Scream for help if someone forces you to watch "Scream and Scream Again"

Scream and Scream Again (1970)
Starring: Vincent Price, Christopher Lee, Marshall Jones, Peter Cushing and Christopher Matthews
Director: Gordon Hessler
Rating: Two of Ten Stars

One day, during the Swingin' Sixties, three clerks collided in the hall of American International Productions. Each and been carrying a film script--one was a supernatural/political thriller set within a fictitious East bloc country, the other was a modern-day psycho-vampire flick set in London, and the third was a mad doctor/Frankenstein flick--and the pages went everywhere. They tried their best to sort them out properly, but in the end the three scripts were hopelessly jumbled together. In the hopes of covering their sloppiness, they simply put the three mish-mash "scripts" in for review. One ended up being green-lighted by an indifferent executive. A shooting script was then approved by a drunk producer. Stoned and tripping directors then went about finding actors, and soon principle photography on "Scream and Scream Again" was underway.


I don't know if that story accurately describes how "Scream and Scream Again" came to be produced, but it's a more generous explanation than one that assumes this incoherent and disjointed movie was intended to be this way.

For more than 3/4ths of the picture there is barely a connection between the various plots, except for a single actor who crosses over between the two. And when they do come together, it's only barely and it's not in any way that seems terribly well thought out. (A sign of the complete confusion that reins in this film is even evident in the theatrical preview where the actor who is identified as Peter Cushing is actually Marshall Jones.)

The story, such as it is, starts with a series of "vampire murders" in London. It turns out that these are being perpetrated by the creation of a mad scientist (Vincent Price) who is working as part of a global secret scientific society to create a superior human race through surgery. When the police refuse to investigate due to political pressure a young coroner (Christopher Matthews) starts doing his own investigation. He is soon in over his head and that's when things get really stupid.

Although Cushing, Lee, and Price get top billing, Cushing is only in one scene (and it's a pointless one at that) and Lee's presence isn't much more than Cushing's. Price's role is larger and very important to the story, but his screen time is still very limited and he doesn't have much to do. His presence is almost as big a waste as that of Cushing and Lee.

And the score, the easy-listening rock/jazz fusion score, is almost too painful for words!

All in all, this film should go on the "must-miss" list, except for those who might be looking for the worst "day-for-night" shots since Ed Wood stopped making Z-grade thrillers and turned to Z-grade pornos. It makes the worst of the Hammer Film efforts look like the work of Orson Wells. What's even more embarrassing for this film is that it looks like it probably had a bigger budget than several Hammer Films combined, based on the number of locations and aerial shots featured.

Horror legends clash in 'Madhouse'

Madhouse (aka "The Revenge of Dr. Death") (1974)
Starring: Vincent Price, Peter Cushing, Robert Quarry, and Natasha Pyne
Director: James Clark
Rating: Six of Ten Stars

Famed horror actor Paul Toombes (Price) suffers a total breakdown after his fiance is brutally murdered. After more than a decade in an insane asylum, he is released, and his long-time friend, collaborator, and co-creator of Dr. Death, the character that made Toombes a star, Herbert Flay (Cushing) presents him with the comeback opportunity of a lifetime: The starring role in a television series based on their signature character. Toombes reluctantly agrees, but his reluctance soon turns to horror as someone starts murdering young women and cast members in ways that reflect the methods of Dr. Death. Is Toombes a homicidal maniac, or is someone else committing the murders and trying to frame Toombes?

"Madhouse" is part murder-mystery, part mad-stalker flick. The script reminds one of the horror-mysteries of the 1930s where cloaked villains crept around in dark houses while gas-lighting and/or murdering victims... and this is really the only thing that it succeeds at. The truth behind the Dr. Death killings is one that an attentive viewer could have figured out (and it speaks rather poorly of Scotland Yard's finest that they didn't follow that avenue... but if they had, there wouldn't have been a movie). The film sees Price do what he's done in several movies before--he teeters on the edge of madness and he runs around terror-struck, with interludes of expressions of regret and self-doubt. But, it's what Vincent Price was most famous for, and he does it very well in this film.

Price is supported by a decent cast, with Cushing brightening every scene he's in as always (even if he doesn't have much to do until the very end). Quarry, as the obnoxious porn-film director turned TV producer, and Pyne as the perky, ever-helpful publicist, being particularly good in their parts. The one flub acting-wise are a pair of blackmailers who show up about 2/3rds of the way through the film--the actors are as lame as the plot thread they're part of.

What Price and none of the actors are supported by is the script. It only works if the viewer doesn't think about what he's just seen once the movie's over. The ending simply makes no sense whatsoever, not on any level. It's not a failed twist-ending... it's just a nonsensical one. (And this is a shame, because the climactic scene is actually pretty cool.)

Something that makes this movie great fun for fans of classic horror and sci-fi movies, is the opportunity to see icons like Price and Cushing together in the same scenes... but there is one scene where Price suffers by sharing the stage with Cushing. It's very clear in that scene (which it toward the end of the film) that Price's success was built on his amazing voice, and his ability to ham it up and still be lots of fun to watch, while Cushing was a truly Great Actor. I greatly enjoy Price when he cuts loose, but the differences in styles and levels of acting talent between the two men was clearly on display in that scene. (The speech about the Dr. Death character and superior acting talent was something I found mildly amusing, given my opinion above.)

"Madhouse" suffers from a weak script, but I still think it would be fun to watch for fans of Price and Cushing.

'Dr. Phibes Rises Again' is an unnecessary sequel

Dr. Phibes Rises Again (1972)
Starring: Vincent Price, Robert Quarry, Valli Kemp, Peter Jeffrey, John Cater, and Fiona Lewis
Director: Robert Fuerst
Rating: Five of Ten Stars

Three years after confounding Police Detective Trout (Jeffrey), the stars fall into a once-in-a-five-thousand-year alignment, allowing access to the River of the Dead. Dr. Phibes (Price) has been waiting for this opportunity to bring his beloved wife back from the dead--but first he has to prevent adventurer Darrus Beiderbeck from gaining access to the River first. Phibes being Phibes, he sets about doing that by killing anyone who stands in his way in the most brutal and bizarre fashions he can think of.

In the annals of unneeded and pointless sequels, "Dr. Phibes Rises Again" is among the most unneeded and pointless. The film it follows, "The Abominable Dr. Phibes", was a weird, self-contained black comedy that didn't even leave room for a sequel... at least not until they ret-conned Phibes's motivation from just avenging the death of his wife and then joining her in death (albeit in a very creative and elaborate way) to instead engaging in the first part of an elaborate magical ritual. Throwing magic into the mix--particularly re-inventing his female assistant (played in the sequel by Valli Kemp, who replaces Virginia North as Vulnavia) some sort of supernatural creature that he summons from Elsewhere--helps remove some of the complaints I had with the first film. Of course Phibes is able to subdue his victims in order to kill them in complicated ways that they could escape by simply leaving the room, because Vulnavia ensorcels them.

But the ret-con undermines one of the very cool things about the first film--that Phibes was somehow pulling his murderous stunts with just careful planning, guile, and mechanical genius. They fixed a problem that didn't need fixing and in doing so FUBARed the big picture. They even undermined the very cool ending of the original film, and the fact that the Tenth Curse that everyone was fearing was actually the first curse that had been enacted (in Phibes' mind) and which was brought to a full circle/close in the film's airtight finale.

Phibes's murders in this film are also less interesting, not just because we now know that he's going to be doing them, but because they are even more impossible than in the first film. Somehow, he moves immense props and machinery through the desert without anyone noticing, and one occasion the only reason the death trap works is because of Stupid Character Syndrome. But, if you go with the magic theory, it's explained. But that's then undermined by him needed a giant fan to create the illusion of a windstorm to cover one of his killings. His murder spree is made even less interesting by the fact that Dr. Phibes has none of the menace that he carried in the first film--the character here is almost a parody of the one we were treated to previously. Vincent Price cannot help but be excellent, but he tasked with delivering far more schtick than drama this time out and the film suffers for it.

The menace that SHOULD have belonged to Dr. Phibes instead goes to the mysterious Beiderbeck, an utterly unpleasant man who is this film's rival to Phibes. That's another misstep the film makes--Beiderbeck would have been far more effective if he had been a more traditional hero with touches of darkness and a mysterious motivation than a nasty character with a thin heroic streak. We're left with no one to root for or care about in this film... and their activities are really just an excuse to get us to the next death scene and to the predictable showdown between Phibes and Beiderbeck.

When that showdown does occur, the filmmakers do manage to pull a couple of surprises and turn what would otherwise have been a fairly disappointing experience into a passable one. Thanks to an incredibly strong cast--even the bit parts are played by amazing actors like Peter Cushing--and the fact that Robert Quarry gives perhaps the best performance of his entire career, the film is never unwatchable. I frequently found myself wishing that all these great actors had been working with better material, however. (The only misstep in casting was Valli Kemp. Kemp was just a generic big-breasted 1970s pin-up girl who had none of the mysterious air of Virginia North--so even though they remade the character of Vulnavia into a being of magic, they cast an actress unfit for the part.)

I cannot recommend "The Abominable Dr. Phibes" highly enough to fans of Vincent Price and off-beat horror films. I cannot, however, express the same enthusiasm for this misbegotten sequel. It's not entirely awful, but it is nowhere near as good as the film it follows. Unless you've set yourself the goal of seeing every Price film, just pretend this one doesn't exist and let the first movie stand intact in its singular, bizarre glory.


(Actually... there's another set of viewers who should watch this movie. If you're a fan of the "Saw" series, it might be of interest. Not that there's a lot of Torture Porn to be had here,. but I think Phibes might be a thematic ancestor to Jigsaw.)

Madness goeth before fall in the House of Usher

The Fall of the House of Usher (aka "House of Usher") (1960)
Starring: Mark Damon, Vincent Price, Myrna Fahey and Harry Ellerby
Director: Roger Corman
Rating: Eight of Ten Stars

When Philip Winthrop (Damon) travels to an remote estate with the intent of bringing his fiancee Madeleine Usher (Fahey) back with him to Boston so they can be married, he learns from her brother Roderick (Price) that she and he both suffer from a degenerative disease that will eventually kill them. But things are not quite what they seem, and Withrop will come face to face with many horrors as he witnesses the fall of the House of Usher.


"The Fall of the House of Usher" was the first in a string of Edgar Allan Poe adaption from producer/director Roger Corman, many of which captured the spirit of Poe's tales but few of which were faithful to their source material. This one is not only fairly close to the original story, but it is quite possibly the best film that Roger Corman ever helmed.

Almost every director produces a masterpiece. This film may well have been Roger Corman's.

Not only is Corman at his best, but I don't think Vincent Price has ever been more successful at portraying a vile, quietly insane character as he does with Roderick Usher. Mark Damon provides a great foil as the handsome, heroic suitor, and, although her role is mostly that of a gorgeous damsel in distress--at least until the film's terrifying conclusion, Myrna Fahey's performance is of a caliber that makes it clear that her death from cancer at the age of 40 was a real loss to the art of movie making.

Featuring excellent pacing with a mounting tension that results in the final 30 minutes of the film being some of the most intense and scary horror footage ever recorded, great acting with just enough melodramatic touches to add a touch of gothic romance to the film's horror- and madness-soaked atmosphere.

If you're looking for a movie that will scare the heck out of you without resorting to gore and graphic violence, then you need look no further than this movie. The nearly fifty years that has passed since it was made has done nothing to dull its impact. It may be a little slow-building to be suitable Halloween party viewing, but it's a film that should be seen by anyone who appreciates well-done horror movies... and it's a must-see if you're a fan of the sort of gothic horror that was embodied in the Hammer films from the 1950s and 1960s, or in the Ravenloft dark fantasy world.

'The Terror' is borderline terrible

The Terror (aka "Lady of Shadows", "The Castle of Terror", and "The Haunting") (1964)
Starring: Jack Nicholson, Sandra Knight, and Boris Karloff
Director: Roger Corman
Rating: Four of Ten Stars

A French officer (Nicholson) during Napoleon's campaigns encounters a mysteriously alluring woman, Helene (Knight). Everyone denies she exists, but when he tracks her to the isolated, crumbling castle of Baron Von Lepp (Karloff), he discovers the girl may be ghost.


"The Terror" is basically pretty awful, and it shows every sign of having been made up as filming took place--the number of times where a character/actor seems completely oblivious to what he supposedly just experienced in the previous scenes far outnumber the times when there's continuity between scenes--it takes forever to get going, the dialogue is awful and repetitive, and the film can't seem to make up its mind what the nature of Helene is. (This waffling goes far beyond the filmmakers wanting to keep the audience guessing.) However, there's enough here that if you enjoy classic horror flicks, you'll keep watching.

Unfortunately, just as the movie starts getting good, the filmmakers throw in what is perhaps the dumbest and most pointless "twist" to ever be committed to film. It is so lame that it almost cost the film an entire Tomato in my rating. (It earned it back, however, with the very startling final scene.)

"The Terror" is better than many Roger Corman movies, but not as good as the Edgar Allen Poe films that it uses stock footage and sets from. If you're a lover of Amicus, AIP, and Hammer Films from the 50s and 60s, I think you might find something worthwhile here, but otherwise, I recommend you take a pass. (For the record, I was torn between giving it 4 or 5 Stars... it teeters on the brink between those two.

"The Terror" is available on DVD from a number of different distributors, but I think it's only worth getting if it's part of a multi-movie set. Unfortunately, virtually every copy of the film I've come across has been lacking the one element that might have lifted the viewing experience a bit--the vibrant colors of the original set and costume designs. All the DVD copies available seem to have been made from faded and worn prints. (For a look at what "The Terror" could look like, we have to turn to "Targets," as the clips from the movie-within-the-movie are actually scenes from "The Terror.")

Cinematic Black History Milestone:First Black Vampire

Blacula (1972)
Starring: William Marshall, Vonetta McGee, Thalmus Rasalala and Denise Nicholas
Director: William Crain
Rating: Seven of Ten Stars

When an African prince (Marshall) resists Dracula's attempt to feed on him and his wife (McGee), Dracula curses him to be a vampire like himself. One hundred years later, Dracula's curse is unleashed upon an unsuspecting Los Angeles as "Blacula's" coffin is moved there from Transylvania and opened

"Blacula" is a funky (in ever sense of that word), modern Dracula tale told through the well-polished lense of 1970s blaxploitiation. Much of this must have been goofy to the audiences in 1972, and it's only gotten goofier with the passage of time.

That said, the pacing and acting featured in "Blacula" is actually better than many "straight" vampire movies from that same decade, and similarly superior to what you find in most other films of the blaxploitation genre. The script is also more interesting overall.


Classically trained Shakespearian actor William Marshall is particularly excellent as the African prince Mamuwalde who fell victim to Dracula's curse while visiting his castle, giving a performance that elevates the character above the cartoon it could have so easily become onto a level where the audience feels sympathy for him. Marshall gives us a character that is driven more by anger at his situation than bloodlust--and what culturally refined black man wouldn't be angry waking up in 1972 to find himself surrounded by giant 'fros and even larger heels, vampire or no?--but he also makes the pain felt by Mamuwalde come straight home to the viewer and makes us buy into the story of love lost that really ends up giving this movie a punch.

If you liked Francis Ford Coppola's "Bram Stoker's Dracula", I think you'll probably enjoy "Blacula". Coppola's film has more in common with this than it does Bram Stoker's novel.

"Blacula" is also a film that will enliven any Bad Movie Night. With its blend of horror, blaxploitation, romance, and goofiness (both intentional and unintentional), it's a film you can't go wrong with.

Happy Birthday, Mr. Poe! (Belated)

I tried to schedule posts to go up automatically... and I screwed up.

In celebration of Jan. 19, the birthday of Edgar Allan Poe, here's a review of one of the best movies based on his writings.

Masque of the Red Death (1964)
Starring: Vincent Price, Hazel Court, Jane Asher, Patrick Magee, and David Weston
Director: Roger Corman
Rating: Eight of Ten Stars


As a plague known as the Red Death sweeps across the countryside, Prince Prospero (Price) believes the walls of his castle and his devotion to Satan will keep him and his foul friends safe. But one evil act too many brings a mysterious guest to a masquerade ball the prince throws.

This is the only Roger Corman film I've seen so far that I felt I could give a glowing review without tacking on ANY qualifications. "Masque of the Red Death" is a fine horror film that engages both the mind and the gut as it unfolds. It is proficiently acted, well-scripted and perfectly paced, expertly filmed within amazing sets... everything here is clicking. What's more, the film evokes its horror and dread through a well-told story rather than gore and other special effects. If there ever was a Corman film that should be described as "great" and that is worth seeing by fans of good movies (not just cheesy ones), then this is it.

Vicent Price is in top form as the evil prince, and Hazel Court also shines brightly. It's obvious that some of Corman's very best work was done while filming under the umbrella of a taxshelter in Great Britain, and "Masque of the Red Death" is the best of that work.





Click Here to read the original story this movie was based on, as well as other great works by Edgar Allan Poe.

Bava gave strong showing in directorial debut (as well as made a star of Barbara Steele)

Black Sunday (aka "The Demon's Mask", "The Mask of Satan" and "House of Fright" and "Revenge of the Vampire") (1960)
Starring: Barbara Steele, John Richardson, Andrea Checchi, Enrico Olivieri and Arturo Dominici
Director: Mario Bava
Rating: Six of Ten Stars

A devil-worshipping witch and her consort (Steele and Dominici), executed 200 years ago return from the dead as a strange breed of vampires after a traveler exploring her tomb (Checchi) callously damages the specially built sarcophagus that was supposed to keep them interred forever. The witch sets about claiming revenge against the descendants of those who executed her, as well as trading the body of her last living female relative (also Steele) for her own time-ravaged one.


"Black Sunday", Mario Bava's directorial debut and the film that established Barbara Steele as a horror movie icon on par with Vincent Price and Boris Karloff, has been hailed as a masterpiece in many quarters, and I have finally gotten around to seeing it.

I feel a litle bit like I did when I saw Universal's original "Frankenstein"--I don't think the film is quite worthy of the reputation it has. It's a decent horror flick in the gory-gothic mode that Hammer Films and director Terence Fisher brought to the fore with "Horror of Dracula" and "Curse of Frankenstein", but I did not find this film to be the masterpiece I'd been promised. (I'd even argue that Bava's "Hercules in the Haunted World" and "Diabolik" are both superior to this effort.)

The first and biggest problem the romantic subplot between Our Hero, the dashing Dr. Gorobec (played with perfect blandness by John Richardson) and Damsel-in-Distress Katia (Barbara Steele) falls completely flat because of a near-complete lack of chemistry between the two performers and because it's one of those Insta-Romances that even less believeable than average.

The film also suffers from number of unintentionally silly moments where Bava goes overboard to drive home a dramatic point or to make something clear to the denser members of the audience. The worst (or best, if you're watching the movie for its badness) is when a vampire is sneaking invisibly through the castle halls. Apparently, Bava wanted to make sure we knew the vampire was sneaking invisibly and he didn't feel some ruffled wallhangings or shifted chairs was enough to show it, so he has the vampire knock down everything he passes, including several suits of armor that go clattering loudly to the floor. I found myself wondering what the point of being invisible is if you're so drunk you can't walk straight... and moments later I was laughing when members of the household were claiming they'd been awakened by a terrible scream, but none had apparently heard all overturning of furniture and knocking down of armor that the drunken, blind and/or spastic vampire had been engaging in moments before.

There's also a hilarious bat attack that has got to be among the worst creature effects ever put on film.

That's not to say the film doesn't have some truly scary or cool moments. The opening sequence of the witch's brutal execution is fabulously done, with the hammering of a spike-lined mask onto the woman's face being especially squirm-worthy. The ressurrection sequence of the witch is also very creepy, with lighting, camera angles, and sound effects all being deployed with perfect precision to make it a great scene. Finally, the film's ending is perfectly done (and I can't say much more without spoiling one of the movie's most shocking moments), so, while there are flaws, Bava does get the movie's finale exactly right, a rare feat. Bava's ending is also more modern in nature than many films of this vintage, with a denouement after the main action has concluded.


And, of course, there is Barbara Steele's dual performance as the evil witch and the innocent young woman whose body she is intent on possessing. Steele does a fine job of portraying both characters, undergoing a transformation that almost rivals that the great Boris Karloff did in his great dual role in "The Black Room" (review here.)

While "Black Sunday" may not be the masterpiece some claim it is, it's worth checking out, particularly if you're a fan of Hammer Films-style horror or an admirer of the exotic beauty that is Barbara Steele.