Tag Archives: Horror-Camp

2023 Films, Allison Williams, Comedy, Gerard Johnstone, Horror, Horror-Camp, Horror-Comedy, James Wan, Science Fiction, Slasher

M3GAN-2023

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M3GAN-2023

Director Gerard Johnstone

Starring Allison Williams, Violet McGraw

Scott’s Review #1,338

Reviewed January 31, 2023

Grade: B+

M3GAN (2023) is the sleeper hit of the year, quickly becoming a ‘water-cooler’ topic (remember that phrase?) after getting stagnant cinema lovers back into theaters in droves.

Released in the traditionally dismal month of January when studios usually ‘dump’ film releases with little or no bang for their buck M3GAN is already set to spawn a sequel. The possibilities for a different story to correlate with the original are endless.

The poster (see above) and the movie trailer are instantly grabbing. We see a doll-like/robotic little girl with long flowing blonde hair and mesmerizing, sparkling eyes that are cat-like and creepy.

Almost life-like, it doesn’t take a genius to conjure images of the Chucky doll from the Child’s Play franchise (1988-2019). Seemingly lovable but turning sinister, the concepts are more or less the same.

When robotics engineer Gemma (Allison Williams) takes in her orphaned niece, Cady (Violet McGraw), she creates the perfect companion for her, a lifelike doll named M3GAN, who serves as a friend, confidante, and sensible role model.

Cady and M3GAN immediately bond and become inseparable pals.

M3GAN can listen, watch, and learn from other people and objects as they relate to Cady, using advanced Artificial Intelligence to store their idiosyncrasies.

As expected, things soon go awry when M3GAN uses her superior intelligence to destroy anyone whom she perceives as a threat to Cady.

I’m not one to suggest a film tone down the blood and gore in a horror film but in the case of M3GAN, it works to the film’s advantage as proven by tremendous box-office receipts.

Far from kid-friendly, one of the main characters is eight to ten years old which might encourage parents, especially parents who are horror fans, to take their youngsters to see the film. At first, Cady and M3GAN invoke an idealized pre-teen female relationship, and a bully intent on harming Cady gets his comeuppance.

Most of the other characters who suffer dire fates are unlikeable. A boorish neighbor, a vicious dog, Gemma’s obnoxious boss, and his conniving assistant all get their due one way or another at the hands of M3GAN.

She’s not exactly a ‘hero’ but the fun is watching hated characters suffer at her hands. The setup is perfected as each character reveals their obnoxiousness to the rabid audience thirsting for a slashed throat or two.

My point is that parents and kids alike can enjoy this film and simultaneously share a startle and a giggle.

The campy nature of the film is another win since the humor evens out the horror elements. There are enough funny lines, mostly delivered by the supporting players, to evoke laugh-out-loud moments.

The grand finale is inevitably predictable but enjoyable because it’s what the audience can’t wait for. M3GAN, once prim and proper in her little girl dress, shrieks and spits curses at her former friends as her now disfigured face and ravaged hair make her look disheveled and monstrous.

M3GAN’s true colors are revealed and the audience will hoot and holler with delight.

Unlike many films, M3GAN goes right for the jugular in the first scene with a deadly car accident and keeps the fast pace for the entire one hour and forty-two minute running time.

Williams, well-known for starring in Jordan Peele’s 2017 masterpiece Get Out scores another win in the central role. She capably plays a loving yet inexperienced surrogate parent and carries the film, along with M3GAN of course.

Incorporated is a relevant knock on mass consumption of technology gadgets and a robot replacing good parenting. This is more evidence that parents should see M3GAN.

I can’t wait to see what the writers next have in store for the little terror when the sequel drops.

2000 Films, Adrienne Barbeau, Camp, Horror, Horror-Camp

The Convent-2000

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The Convent-2000

Director Mike Mendez

Starring Adrienne Barbeau, Joanna Canton, Megahn Perry

Scott’s Review #1,246

Reviewed April 16, 2022

Grade: C+

I debated whether or not to reward Adrienne Barbeau with top billing recognition for The Convent (2000). After all, she doesn’t even appear, save for a quick silhouette scene that probably wasn’t even the actress, until the final third of the film.

Since I am a fan of Barbeau’s work, mainly the television series Maude, and films like The Fog (1980), and Escape From New York (1981), I decided to throw caution to the wind and cement her star status.

The film itself is terrible and needs all the help it can get. It’s campy beyond belief, amateurish, hokey, and acted poorly, suffering from enough ridiculous one-liners for me to wonder whether director Mike Mendez was purposely trying to make a bad film.

But before I get all curmudgeonly and smack this film in the face with an ‘F’ rating I’d like to justify my more than generous ‘C+’ rating.

If The Convent had tried to take itself seriously and produced shit like this I would have gone for the jugular in my review but it knows it’s a silly film and instead embraces this fact wholeheartedly.

Still, I kept wondering if the film was some sort of nod to the slasher film genre that took over the world from the late 1970s until the late 1980s, or if it feebly tried to merge this genre with the zombie genre and produce something fresh.

If made in say 1985, The Convent would have fit snugly amongst the heaps of other similar themed films that were patterned after superior feasts like Halloween (1978) and Nightmare on Elm Street (1984).

The film opens impressively enough when a young woman named Christine walks into a convent and goes batshit crazy shooting every nun she sees and burning the place to the ground.

I grinned because Christine looks exactly like Uma Thurman’s character in Quentin Tarantino’s 1994 masterpiece Pulp Fiction with bright red lipstick and dark shades. Even her outfit looks the same.

Unfortunately, that’s where any parallels end.

From this point, the plot is basic and uninspired. A coed named Clorissa (Joanna Canton) joins her best friend Mo (Megahn Perry) and a group of college students on a dare to venture into the aforementioned convent (now rebuilt) and tangle with nun and priest spirits rumored to be inhabiting the structure.

After Mo is left alone and the rest of the bunch dine at Denny’s the plot goes from standard to wacky as the returning students are bitten and become possessed by Satanists who want to beckon Satan back to earth. There is an attempt to sacrifice any virgin among the group to help with this.

Conveniently, Christine (now older) lives down the street after spending a thirty-year stint in the loony bin. The badass woman comes barreling to the rescue with her motorcycle and an arsenal of machine guns to kick Satan’s ass.

The fun begins when Barbeau finally appears. With her dangling cigarette and macho talk, the actress is in her comfort zone. The dialogue uttered by her and the rest of the characters is so bad that once again I wondered whether this was the intent. I truly hope it was.

The robotic head twitching and glowing green eyes by the now possessed students align perfectly with the gimmicky art direction and juvenile special effects. I’ve seen better on a 3 pm daytime afternoon soap opera.

The most irritating character is easily played by rapper Coolio in a ridiculous role as a loud policeman. This attempt at comedy fell completely flat and I was more entertained by the gay satanist who cleverly decides that if he and another virgin boy have sex they will be spared.

Once the credits rolled I was happy not to have to endure any more of the one-hour and twenty-minute experience. Upon my five-minute reflection, I decided to interpret the film as a comical satire over anything more.

The Convent (2000) isn’t distinct enough to get the ‘it’s so bad it’s good’ award because it lacks any sort of identity. However, for a midnight movie that is so goofy and over-the-top that there is plenty to mock the film is a fun time.

And, it’s always a joy to see Barbeau in anything she is willing to appear in.

1988 Films, Horror, Horror-Camp, Horror-Comedy, Science Fiction

Killer Klowns from Outer Space-1988

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Killer Klowns from Outer Space-1988

Director Stephen Chiodo

Starring Grant Cramer, Suzanne Snyder

Scott’s Review #1,169

Reviewed August 6, 2021

Grade: B-

A film surely only meant to be viewed late at night and/or in a hallucinated or otherwise drugged state for maximum pleasure, Killer Klowns from Outer Space (1988) is not to be taken seriously.

It does contain great imagination.

It’s kind of a take-off of Invasion of the Body Snatchers (1956) with a wretched 1980s look. It’s a fun film but as odd and pointless as they come. There is no explanation offered for the villain’s behavior nor is one necessary. There is also no political message or motivation.

It’s like someone thought of the weirdest possible gimmick and made a film about it.

For a horror film, the body count is very high but there is little gore. Unsurprisingly, it has found a permanent home in the genre cult classic category, forever to be dusted off when in need of the wacky or absurd.

Teenage lovebirds Mike (Grant Cramer) and Debbie (Suzanne Snyder) see a comet crash outside their quiet, small-town one late night. They investigate and discover a pack of murderous aliens who look exactly like circus clowns. When they do the right thing and warn the local authorities, everyone assumes their story is a prank.

Meanwhile, the clowns attempt to harvest and eat as many people as they can. When they kidnap Debbie, Mike decides to set out himself to rescue her and stop the bloody rampage. This leads to an epic battle between Mike and his friends and the clowns.

The Chiodo Brothers, who wrote and directed Killer Klowns from Outer Space, are primarily known for special effects, stop motion and clay modeling, and the film uses these techniques heavily. The wonky and lumbering clowns possess sinister smiles and quirky cotton candy cocoons to keep their prey.

Hardly are they directorial or screenplay masters so the film feels extremely experimental in many regards. The storyline is basic and the villains have only one modus operandi. The character development is nill and the acting is poor.

Is anyone surprised?

The key to the enjoyment of Killer Klowns from Outer Space is that it knows it is a B-movie and embraces the classification. Avoiding all seriousness is arguably what makes it a marginal success. One can sit back and laugh at it as one would rib an old friend. It is acceptable to both parties.

The clowns, or Klowns, are the real stars of the film. It’s fun to view these odd creatures and admire their costumes. This is the creativity of the film coming out and the Chiodo Brothers are masterful at this. One part scary and one part goofy their lavish costumes are bright and colorful. The creatures themselves are ugly as sin, big and lumbering.

Predictably, the film writes the supporting characters as stereotypical as possible, and maybe that’s the fun in it all. Farmer Gene Green (cool name!) believes Halley’s comet is the strange glowing object falling to earth.

He and his dog are quickly harvested. The police officers are curmudgeons and disbelieving of the teenagers. Various friends of Mike and Debbie are cast as one would think for a horror film.

The final climax is the best part of the film when an ice cream truck is used as a weapon against the clowns until a myriad of pies starts falling from the skies. Anyone watching the film while stoned would gleefully laugh.

Recommended for the adventurous cinema lover who wants to delve into the bizarre, late-night campy horror territory. Killer Klowns from Outer Space (1988) is mesmerizing in its absurdity and harkens back to 1950s science fiction.

2005 Films, Asia Argento, Dennis Hopper, George A. Romero, Horror, Horror Zombie, Horror-Camp, John Leguizamo, Simon Baker, Tom Savini

Land of the Dead-2005

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Land of the Dead-2005

Director George A. Romero

Starring Simon Baker, John Leguizamo

Scott’s Review #1,077

Reviewed November 6, 2020

Grade: C+

Land of the Dead (2005) is a post-apocalyptic horror film written and directed by George A. Romero, the fourth of Romero’s six Living Dead movies, preceded by Night of the Living Dead (1968), Dawn of the Dead (1978), and Day of the Dead (1985).

The result is a mediocre effort, plagued by poor acting and too much silliness. The goofy nature of the film negates any sense of foreboding or dread despite there being plenty of zombies.

The result is camp over horror instead of a blended mix of both which would have worked better.  To compare Land of the Dead to Night or Dawn is a tough ask since the formers are so much better and have political points to make.

There is nothing like that in Land of the Dead besides a weak side story about the class distinction that goes nowhere, and some jokes about the Bush regime.

That’s a shame because it would have made the film more relevant.

What we are served is a healthy dose of shoot ’em up or slice ’em up scenes where zombie heads or some other appendage are blown or sliced off. This was fun for a while, but I wanted something more.

Wisely, and staying true to the other films, the events are set around Pittsburgh, Pennsylvania which helps with continuity. The geographical reference to the famous “three rivers” immediately identifies the city used.

As events kick off, we learn that the zombie population has outnumbered the human population forcing the humans to barricade themselves within a structured community for safety. There exist the haves who live in a luxury high-rise and the have-nots who survive in squalor.

Dennis Hopper plays the rigid government figure, Paul Kaufman, and our good guy is the handsome Riley Denbo (Simon Baker) who provides aid to those in need.

Conflict erupts when it’s discovered that the zombies exhibit superior intelligence. They storm the gates of the city in droves and wreak havoc on the people of the community.

Other characters along for the ride are Cholo (John Leguizamo), Slack (Asia Argento- yes, daughter of famous horror director Dario Argento), and Charlie (Robert Joy). The rest of the film is a battle between good and evil (the zombies and greedy Paul) and not much else.

Why do zombies exhibit advanced intelligence? Are they cloning or are more humans becoming zombies? These questions are not answered.

Creatively, Land of the Dead looks good. It is stylistic, dark, and mysterious. Scenes, where zombies parade around in misty and gloomy conditions, are cool. The slicker and more commercial style gives a modern and fresh look and feel.

Reminiscent of 28 Days Later, the 2002 offering by Danny Boyle, that’s not a bad thing though it’s tepid for Romero. 28 Days Later rejuvenated the zombie genre so patterning after it doesn’t hurt Land of the Dead.

Another positive is the homoerotic nature of the relationship between Cholo and Mike (Shawn Roberts), a rookie. Both masculine and aggressive, there exists a hint of tenderness and closeness that feels romantic. When Mike is bitten and commits suicide to avoid turning, Cholo is devastated, implying that they might have shared a close background.

Unfortunately, this is never explored after Mike’s death.

On that note, the characters are not particularly interesting or crafted well. Paul is merely bad, while Riley is heroic. Cholo is angry and rebellious, while Slack is a prostitute. Charlie is the sidekick.

Everyone has their place, but little substance is given about their past lives, their hopes for the future, or anything more than escaping the zombies. I get that’s the goal, but more personal stuff would have been better.

The rest is what you would expect from a zombie film and nothing more, which feels lazy of Romero especially since he wrote the screenplay. He tends to deliver better products with some meaning or interpretation.

In Dawn of the Dead, for example, the zombies sought the mall because it was familiar to them. One could argue that a city and its lights offer more of the same, but this feels weak and has already been explored.

I guess I was expecting more of something that would grab me into the world of the film and nothing ever did.

A forgettable affair, Land of the Dead (2005) does not require repeated viewings as its predecessors do. This film was one-and-done for me.

Some trimmings and entertainment exist, but I yearned for more substance than a standard, Saturday late-night zombie-fest. There are enough of those already.

1973 Films, Camp, Horror, Horror-Camp, Independent, Independent Horror

Don’t Look in the Basement-1973

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Don’t Look in the Basement-1973

Director S.F. Brownrigg

Starring Anne MacAdams, Rosie Holotik

Scott’s Review #954

Reviewed November 5, 2019

Grade: B

A film that is so low-budget that it strongly resembles the quality of independent master John Waters films, Don’t Look in the Basement (1973) has very low production values. It makes Waters’s films look like grandiose budget fests.

It contains a campy and cheap quality that adds to the fun of watching. With a videotaped look and marginal acting, the film is perfect for a late-night indulgence, but little more.

Director S.F. Brownrigg, with screenwriter, Tim Pope, brought this project to life. Also named The Forgotten and Death Ward #13, Don’t Look in the Basement is the title that works best and conjures up the most intrigue.

The story revolves around a collection of odd hospital inmates running the asylum while a series of mishaps occur.

Stephens Sanitarium is a secluded mental health facility in a remote area run by the quirky Dr. Stephens. The good doctor believes that the secret to curing his crazy group of loons is to allow them to express themselves, acting out their realities in hopes of solving their problems.

Stephens and an elderly nurse are both killed separately, he is accidentally hacked to bits by an ax, and she has her head crushed by a female patient who thinks her baby (a doll) is being taken from her.

Dr. Geraldine Masters (Anne MacAdams) is left to run the facility and greets a new nurse, the sexy Charlotte (Rosie Holotik) when she arrives from out of town expecting a job.

Charlotte encounters all the inmates before strange events begin to occur like an older patient having her tongue cut out, and a visiting telephone repairman being murdered.

One could speculate that Don’t Look in the Basement influenced independent treats such as Supervixens (1975), High Anxiety (1977), or the plethora of slasher films soon to be on the horizon, but this may be wishful thinking.

A few choice scenes seem like quick blueprints for these films to follow but in an amateurish way.

Despite the film being of the horror genre category, several scenes, mostly of Charlotte and Geraldine talking in an office, seemingly carved from a daytime soap opera, which was popular in those days.

The long dialogue, and almost throwaway scenes, do not further the plot much, and it’s the occasional macabre death scene that achieves the most reaction.

Don’t Look in the Basement adds a big twist that is not difficult to figure out once all the pieces are presented to the viewer. The foreboding title ultimately underwhelms as this anticipated big secret barely comes to fruition.

As the players are offed one by one the implausible conclusion reaches a climax and the viewer will ruminate that the early stages of the film are superior to the ending.

The poor pacing and meandering story made me tune out from time to time. Still, the film is fun and a good, old-fashioned camp-goofy good time.

The characters are completely over-the-top in the best possible way. A female nymphomaniac who, it is relayed, has been left by any man she has ever met and craves love and affection, is convinced that the repairman will marry her (they have only just met!) and has sex with his corpse.

A lobotomized black man only eats purple lollipops and has a heart of gold, while the ugly old woman, sans tongue, attempts to convey a secret message.

Don’t Look in the Basement (1973) is a marginal success because it does not take itself too seriously. This is both good and bad because the project takes on a juvenile quality that sometimes seems to be going for laughs more than for fright.

The acting is below par, but somehow the characters retain enough interest to warrant a recommendation, but only for those with interest in the genre.

1948 Films, Bela Lugosi, Bud Abbott, Camp, Charles Barton, Comedy, Horror, Horror-Camp, Horror-Comedy, Lon Chaney Jr., Lou Costello, Vincent Price

Abbott & Costello Meet Frankenstein-1948

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Abbott & Costello Meet Frankenstein-1948

Director Charles Barton

Starring Bud Abbott, Lou Costello

Scott’s Review #865

Reviewed February 9, 2019

Grade: B+

Abbott & Costello Meet Frankenstein (1948) was the first film of several to capitalize on the comedy duo’s popularity and merge them with several horror characters in a hybrid of the horror and comedy genres.

The zany film was enormously popular with fans leading to other subsequent pairings, but this is the best of the bunch. The ingenious idea works well, and the bumbling pair presents an entertaining film fresh with good ideas and a harmless comedy romp.

The villainous Dracula, the Wolf Man, and the title horror character only make the riches even loftier.

Working as baggage clerks at a Florida train station Chick Young (Bud Abbott) and Wilbur Grey (Lou Costello) border on incompetent and deliver two crates to a local wax museum after damaging them at the station. Little do the pair realize that the crates house Count Dracula (Bela Lugosi) and the Frankenstein monster (Glenn Strange).

Once Chick and Wilbur arrive at the wax museum a comedy of errors occurs as the monsters reanimate and escape while the pair are arrested for supposed theft.

Ultimately the film culminates with an exciting finale at a nearby island castle as a devious doctor (Lenore Aubert) is intent on removing Wilbur’s brain.

The film is wonderfully campy and over-the-top and a strong part of its appeal. The setup is delicious as the audience knows Chick and Wilbur will ultimately face the various creatures but do not know how this will happen.

The quick-witted comedy duo hardly needs coaching, but their banter and timing seem particularly palpable in this screen offering. This is impressive given the historical account of neither actor wanting to make the film and both being convinced the result would be a bomb teetering on career suicide.

Any accusations that their hearts were not in it can be dismissed.

A large part of the appeal is the three individual monsters with different motivations and offerings.

Dracula is the villain in cahoots with the mad scientist.

Frankenstein’s monster is the victim while the Wolf Man is the suffering hero.

Returning to roles that made them famous was crucial to the success of the film and Lon Chaney Jr. and Bela Lugosi (Wolf Man and Count Dracula, respectively) deliver their lines with gusto, careful not to make themselves too menacing nor too foolish, and both blur the horror and comedy lines with perfection.

The filmmakers must be credited for the progressive slant of casting the mad scientist as a female rather than the traditional male.

Actress Aubert as Dr. Sandra Mornay is delicious as she lustfully seduces Wilbur in comic form. She needs not his body but the brain of a simpleton to insert into the head of the monster.

The young man and the gorgeous woman make an odd pairing made comedic by their physical differences. The blend is just right for physical and lightweight comedy.

The final scene is clever and leads to a potential follow-up for the film. As Chick and Wilbur sail away from the looming castle in relief of their adventure coming to a satisfying conclusion, Chick ensures Wilbur that all the monsters are gone.

An uncredited voice appearance by Vincent Price and a dangling cigarette coming from no mouth introduce the next chapter of The Invisible Man.

Hardly a masterpiece or cinematic genius Abbott & Costello Meet Frankenstein (1948) does entertain.

Each player is well-cast resulting in a culmination of good comedy infused with atmospheric horror elements done with the perfect light touch. The comic timing of all members ensures that all the pieces come together in just the right mix of fun and frights with a tongue-in-cheek approach.

What could be a better choice for the escapist fare on a lazy Saturday afternoon?

1998 Films, Brad Dourif, Comedy, Dark Comedy, Horror, Horror-Camp, Horror-Comedy, Jennifer Tilly, John Ritter, Katherine Hiegl, Kathy Najimy, Lowest Rated Films

Bride of Chucky-1998

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Bride of Chucky-1998

Director Ronny Yu

Starring Jennifer Tilly, Brad Dourif

Scott’s Review #680

Reviewed September 11, 2017

Grade: D+

Bride of Chucky (1998) is the fourth installment in the famed late 1980s Child’s Play hit franchise. The late 1980s was not the best time for the horror genre in general, but the film was quite the highlight in a slew of duds.

By this time in the series, (1998), the child/victim of the doll premise is dropped in favor of dark humor, thus the series immerses itself more into the horror-comedy arena.

A treat is the inclusion of a fantastic hard rock soundtrack led by the Rob Zombie classic, Living Dead Girl, adding some points to the film’s final grade, otherwise have been more dismal.

The film is not great and I find perverse pleasure in reviewing poor films. However, Bride of Chucky does have its place- as a late Saturday night viewing choice amid strong cocktails it contains a certain charm.

Not to be taken seriously, the placement of a love interest for Chucky gives the film macabre romantic humor.

Still, the film suffers from lackluster acting and quickly turns into drivel by the time the credits finally roll.

The action picks up from where Child’s Play 3 leaves off and the appearance of Chucky is now weathered and stitched giving the doll a more gruesome and maniacal look- this works given the elimination of a child lead character.

Left for evidence in a police compound, Chucky is stolen by Tiffany Valentine, played by Jennifer Tilly. The girlfriend of a deceased serial killer, Tiffany is convinced that the spirit of her boyfriend exists within Chucky and she is determined to bring him back to life using a voodoo ritual.

When the act finally works, Chucky and Tiffany reunite, but shortly afterward, Tiffany is also turned into a doll and the duo sets out on a killing spree.

The best aspect of the film is the camaraderie between Tilly and actor Brad Dourif, who voices Chucky. The duo has a light, comic banter that is fun to watch, as well as fantastic chemistry.

Granted the actors only voice the dolls for a small part of the film, but their back-and-forth works well.

This is what makes Bride of Chucky tongue in cheek- let’s face it, with talking dolls as your main characters, director Ronny Yu wisely avoids making the killings too grisly or heavy-handed, but rather, frequently uses quips and one-liners throughout the film.

As Chucky and Tiffany slice and dice their way to Hackensack, New Jersey, their motivations are to embody a neighborhood boy, Jesse, and his girlfriend Jade, played by a young Katherine Heigl.

Along the trek, the foursome is faced with ludicrous obstacles, such as the brief introduction of a con artist couple who meet their doom by flying shards of glass after stealing Jesse’s money.

The side story of Jade’s overprotective police chief Uncle, played by a miscast John Ritter, does not work at all. His schemes to plant marijuana in Jesse’s van are little more than plot-driven machinations to advance the thin plot.

The characters of Jesse and Jade are trivial and secondary and Heigl’s acting is particularly garish to say nothing of the lack of any chemistry between Heigl and actor Nick Stabile.

Heigl seems to wear a pout throughout the entire film. But, not to worry, these characters are as meaningless as all the others.

The gimmick ending, surely meant to “spawn” yet another sequel is as interesting as it is grotesque and a small highlight in a poor film.

Bride of Chucky (1998) provides a nice lineage to the history of the franchise, a killer musical score, and decent chemistry among the leads, but also suffers a similar fate to many horror films, especially sequels- poor acting, a silly tone, and no character development.

2008 Films, Comedy, Horror, Horror Zombie, Horror-Camp, Horror-Comedy, Jenna Jameson, Robert Englund

Zombie Strippers-2008

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Zombie Strippers-2008

Director Jay Lee

Starring Jenna Jameson, Robert Englund

Scott’s Review #599

Reviewed January 10, 2017

Grade: C-

Zombie Strippers (2008) is so filled with campy moments and so over-the-top, that it’s a film that is impossible to remotely take seriously.

As they say, there is a time and a place for everything, and this includes films.

It is completely a cheesy, campy B minus horror film.

The story, if one can call it that, involves a small strip club, in Nebraska, in the middle of nowhere. The star stripper is played by former adult film star, Jenna Jameson, who, I am pretty certain, was not hired for her acting talents.

One day, a government-controlled virus is released by the government, causing Jameson’s character to be transformed into a flesh-eating zombie.

The motivation is not there, and, who cares anyway?

This is not the film to watch for a compelling plot.

The acting all around in the film is poor, and the story is completely unrealistic-laced with stereotypes galore. However, how nice to see horror legend, Robert Englund (Nightmare on Elm Street-1984) in a prominent role, even in a bad film.

Also deserving of credit is the makeup and prop department, having a small budget, for making the film look better than it might have.

If you are looking for a cheesy, after-midnight, and after-a-few-drinks fun film, this is it. Otherwise, don’t waste your time.

2010 Films, Adam Scott, Alexandre Aja, Christopher Lloyd, Elisabeth Shue, Horror, Horror-Camp, Horror-Comedy, John R. Leonetti, Richard Dreyfuss, Ving Rhames

Piranha 3D-2010

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Piranha 3D-2010

Director Alexandre Aja

Starring Richard Dreyfuss, Elisabeth Shue, Ving Rhames

Scott’s Review #529

70108986

Reviewed November 29, 2016

Grade: C-

2010’s Piranha 3D is a tongue-in-cheek horror comedy that saves itself from being a complete drivel by having some sense of humor.

Remarkably, it stars some decent talents- Richard Dreyfuss, Ving Rhames, and Elisabeth Shue.

The film is pure fluff- not high art in the least, with no message or purpose to be found.

The film is terrible, but kind of fun at the same time. It’s camp and not to be taken at all seriously.

The plot is simplistic and standard horror fare- a school of piranhas are unleashed after an underwater earthquake, kill a fisherman, and ravage a college vacation party on a lake.

The college kids come to Lake Victoria to party and lounge on the beach, and typically, are dressed precariously. They are unceremoniously ripped to shreds by the angry and hungry killer fish.

Shue and Rhames must have hit rough times, and have required a paycheck to star in this. They play a Sheriff and Deputy- laughably unbelievable- as they try to protect the beach-goers from a grisly fate.

Dreyfuss plays a ridiculous and unnecessary role as the aforementioned fisherman.

On a serious (and sour) note, the objectifying of women is shocking in this day and age. Haven’t we seen enough stereotypes in one lifetime?

A few cool kills and humor, but Piranha 3D (2010) is a dumb, popcorn horror film.

1974 Films, British, British Horror, Christopher Lee, Horror, Horror-Camp, Peter Cushing, Telly Savalas

Horror Express-1974

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Horror Express-1974

Director Eugenio Martin

Starring Christopher Lee, Peter Cushing

Scott’s Review #311

7780013

Reviewed December 30, 2015

Grade: B

Horror Express (1974) is a fun 1970s Spanish/British horror film starring legendary horror actors Christopher Lee and Peter Cushing.

A horror version of Agatha Christie’s Murder On The Orient Express with a bit of camp thrown in, it is an entertaining late-night experience, on a low-budget level.

It is the early 1900’s, and while traveling from Shanghai to Moscow, via the Trans-Siberian Express, a British anthropologist named Professor Alexander Saxton (Lee) brings an enormous,  mysterious crate on board that contains a creature he discovered in a cave.

What we know is it has something to do with human evolution.

A fellow passenger, Doctor Wells (Cushing), and various other passengers become suspicious of the crate and demand to have it opened.

Things go awry and victims begin to be murdered by the creature (an ape-like monster) and left with eyes completely white with missing pupils and irises.

The best part of Horror Express is the setting. The cozy train is a perfect backdrop for the events taking place and it makes the film exciting as the different cars are set-decorated nicely.

This lends itself to a sense of entrapment and being unable to escape the creature as it roams freely from car to car.

For being a low-budget film,  the train sets are quite believable, as are the sounds of the train. It feels like the actors are on a real train as the tooting horns and the sounds of the tracks are authentic.

Having actors as big as Lee and Cushing gives the film respect in horror circles and both actors do believable work.

This film would not have been as good without the talents (and name recognition) of both.

There are also interesting supporting characters and I didn’t find the acting to be too over-the-top as is known to occur in similar types of horror films.

Specifically, the countess’s role and the appearance of Telly Savalas as a Cossack officer investigating events are interesting.

Fans of this genre of horror will understand that suspension of disbelief is necessary as the plot gets a bit goofy- something about the creature taking the information from the victim’s brain and the victims subsequently turning into zombies- it doesn’t make a whole lot of sense.

Especially towards the end, as some drunken Russians and some weird resurrections happen, but that is somehow okay.

For a late-night viewing with some spirits, you can’t ask too many questions and Horror Express (1974) is a decent flick.

1974 Films, British, British Horror, Christopher Lee, Horror, Horror-Camp, Peter Cushing

Madhouse-1974

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Madhouse-1974

Director Jim Clark

Starring Vincent Price, Peter Cushing

Scott’s Review #233

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Reviewed April 3, 2015

Grade: B-

Madhouse, a 1974 British horror film, stars horror icon Vincent Price who portrays a sympathetic Hollywood actor who is unsure of his sanity after the grisly murder of his trophy fiancé whom he may or may not have been responsible for murdering.

Mainly set in London, Madhouse also stars famed British actors in the latter stages of their careers, such as Peter Cushing, and is a treat for classic British horror fans.

The look of the film is stylistic and effective in the mood- the story, while silly, is also fun.

Paul Toombes (Price) is a famed actor notorious for his character of Dr. Death in a successful film franchise. He seemingly has it all and is the envy of his contemporaries- wealth, notoriety, and a glamorous blonde fiancé named Ellen.

After Ellen is murdered by someone dressed as Dr. Death, Paul is unable to remember the circumstances or his whereabouts during the murder.

After spending years in a mental institution in a confused state he is summoned to London to mount an acting comeback of sorts, reprising his Dr. Death alter-ego.

As the bodies begin to pile up, a whodunit commences- is Paul Toombes the killer, or is someone impersonating him?

The film itself is quite pleasing to a horror fan like me. The deaths, while silly, are fun and campy.

Mostly all female victims, a comical aspect is how the victims, when cornered by the killer, simply scream and stand there waiting to be sliced.

Wouldn’t they fight back in real life?

This film is certainly not realism at its finest but is a fun horror film. It is a bit exaggerated and over-the-top in a campy way but is also true to the 1970s style with the point of view scenes from the killer’s perspective.

A wonderful aspect of this film is real clips of old Vincent Price films (The Raven, The Pit and the Pendulum, and House of Usher) to name a few, featuring deceased horror god Boris Karloff and Basil Rathbone.

Since the plot involves Price’s character being a former horror actor this is a wonderful opportunity to showcase long-ago classic horror films and it works perfectly.

I enjoyed the television scenes within the film plot as Paul revives his career and shoots a series for the BBC- the film chooses interesting, haunting sets and Cushing’s character of Herbert Flay and his zany wife reside in a spooky, vast mansion with eerie spiders that the wife is obsessed with.

The set pieces are great and very Halloween-like. And the spider-eating-flesh scene is excellent!

The tag team of Price and Cushing is fun to watch- both horror stalwarts connect well and both actors play off of each other successfully.

They had a ball while making this film.

Towards the end of the film, the plot becomes confusing and the big reveal as to the killer’s identity and the motivations surrounding is a disappointment.

The conclusion to the film is silly and makes little sense, although that is secondary to a film of this genre that borders on camp.

Madhouse (1974) is an enjoyable midnight flick starring two of the top classic horror icons.

1973 Films, British, British Horror, Diana Rigg, Horror, Horror-Camp, Ian Hendry, Jack Hawkins, Robert Morley, Vincent Price

Theatre of Blood-1973

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Theatre of Blood-1973

Director Douglas Hickox

Starring Vincent Price, Diana Rigg

Scott’s Review #230

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Reviewed March 23, 2015

Grade: B

Theatre of Blood (1973) stars Vincent Price, a long-time fixture in the classic/campy horror scene, as a demented Shakespearean theatre actor who enacts revenge on the critics who fail to recognize him with a coveted award that he cherishes.

Price, as always frighteningly good, delivers a campy, but not ridiculous, turn as the crazed actor.

Price’s appearance alone- tall, wiry, with sinister facial expressions, poises him perfectly to believability in any dastardly role he portrayed in his heyday and the performance he gives as Edward Lionheart is no exception.

Not solely a campy, melodramatic horror film, Theatre of Blood rises above that categorization with humorous tributes to Shakespeare and a unique chronicle of the Shakespearean works used to systematically off the critics one by one about the Shakespearean story- quite frankly in a comical and witty way.

Price eerily dresses in many different elaborate costumes to commit the murders- a wine-tasting expert, and a television host, among other interesting characters, and oftentimes, taunts his victims before permanently dispensing them.

The film is quite British in tone and humor and done in a tongue-in-cheek manner so that the murders are not to be taken at all too seriously.

The critics themselves- seven or eight of them- are deliciously fun. One is a loud boisterous fat man who always has his beloved poodles at his side.

What happens to him and the dogs is better left unsaid.

Another is an uptight, sophisticated woman (played by Price’s real-life wife Coral Browne). Several of the critics are created as comic villains so their demises are not all too devastating for the audience as they are rather unlikeable characters, to begin with.

I found myself rooting for Lionheart and looking forward to the next murder!

One criticism involves Diana Rigg, who plays Price’s daughter Edwina, accomplice to his dirty deeds. Well known for her starring role in On Her Majesty’s Secret Service and the 1960s Avengers series, Rigg has little substance to do in Theatre of Blood.

Perhaps by 1973, her film career was on the downturn and she was not winning the coveted roles any longer. I would have loved to see her sink her teeth into a meatier role.

A side-kick, Edwina could have done much more.

The film belongs to Price and the unique storytelling of Shakespearean works made only possible by this great actor.

Not overly serious and played for some laughs, Theatre of Blood (1973) is successful in its telling of an interesting British horror story.

It’s a nice late-night treat for fans of the British horror genre especially.

2012 Films, Dario Argento, Horror, Horror-Camp, Marta Gastini, Rutger Hauer, Thomas Kretschmann

Argento’s Dracula-2012

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Argento’s Dracula-2012

Director Dario Argento

Starring Thomas Kretschmann, Marta Gastini

Scott’s Review #158

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Reviewed August 22, 2014

Grade: C-

As a huge fan of Dario Argento, his classic horror films such as Suspiria (1977) and Deep Red (1975) would surely land in my Top fifty of all time, not just in the horror genre, this film is a bit of a mess.

The story, as I understand it, involves a young man named Harker, who is hired by Count Dracula to work in his castle as a Librarian. His wife Mina arrives later in the story and is the focal point of the film from that point on.

Another female named Tania rises from the dead to seduce and bite Harker. Dracula intervenes and wants to claim Harker as his own. From this point on, Harker’s wife Mina attempts to look for her husband within the halls of Dracula’s castle.

The plot is difficult to keep track of, not compelling, and not one of Argento’s finest efforts.

An homage to Hammer horror films of the 1950s and 1960s, the film comes across as too campy, poorly performed, and some miscasts among the actors.

The actor who plays Count Dracula is not convincing and seems a strange choice for the part- too nice looking?

It feels like Argento did not know whether to make the film serious or go for being completely over the top. Since when can Dracula change forms into a grasshopper, owl, and other creatures besides a bat?

Other characters like the Priest were introduced for no other purpose than to be killed.

On the positive side, the art direction is amazing. The film is filled with creepy sets, especially inside the mansion, and has a distinct 1970s feel to it. The ambiance is highly effective at portraying a spooky, dark setting.

All in all, though, Argento’s Dracula (2012) is a disappointing experience, and much better films of the same subject matter have been covered in the past.

1981 Films, Comedy, Dark Comedy, Horror, Horror-Camp, Sam Raimi

The Evil Dead-1981

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The Evil Dead-1981

Director Sam Raimi

Starring Bruce Campbell

Scott’s Review #144

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Reviewed July 31, 2014

Grade: B+

For its time The Evil Dead was a unique, creative, visually impressive horror classic and far different from the wave of mediocre slasher films from this time (1981).

In the story, five teenagers head to a remote cabin in Tennessee for spring break.

From the beginning of the trip, there is trouble- they are almost killed in a head-on collision, their car almost falls into a rickety bridge, and finally, at the cabin, they stumble upon a haunted book.

From this point, even stranger events begin to develop and the haunting, crazy action begins.

Director Sam Raimi does an excellent job from a visual standpoint- the camera racing through the woods from the demon’s point of view is very effective and scary.

The ambiance is creepy- fog, mist, smoke, and the lighting are great.

The film has all the elements- darkness, remote cabin, and woods coming alive for a genuinely scary horror flick.

Yes, the film seems a bit campy to watch now, but at the time the special effects were brilliant.

My personal favorite is the long shot of the twitching dismembered body and the various, hysterically funny chattering and gibberish among the demons.

The ending of the film is very well done.

1963 Films, Connie Mason, Gore, H.G. Lewis, Horror, Horror-Camp, Independent, Independent Horror, William Kerwin

Blood Feast-1963

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Blood Feast-1963

Director H.G.Lewis

Starring Thomas Wood, Connie Mason

Scott’s Review #100

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Reviewed July 10, 2014

Grade: B-

Blood Feast (1963) is the debut film by horror master H.G. Lewis, who invented the gore genre.

The film is simplistic and makes his later films almost seem a big budget.

This film is not meant to be taken seriously. Anyone who does is completely missing the point. It is exploitation, but completely over-the-top, with wooden performances for laughs, specifically by Connie Mason, who stinks.

The story involves a demented caterer hired by a mother to cater an Egyptian-themed dinner party. He, of course, uses real body parts to complete the meal is obsessed with some silly curse, and owns a female Egyptian statue that talks to him.

The kills are laughing out loud in their basic shock value and all the victims are women.

One victim’s tongue is torn out, as another is whipped to death, which, in a more modern film like Saw would be horrific. But the kills are so comedic, and the gore blood so amateurish, that the audience cannot help but chuckle.

The highlight for me was the intentionally (let’s hope) horrendous acting by all involved.

I prefer H.G. Lewis’s later films, but Blood Feast (1963) is a blueprint and a nice introduction.

1964 Films, Connie Mason, Gore, H.G. Lewis, Horror, Horror-Camp, Independent, Independent Horror, William Kerwin

Two Thousand Maniacs-1964

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Two Thousand Maniacs-1964

Director H.G.Lewis

Starring William Kerwin, Connie Mason

Scott’s Review #79

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Reviewed June 28, 2014

Grade: B

Two Thousand Maniacs is a 1964 offering by gore director H.G. Lewis set in the South.

The premise surrounds a southern town, ironically named Pleasant Valley, slaughtered and destroyed during the Civil War. It is resurrected every one hundred years to enact revenge on northerners who are unlucky enough to stumble upon their town.

Five nice-looking, fashionable tourists, headed to Atlanta, are duped by local townspeople into making a wrong turn and given the hero’s welcome by the town folk for a festive centennial celebration.

The welcome is, of course, a guise for a sinister plot to dismember and barbeque the tourists as part of the feast of the celebration.

The film takes a bit to get going, there is no killing until thirty minutes into it then excels into high gear as some of the most graphic, brutal deaths ensue.

A woman is tied to a platform as one townsperson after another attempt to hit a bullseye so that an enormous boulder falls, carnival dunk-tank style, stoning her to death.

Another victim has each limb tied to a horse as they gallop in different directions, thus dismembering him.

Still, another is forced into a barrel laced with nails and sent rolling down a hill.

Another has her thumb and arm chopped off and served for dinner.

These are gruesome deaths.

A film like this is done for fun, thus the term horror-comedy, but surely heavily influenced other macabre films that followed- The Texas Chain Saw Massacre (1974) and Deliverance (1972).

The southern rednecks are played to the hilt by mostly real townspeople and the cheerful song “The South will rise again” sticks in the viewer’s mind long after the film ends.

The tone is bright and cheerful, and the townspeople, on the surface, seem happy-go-lucky and warm. They even kill with charm.

Two Thousand Maniacs (1964) is a fun, splatter film from one of the genre’s most revered filmmakers.

2002 Films, Gore, H.G. Lewis, Horror, Horror-Camp, Independent, Independent Horror, John Waters, Slasher

Blood Feast 2: All U Can Eat-2002

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Blood Feast 2: All U Can Eat-2002

Director H.G. Lewis

Starring J.P. Delahoussaye, Christy Brown

Scott’s Review #65

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Reviewed June 24, 2014

Grade: B

Blood Feast 2: All U Can Eat (2002) is a sequel to the original Blood Feast from over thirty years ago.

It is not necessary to see the original before seeing this film (I hadn’t). The original killer’s grandson is the gruesome caterer/maniac in this installment.

Director H.G. Lewis heavily influenced John Waters, who has a fantastic cameo as a perverted reverend. This movie is so over the top and campy that it is not to be taken at all seriously.

The premise, if one can call it that, involves a lunatic caterer intent on using various female body parts to concoct a scrumptious meal to serve at a wedding.

The film is more of a comedy than a horror film in the traditional sense.

The victims are bubbleheads, mispronouncing words and traipsing around in skimpy outfits (or less) for no reason. The mean-spirited mother of the bride is a delight.

Scenes of taste testing and the presentation of “ladyfingers” are hilariously creative.

Campy in every way and poorly acted, but good late-night fun.

1988 Films, Amanda Donohoe, Comedy, Horror, Horror-Camp, Horror-Comedy, Hugh Grant, Ken Russell

The Lair of the White Worm-1988

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The Lair of the White Worm-1988

Director Ken Russell

Starring Amanda Donohoe, Hugh Grant

Scott’s Review #15

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Reviewed June 17, 2014

Grade: C+

The Lair of the White Worm (1988) is a very strange film.

Set in Scotland, it tells the tale of a giant snake skeleton found in the ground that leads to a series of strange events.

A wealthy Lady, brilliantly played by Amanda Donohue, begins a sinister plot to sacrifice the townspeople.

The film is campy and way over the top, though Donohue is delicious and seems to have fun with the role of a slithering, sexy, bisexual creature.

The gloomy ambiance is fantastic, mixed in with many psychedelic sequences that entertain.

It’s a somewhat fun, late-night B-movie, to be sure, but the plot did not seem to make much sense to me, especially in the final act.

Lair of the White Worm (1988) is a trippy experience to say the very least. I may need to see it again.

1972 Films, Gore, H.G. Lewis, Horror, Horror-Camp, Independent, Independent Horror

The Gore, Gore Girls-1972

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The Gore, Gore Girls-1972

Director H.G. Lewis

Starring Frank Kress, Amy Farrell

Scott’s Review #12

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Reviewed May 14, 2014

Grade: B+

The Gore Gore Girls (1972) is a fun, late-night, campy horror film by the “Godfather of Gore”, H.G. Lewis.

An unknown assailant is hacking strippers to bits using very unusual methods. An investigator is hired to find out whodunit.

It’s an entertaining experience and I love the use of the whodunit mixed in with horror. I enjoyed the outcome when the killer was revealed.

Influenced by John Waters (even the music seems identical!) it’s a hearty viewing of wildness, merriment, and debauchery.

Comedian Henny Youngman appears, though he later denied being in the film.

The strippers are over the top and unique and the investigator (sort of a Sherlock Holmes type) is wonderful to watch.

Quite a low budget as the audio is tough to hear at times and the video fuzzy, but this only enhances the fun.

Continuity errors for miles, but it hardly matters.

1970 Films, British, British Horror, Horror, Horror-Camp, Independent, Independent Horror, Slasher

Girly-1970

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Girly-1970

Director Freddie Francis

Starring Vanessa Howard, Michael Bryant

Scott’s Review #11

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Reviewed June 14, 2014

Grade: B-

Girly (1970) is an unusual British horror film about an affluent, bored family, clearly deranged, who kidnaps victims and forces them to become “members” of the family by participating in game-playing escapades for their delight.

The premise of the film is appealing and intriguing as to how it will play out. The family members (Mumsy, Nanny, Girly, and Sonny) are played with gusto by the cast but are never over the top.

My favorite is “Mumsy”, wickedly played by British actress Ursula Howells.

The film itself has a fairy tale quality to it with the sets of the house they share. The main victim (a male gigolo) is a miscast (too old, not sexy enough) and begins a cat-and-mouse game of trickery, plotting the family against one another until the inevitable bodies pile up.

The film loses steam midway through and the ending is not satisfying.

Why the victims are not able to escape the vast property is weak (a 7-foot tall flimsy fence??).

“Curious” film that becomes a tad boring towards the conclusion.

1967 Films, Gore, H.G. Lewis, Horror, Horror-Camp

The Gruesome Twosome-1967

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The Gruesome Twosome-1967

Director H.G. Lewis

Starring Elizabeth Davis, Gretchen Wells

Scott’s Review #8

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Reviewed June 17, 2014

Grade: B+

This offbeat treat is an incredibly strange, super-low-budget horror film from influential director H.G. Lewis.

This film is an enjoyable, campy, midnight-movie type of experience. The acting is completely over-the-top and played for laughs, purposely.

It felt like watching a horror version of a John Waters film and the atmosphere and acting style surely influenced Waters.

Shots were added to fill the running time to warrant a film release. KFC and Michelob products are placed and one favorite scene is a sorority-type slumber party as the girls danced while eating KFC.

The 7-minute intro of the talking foam heads is wonderfully strange and not to be missed.

While campy, there is one intensely gruesome scene towards the beginning of the film and a must-see for cult horror and/or late-night film fans.