Don’t you hate it when a zombie pulls your brain out the back of your head and squishes it between his fingers like Gak? Are you curious what that would look like? Give the first installment of Lucio Fulci’s Gates of Hell trilogy, City of the Living Dead, about sixty minutes of your time, and you can see for yourself.
The film opens with a séance, during which a psychic, Mary, envisions the suicide of a priest and the subsequent rise of the dead. She gets fairly riled, foams at the mouth, and dies. Only she’s not dead and is almost buried alive but for the intervention of a dashing reporter, Peter, who nearly brains her with a pickaxe in the process of removing her from the casket. It turns out that by committing suicide, the priest of her vision has opened a gateway to Hell in a town called Dunwich. Mary and Peter team up to find the town and close the gate before All Saints Day, when the dead will rise. Continue Reading
[ SPOIL-O-RAMA, GUYS—DON’T CRY ABOUT IT—HAVE FUN WITH IT… ]
I’d been meaning to check these films out on my own for a while and had a set in my amazon wishlist waiting and ready when I saw this title in the list of choices of films to review. I called dibs and went immediately to amazon to grab this. So, just so I’m clear on what I’m working with, the set I now have is the Blue Underground set of all four Blind Dead films (and that Ghost Galleon that popped off its holder in transit better be watchable when I get to it…) and there is a decent amount of conflicting information (hence, the 1971/2 up top). This film is generally referred to as Tombs of the Blind Dead, but the disc in this set has two versions of the film—the first one I watched, La Noche Del Terror Ciego (The Night of the Blind Terror) is the original Spanish/Portuguese production title and cut; and The Blind Dead. Nowhere in the actual video material does it say the title I’ve always heard this film given, other than the box. Also, on the box it says it came out in 1971, but most other places say 1972. Continue Reading
What? Were you expecting a Friday the 13th Jason Voorhees review? Keeping with tradition, with Part 3 playing in the background, I’ll do my best and not yarn too much over the movie I give credit as starting my entire fascination with not just horror, but zombies too. No, not Friday the 13th Part 3, come on people, stick with the program. I’m talking Night of the Living Dead. Imagine, if you will, that you’re a twelve year old boy and you have a big sister who by all accounts ought to be hanging out with her much more mature friends but instead decides to watch movies with you. That was me. And while not every Friday (because my sister did have a life), but on most Friday nights we would have a Friday Movie Night. I’m talking pizza, popcorn, soda, candy, and whatever other junk we decided to indulge ourselves with. We’d order Pizza Hut and drive down to the local video store (Blockbuster) and rent whatever we wanted. While I cannot recall every movie night, I certainly recall the night my sister rented Night of the Living Dead. Continue Reading
Shock Waves (1977)
[85 minutes. PG. Director: Ken Wiederhorn]
(It’s 40 years old, but I’ll give a SPOILER WARNING anyway)
There are literal and figurative streams of consciousness at work in Shock Waves, Ken Wiederhorn’s most well-remembered film.
It’s not a great film – at least not as great as my childhood mind remembers – but makeup designer Alan Ormsby’s suggestion on the Blu-ray commentary track, that the film is possessed of a “dreamlike quality” is not inaccurate. And that’s arguably where it acquires its power.
It’s a film that takes place primarily on water, with the midsection set in an abandoned hotel on a desert island.
There are scenes where characters paddle toward escape – through narrow, knotted thickets; through shallow ocean waters on the way out to sea – and don’t say much. They don’t need to, really – they know their situation is inexplicable and absurd, so what’s the sense in fevered rationalizations? By the end, the lone survivor of the ordeal, Rose (Brooke Adams) has been rendered catatonic by what she’s seen, reduced to writing gibberish in a journal. Continue Reading
I’ve often written or talked about the first ever zombie film I saw, the eponymous Dawn of the Dead, by the legend that was, George A. Romero. The second was Return of the Living Dead II, the line, “His brains, they smell so spicy,” still sticks firmly in my head. The third, though unknown to me at the time, would probably have as big an impact as the first. It was Night of the Comet.
The film is basically a 50s/60s B-Movie, made in the eighties. It has a cheesy voice-over at the beginning which would not be out of place in Invasion of the Bodysnatchers or War of the Worlds. The setup is remarkably similar to Day of the Triffids. A once in a lifetime meteor shower promises an amazing light display, so the entire world and their dog hold street parties to have a few beers and take in the sights. Unfortunately, thanks to the heavy handed introduction, we learn that this very comet also made an appearance just as the dinosaurs disappeared. Continue Reading
The first time I saw the trailer for Dead Snow, I knew I wanted to watch the movie. It looked fun, exciting, and familiar. When I finally watched the movie, I wasn’t disappointed. By the end, I was giddy. Dead Snow had all the horror elements in it that I enjoy: carnage, blood and guts, and a super cool villain. As an added bonus, it also had humor. Continue Reading
George Romero is the father of the zombie movie, but Fulci’s ZOMBI takes the monster to it’s most gruesome level. ZOMBI is glorious with scene after scene of rotting, putrid flesh being ripped off, and pumping blood geysers. And, of course, there’s the shark vs. zombie scene. This film is all about imagery.
ZOMBI is also known as ZOMBI 2, without Fulci’s consent. It was called that not because it’s a sequel, but to cash in on Romero’s DAWN OF THE DEAD, released a year earlier. The closing scenes filmed in New York, with the radio voice over, were added because of the earlier film. It was originally released with an X rating, and later labeled “a video nasty” in 1984 by the Video Recording Act. Continue Reading
Though zombie is never said in Night of the Living Dead, this 1968 horror film set the standard for all following zombie films: radiation raises the ghouls (as they’re called in the film) to life (though, as of this film, radiation as a cause is only speculation), they move in a slow, plodding manner, they eat the flesh of the living, and the people they kill turn into zombies.
What makes George A. Romero’s Dead films so important, though, isn’t the thrills and chills they provide, as generous as that providing assuredly is. It’s the social and political commentary, hidden beneath the piles of corpses, that distinguishes him from his imitators. The following is my interpretation of that commentary, a theme of mindless, pitiless killing, and a killing not limited to what the zombies commit, by the way. Continue Reading
This essay contains spoilers for, and assumes prior knowledge of, Gremlins and Gremlins 2. If you don’t want to be spoiled, go watch the films first. So, I’ve written about Gremlins < http://gingernutsofhorror.com/my-life-in-horror/someday-you-may-be-ready > elsewhere. It’s one of the most popular things I’ve ever written online, at least in terms of number of views, which is both gratifying and mystifying. And I feel like I should start by stating the obvious – it doesn’t need a sequel. There’s nothing significant left hanging in terms of plot or character resolution that needed another movie to explore. The movie is, in Aristotelian terms, a complete action. The most you can say in defense of any proposed sequel is that the first movie leaves the door open, what with Gizmo still being alive at the end, but that’s a long way from having a sequel be either needed or, necessarily, desirable. Continue Reading
[99 minutes. Unrated. Director: Jack Heller]
It exists, has always existed, but feels increasingly harder to find these days, especially in the horror genre.
No, I’m not talking about Bigfoot or the Fouke Monster or the Wendigo.
I’m talking about something that’s harder to pin down; something that is, more often than not, maddeningly subjective. Something that comes with a storyteller’s approach to horror.
That “something” is sincerity. Continue Reading