out! In pure shock, he squeezes and breaks the wine glass, spilling it all over the sketch.

At that moment, she realizes that she is next and flees to the bathroom as he comes after her. She hides in the shower after fooling him that she’d gone out the window and when he steps outside, she closes the window and makes a break for the outside hall of the apartment building. Mac sees her from the outside hall window and breaks it, sending her down up the stairs to the roof where he finds her and proceeds to kill her once and for all. Finally, dramatic and suspenseful tension! Just as we think she’s a goner, here comes Weeks to her rescue.  The two men wrestle it out and Mac ends up hanging over the edge of the tall apartment building, being held onto by Weeks. Knowing what he’s done and knowing that now there was no escape from death, Mac whispers softly. “Let me go” and Weeks reluctantly grants his wish as he watches him fall to the pavement. Nice!

The film ended up being much more entertaining than I had expected. You really had to follow the film and have patience with it and that’s one I need to stress about this film: Have patience! Not many casual movie watchers would be able to forgive the extent of its slow pace but it pays off in the final twenty minutes of the film. If you’re a giallo fan, such as myself, you will actually see many elements of the giallo genre in this film, right down to red herring(s), the use of black gloves, the obligatory twist reveal that it was one of the main characters the whole time, the altercation between the good guy and the bad guy, and lack of denouement. It’s too bad that this one is as underrated and overlooked as it is.

The DVD I have from Blue Underground is fantastic – as all the discs from BU are. The picture was clear, the sound was great and it had the original trailer. But, as I did research for this one, I read somewhere that the original VHS and subsequent DVD releases – even the original issue by Anchor Bay – had many scenes missing. This release has all the deleted scenes intact, most of them are extended pre-murder sequences that, in my opinion, explain more regarding the behavior and minds of the victims. Those missing minutes actually are quite essential as they would have given the story just a little more kick. I would love to see a special edition one day that has all the missing scenes put in with the rest of the film, just as it was done with My Bloody Valentine and Silent Night, Deadly Night. Maybe BU will give us a re-release. I’ve only seen this film on the store shelves once so I’m not sure if the BU version is already out of print – as I would only assume the AB version is already el-kaput. Before I went out and bought it, I was able to rent it off Netflix so if you’re the least bit interested, try to pick up there and take a look for yourself. It’s not going to be one of the best movies you will ever see, but it is definitely worth one viewing. Especially for the last twenty minutes where everything just comes together. (Pause) Well, okay…for the chance to see Perry King at the height of his 80’s heartthrob heyday. If you’re into that sort of thing (wink).