'Haunts' is an interesting misfire

Haunts (aka "The Veil") (1977)
Starring: May Britt, Cameron Mitchell, and Aldo Ray
Director: Herb Free
Rating: Four of Ten Stars

A young woman (Britt) haunted by dark memories is stalked by a murdering rapist. Or is she? The town sheriff (Aldo) thinks she's being hysterical and possibly even losing her mind... but just what is it her slovenly uncle (Mitchell) doing with his nights?



"Haunts" is a thriller that attempts to use a mentally unbalanced character to provide the narrative Point of View for the film. It's a clever and laudable idea, but it's not one that the director and writer (one and the same, at least with a co-writing credit on the script) were up to pulling off. The film is a bit too slow in unfolding, and what could have been a truly powerful ending (with some chilling realizations dawning on the part of the attentive viewers) is weakened by it likewise going on for a tad too long and by a last-minute attempt at throwing a possibility of something supernatural into a straight thriller. Once again, we have an ending that's ruined by filmmakers who just didn't know when to quit.

Along the way, though, we are treated to some great, creepy imagery that captures the loneliness and isolation of the main character, and which manages to make the setting into a character in the film almost as important as the leads.

With some judicious editing, this film could actually be quite good, and it's one I wish I liked more. There's alot of misspent potential here, and all the three leads do such a good job that the void of talent embodied by some of the supporting cast is almost not noticeable. In fact, a scene in a bar featuring two of these talentless actors could be cut almost entirely, and the film would immediately get stronger in several ways--the mystery of the killer's ID would be heightened, and we'd have lost some of the more noxious flab dangling from the work's body.

Seriously flawed, the film still has just enough good parts to make it worth checking out if you have an interest in the development of the slasher flim--this is one of those almost-formed slashers that pre-date "Halloween"--or if you're a filmmaker interested in an object lesson of how just one or two bad choices can ruin an otherwise decent picture.






Note: "Arbogast" just posted a nice write-up of this film, which is what cause me to reach into the archives over at Watching the Detectives and repost this review here (with a couple of tweaks). Click here to see what he had to say.

Ginger Rogers Double-Feature Fright Fest!

Everyone one knows Ginger Rogers for doing what Fred Astaire did, only backwards and in heels, but did you know that, early in her career, she starred in a couple of horror films, one of which holds up rather well, despite nearly 80 years having passed since it was released?

(Well, if you're a regular reader, you probably did, because you read her Saturday Scream Queen profile back in July... but here are the details on the movies themselves.)


The Thirteenth Guest (aka "Lady Beware") (1932)
Starring: Lyle Talbot, Ginger Rogers, and J. Farrell MacDonald
Director: Albert Ray
Rating: Six of Ten Stars

When Marie (Rogers), the young heiress to the Morgan fortune, is found mysteriously electrocuted in the family manor that has remained sealed since her father died during a dinner party 13 years prior, Police Captain Ryan (MacDonald) calls upon the assistance of playboy criminologist Phil Winston (Talbot) to help solve the baffling murder. Before Winston can even begin to investigate, the mystery takes an even stranger turn: The dead girl turns up alive and in police custody for car theft... and soon there's a second dead body at the old Morgan place.

"The Thirteenth Guest" is a pretty good little mystery movie for most of its running time. The three lead actors all give decent performances that are in line with what is to be expected from one of these "who-dunnit in the dark, old house" mysteries, and the murderer had a fairly clever set-up with which to commit the murder. There are also just enough plausible suspects and clever plot-twists make it real mystery film.

Unfortunately, for every clever twist there's a plot logic-hole that a truck could be driven through. Equally unfortunate is the presence of a truly lame comic relief character. And I won't even dignify the idiotic mask and cape they have the murderer prance around in with comment. (Hang on... did I just comment on the idiotic mask and cape? Curses!)

The good parts outweigh the bad parts--but only barely--in "The Thirteenth Guest." It's not a film I recommend you rush out to find a copy of, but if you're looking around for a little something to round out a "home film-festival" selection of mystery movies, this might be what you're looking for. Just don't make it the main attraction.


A Shriek in the Night (1933)
Starring: Ginger Rogers, Lyle Talbot, Purnell Pratt, Harvel Clark, Lillian Harmer, Louise Beaver, and Arthur Hoyt
Director: Albert Ray
Rating: Seven of Ten Stars

A series of murders take place in an upscale apartment building, and reporters Pat Morgan (Rogers) and Ted Kord (Talbot)--working for rival newspapers but involved in a romantic relationship--are hot on the trail of the killer, or killers. Morgan happened to be working on an investigative piece about one of the victims, so she is in a perfect place to help both her career and the police... so long as she doesn't end up a murder victim herself.



"A Shriek in the Night" is, for the most part, a fairly typical early 1930s low-budget mystery, with dimwitted maids, cranky police detectives (although in this one the detective is not incompetent, just cranky), and wise-cracking reporters running circles around everyone and ultimately providing the clues needed to solve the mystery. The acting is above average here, and the characterizations of the two reporters and the police detective are also a bit more intelligent and three-dimensional than is often the case in these movies. (The comic relief maids are still as annoying as ever; if this is what American-born house-servants were like, it's no wonder we took to importing illegal aliens to turn down our beds and clean our homes!)

What really sets the film apart from others like it is its villain, and a surprisingly chilling sequence where he prepares to burn Pat Morgan alive. This character feels in many ways like an ancestor to the mad killers who came into vogue during the 1970s, and which continue to slash, strangle, and mutilate their way across the movie screen to this very day.

Another thing I found interesting in this film is how different Ginger Rogers' character was from the one she played a year earlier in "The Thirteenth Guest".

Many actors and actresses that appeared in these B-movies gave pretty much the same performance in movie after movie--for instance, there's very little difference between the smart-ass character Lyle Talbot plays here and the one he played in "The Thirteenth Guest." I haven't seen enough of Rogers' performances to really know why there is this difference--was she lucky enough to have a chance to show different facets of her acting ability, or did she make each part she played different somehow?--but it was an unexpected surprise.

Those of you out there with more than just a passing interest in suspense and horror movies may want to check this film out for its very modern, proto-"maniac killer" character/sequence. Those of you who just enjoy this style of movies--mysteries that get solved by wise-cracking reporters who take nothing seriously--should also check it out. It's a fun way to spend an hour.

One of Argento's best still prompts the question, "That's it?"

Suspiria (1977)
Starring: Jessica Harper, Stefania Casini, and Joan Bennett
Director: Dario Argento
Rating: Six of Ten Stars

Suzy Banyon (Harper) comes to study at a prestigious German dance academy, but instead becomes drawn into the murderous and deadly web of secrets exists within its walls. Is there a killer on the loose in the school, or is it the spirit of its founder--a reported witch--who has returned from the depths of Hell?

When "Suspiria" was over, I mused out loud, "Was that it?"

The film is praised by critics and viewers as being Argento's best, but I think "Deep Red" is a far superior film. The only things "Suspiria" has going for it are some fantastic sets, some interesting lighting, a neat theme by Goblin, and the attractive Jessica Harper's deer-in-the-headlights performance.

Everything else is "Suspira" is sorely lacking. The structure of the dance classes shown are odd and unrealistic, the acting is mostly wooden, and the script is so weak so as to feel like an excuse to simply display the three set-piece murder scenes. To make matters worse, what story their is only succeeds due to Stupid Character Syndrome, except here it's the villains that engage in such mindless stupidity that one wonders how they managed to the school's secrets for as long as they did.

There are countless really cool cinematic moments in the film (prime among them are Suzy's trip through the rainstorm at the beginning of the film, the climactic moments of the first murder, the sequence in the open plaza, the entire sequence of Sara's flight through the school, and Suzy's exploration during the film's climax), but the story that should be motivating all these scenes is so ill defined and poorly explained that it makes an already weak climax feel rushed and as if the movie ends before we're even given one-quarter of the story.

Impressive visually, but severely lacking in the story department, "Suspiria" isn't as good as its repuation might lead you to believe. I think it's worth seeing if your interested in seeing a technically well-done film, but you can spend your time better if you're just interested in watching a creep-fest.

'Biting the hand that feeds you' has another meaning when cannibalism is involved

The Severed Arm (1973)
Starring: David G. Cannon, Paul Carr, Marvin Kaplan, and Deborah Wally
Director: Thomas S. Alderman
Rating: Three of Ten Stars

Trapped by a cave-in in a remote, abandoned mine, five men cut the arm off of another companion in order to ward off starvation. Five years later, the man they mutilated seemingly returns to seek bloody revenge on them. Viewer boredom and an utterly predictable "twist" follow.


"The Severed Arm" is a low-budget film that's too slow-moving to be a real thriller and nowhere near intense or violent enough to even approach the status of slasher-flick. With its bland, badly acted characters, dippy electronic score (that sounds at times like someone is just pushing random keys on a Moog synthesizer), and its multitude of plot holes and characters behaving stupidly for no reason other than to advance the plot, there really isn't much to recommend this film aside from the occassional glimmer of creative camera work and some nice lighting of night scenes and dark rooms. The final few minutes do finally manage to bring a little bit of horror sensibility to the film, but it's really too little, too late. (In addition to being pretty much be exactly where I was expecting the movie to head all along.)

In fact, I think the only reason to see this film is to look at those nicely done lighting set-ups. On a couple of occassions, they manage to evoke some drama in this otherwise dull movie. (On the flipside of that, there's also an extended night sequence that's so badly lit it's hard to figure out what the heck is happening.)

'Don't Look in the Basement' is average low budget

Don't Look in the Basement (1973)
(aka "The Forgotten", "Death Ward 13" and "Don't Go in the Basement")
Starring: Rosie Holotik, Annabelle Weenick, Bill McGhee, and Gene Ross
Director: S.F. Brownrigg
Rating: Six of Ten Stars

Beautiful Charlotte (Holotik) comes to work at the Stephens Sanitarium, hoping to be part of Dr. Stephens' revolutionary treatments for the mentally deranged. Soon after her arrival, terrible, violent events occur, and she starts to fear the insane are literally running the asylum.

"Don't Look in the Basement" is a cheaply made horror film that has "amateur" written all over it. The acting is about average for a low-budget horror flick, the camerawork is dodgy and the lighting even moreso. However, as the film unfolds, an evergrowing atmosphere of strangeness and dread start to fill it, and this helps overcome the shortfalls and draws the audience in.

The film is also helped by its straight-forwardness. It keeps to its mystery-oriented, proto-slasher movie plot, making some nice attempts to keep the audience from guessing what is really going on at Stephens Sanitarium but still playing fair with those who are paying attention. Entirely too many modern horror movies fail to properly set up their "suprise twists" in the third act; here, we are given all the clues up front to the true state of the asylum and its doctors, so when the Big Reveal happens, it doesn't feel like a cheat. Instead, for those who have been paying attention (or those who have seen waaaaay too many films of this genre), it's a satisfying one, and for those who haven't been, it's a shocking suprise that they will feel like they should have seen coming.

"Don't Look in the Basement" is a staple of the DVD horrror and thriller multipacks, and it should be considered a value-adding feature to any one it is included in. (I'm not sure I'd recommend getting it any other way, but it is a film that anyone thinking about making a slasher or mystery film should take the time to see. The plotting is well-deserving of being a textbook example.)

By the way, this was one of the 70+ movies that made up a list of movies banned in Great Britain (known as the "Video Nasties."

'The Driller Killer' is overrated

This is a film that a friend whose taste I otherwise put faith in praised to the high heavens. After watching it, I dropped him a line to ask if this was the movie he was thinking of. Turned out that it was. And that he's not the only one who thinks "The Driller Killer" is an underappreciated. Oh well... I guess if there weren't room for differing opinions, there wouldn't be movie reviews.


The Driller Killer (1979)
Starring: Carolyn Mars, Jimmy Laine, and Baybi Day
Director: Abel Ferrara
Rating: Four of Ten Stars

The pressures of every day life as a struggling artist, combine with the sleep-deprevation of living next door to a punk rock band that practices at all hours of the day, gradually drive Reno Miller (Laine) insane and causes him to murder people with power tools.


If I had to live next door to that third-rate, mid-70s punk band that Reno is subjected to, I'd probably pick up a drill and murder people as well. I'd go after the band, not random homeless people, though. (I found myself increasingly grateful for the 4x play-speed on my DVD player whenever the filmmakers would attempt to subject me to a "musical interlude".)

"The Driller Killer" is a bit slow in getting started, and it fails to maintain the building tension as Reno loses his mind and goes on his murderous rampages--mostly because of the annoying interludes featuring generic punk music. This causes a film that could have been an okay artsy-fartsy slasher flick to end up as an artsy-farsty, sub-par and badly directed slasher flick.

Bava delivers badly done proto-slasher

5 Dolls for an August Moon (aka "Island of Terror") (1970)
Starring: Ira von Furstenberg, Ely Galleani, Maurice Poli, Teodoro Corra, William Berger, Edwige Fenech, Helena Ronee, Howard Ross and Edith Meloni
Director: Mario Bava
Rating: Three of Ten Stars

A business magnate (Corra) invites four couples to spend the weekend at his isolated island retreat as part ofa strategy to convince a maverick scientist (Berger) to sell him the formula for a new industrial plastic. It's all fun, games, and fornication until someone starts murdering the guests.


"5 Dolls for an August Moon" is a mostly thrill-free thriller that is a jumbled, inept attempt at presenting a "Ten Little Indians"-style tale of murder and mayhem which features characters so generic most of them are impossible to tell apart, the most inexplicable recurring example of Stupid Character Syndrome I've ever seen on film and what is almost certainly the most inappropriate musical score since the invention of the talkie.

For those who don't know, Stupid Character Syndrome is where the characters in the film behave in a braindead fashion or fail to act on facts they know because it would cause a badly constructed story to fall apart. In the case of this movie, it's the way everyone seems to forget about Isabela, a cute young woman (played by Ely Galleani) who is also present on the island, except when they run into her or ask her whether she's seen this missing person or that missing person pass by.

Isabel doesn't seem to be living at the house, nor anywhere else on the island for that matter, but no one seems surprised or disturbed to meet her wandering about. In fact, no one is even disturbed when she engages in obvious suspicious behavior while bodies are piling up, nor does anyone attempt to make her account for her whereabouts. The mental blind-spot the characters have toward Isabel is so severe that late in the film a character states, "The murderer has got to be one of the four of us!", referring to himself and the other three characters in the room. BUT WHAT ABOUT ISABEL?! There were FIVE people still alive on the island when that phrase was uttered, but everyone had, once again, forgotten about Isabel.

(Now, it's possible I may have missed a throw-away line where they came to conclusion that Isabel was dead, but I doubt it. Either this character was added late in the process for some reason and no-one bothered to intergrate it more fully into already filmed scenes, or this script simply was worse than the average Bava film.)

In addition to a bad script with cookie-cutter characters and massive holes, the film suffers from some truly awful soundtrack music. It starts with the fact that it's mostly performed what sounds like a Hammond Electric Organ, and it gets worse because apparently the filmmakers thought that something that sounds like circus music was appropriate to play whenever a dead body is shown hanging in the freezer. This, of course, might indicate that the film was supposed to be a dark comedy instead of a thriller; if this is the case, it's as much a failure as a comedy as it is a thriller.


Even the direction and photography is weak and unispired in the film. If I didn't know Mario Bava helmed this picture, I might have said that the film was made by someone who wanted to be Mario Bava but who didn't have enough talent. A number of Bava signatures--filming images reflected in pools of liquid, shots of characters far away down a passageway, or shooting through lattices--are featured in the film, but while I sometimes feel like he's trying to show off how clever he can be as far as how he films a scene, I feel in this movie like he's doing a bad imitation of himself. (That said, the film does feature one of the neatest, most creative track-shots/revelation of a dead body that I've ever seen--when a tray of glass balls is overturned, causing them to spill down a spiral staircase and come to rest next to the latest murder victim.)

A single flash of genius, however, goes not make this film worth seeing.

I read somewhere (DVD Verdict, maybe?) that Bava hated this movie. I can clearly see why, as there are many reasons to not like "5 Dolls for an August Moon". They all add up to a recommendation that you skip this movie, unless you've set yourself the goal of watching all Mario Bava pictures, or you're doing a study on the creation of the slasher film genre. Like Bava's "A Bay of Blood," this film is an evolutionary ancestor of "Halloween" and "Friday the Thirteenth"

'Naked Massacre' is too chilling to recommend

Naked Massacre (aka "Born for Hell") (1976)
Starring: Mathieu Carriere
Director: Denis Héroux
Rating: Six of Ten Stars

An insane Vietnam vet (Carriere), returning home via Belfast, invades a house shared by eight nurses and proceeds to terrorize and murder them.


"Naked Massacre" is one of those films that has enough good points that it deserves at least an average rating, yet it is one that I can't really recommend that anyone sees. It's one of the more disturbing proto-slasher flicks I've seen, with the level of sadism and cruelty displayed by the murderer, and the reaction of the victims, too realistic in its nature to be entertaining.

The film is decently acted--although some of the dialogue the actors deliver could have been better written--and while the movie is unevenly paced and sloppily filmed, it is structured in such a way that we come to care for the nurses who are about to get a visit from a Winter Soldier-type crazed war vet.

This film was a tough slog, because it was so disturbing. It's not one I will ever watch again, and it's not one that I can recommend to anyone else either. (Don't be deceived by the early scene of a hooker dancing while the madman plays "Oh Suzanna" on his harmonica... it goes from stupid to horrible very, very fast.)

'Sisters of Death' likely to bore you to death

Sisters of Death (1977)
Starring: Arthur Franz, Claudia Jennings, Cheri Howell, Sherry Boucher, Sherry Alberoni and Paul Carr
Director: Joseph Mazzuca
Rating: Three of Ten Stars

Five women and two men are trapped on the property of a crazed father (Franz) intent on avenging his daughters death seven years earlier during a sorority initiation gone wrong.


"Sisters of Death" is a weak thriller that relies on the characters behaving in illogical and downright idiotic fashions to work. From the moment the five targets of the vengeful father receive invitations to travel to a remote location; to the character who decides she needs a shower, depite the fact there's a murderer hiding in the house; to the "twist ending", this film is a prime of example of lazy scriptwriting. The acting and photography are nothing to cheer about either.

This thing is watchable, and it may be a worthy of a Bad Movie Nite, but it's about as bland as could be. (Oh... and that aforementioned shower scene? Don't get your hopes up, boys. It happens off-screen.)

Victim pays back killer from beyond grave

Hatchet for the Honeymoon
(aka "Blood Brides" and "The Red Mark of Madness")(1969)
Starring: Stephen Forsyth, Laura Betti, Jesus Puente and Dagmar Lasssander
Director: Mario Bava
Rating: Eight of Ten Stars

A serial killer and designer of bridal gowns (Forsyth) commits his murders in an attempt to unlock a traumatic event from his childhood that he has blocked from memory. But when he murders his wife (Betti), he experiences some of the horror he has been visiting on his victims as she makes good on her promise to "never leave him."

"Hatchet for the Honeymoon" is a stylish little horror/ghost movie that fans of the TV show "Dexter" may enjoy. The protagonist is cut from the same kind of cloth--he's a serial killer who knows exactly how twisted he is and who functions as a perfectly normal and successful human being. Well, in the case of John Harrington, the murderer in this film, he functions normally until he kills one victim too many. (It should be noted that John is not quite a likeable as Dexter and that his victims don't fall into the category of "deserving it". But, like in "Dexter", this movie turns the traditional murder mystery on its head, and we watch it unfold from the side of the killer.

Aside from being one of the few films where I didn't feel like Mario Bava's trademark stylish flourishes were all about calling attention to his clever camerawork--here the odd shots of reflections in pools of liquid or strange angles and lighting choices worked to underscore the mood of the film instead of just being there for the sake of being there--the film is populated with a host of characters who come across as real due to little touches presented through actions rather than dialogue.

This is a film where strong performances from talented actors and skillfull direction combine to create a world that draws the viewers in, whether we want to be or not. We never sympathize with John Harrington, but he and his victims come across as fully realized enough that we care about what happens.

Another impressive aspect of "Hatchet for the Honeymoon" is that Bava manages to present a brutal murder with showing very little gore. The murder of Harrington's wife and his confrontation with the police immediately afterwards are among some of the best thriller moments ever put on screen... and it's the sort of sequence that justifies those comparisons to Hitchcock that some Bava fans like to make.

It's also impressive that the movie doesn't fall apart or lose momentum when it starts morphing from a psychological thriller into a ghost movie. (And it really leaves very little room for doubt; the ghost that haunts Harrington in the second half of the movie is eventually shown to not be a figment of his diseased imagination.)

From the movie's prologue and its chilling opening scene--where John tells us about who and what he is--to its final moment, "Hatchet for the Honeymoon" is a great blend of horror and drama. Although I rarely see the film mentioned on lists of Mario Bava's greatest work, it's another one that makes me understand why some consider him a genius on the level of Hitchcock.

"Hatchet for the Honeymoon" can be ordered from Amazon.com. I highly recommend adding it to your collection.

Great proto-slasher flick, despite sloppy writing

Deep Red (aka "The Deep Red Hatchet Murders" and "The Hatchet Murders")(1975)
Starring: David Hemmings, Daria Nicolodi, and Gabriele Lavia
Director: Dario Argento
Rating: Eight of Ten Stars

Pianist Marcus Daly (Hemmings) witnesses the brutal murder of a famous psychic, and then teams up with Gianna Brezzi, a feisty woman reporter (Nicolodi) to find the killer. Soon, they find themselves stalked by the deadly, seemingly omnicient murderer who is willing to end numerous lives to protect a number of dark secrets.


"Deep Red" is a detective thriller crossed with a slasher flick (and it's definately one of the precursor films to the slasher genre), with hints of a ghost movie tossed in for good measure. Although it's easy for a movie with so many different genre elements all simmering in the same pot to dissolve into a hideous, gooey mass, director and co-writer Argento manages to stir the many elements into a fabulous goulash of gore, mystery, and plot-twists that are actually suprising to the viewer.

This is far from a perfect movie. It's got some pacing problems--any viewer paying attention will know that a character who is pegged as the killer at one point in the film can't possibly be the killer, and Marcus should realize it too long before he does--and the storyline is unneccesarily muddy at a couple of points, but there are enough chills, gory kills, and well-executed twists to more than make up for these weaknesses. (The thread of Marcus trying to remember some half-seen clue at the crime scene, one that he thinks might unlock the entire mystery, is a great device that keeps the viewer engaged... and the kills scenes will sate any gore-hounds out there.)

It's not much of a Christmas homecoming in'Silent Night, Bloody Night'

Silent Night, Bloody Night (aka "Death House") (1973)
Starring: Mary Woronov, James Patterson, Patrick O'Neal, Walter Able, Astrid Heeren, and John Carradine
Rating: Six of Ten Stars

When Jack (Patterson) moves to sell the mansion he inherited from his grandfather, a past believed to be dead and buried returns to haunt the living with furious, bloody vengeance. Poor Diane's (Woronov) Christmas gift list will be reduced to virtually no-one by night's end.


"Slient Night, Bloody Night" is not as overtly Christmas-themed as the title might imply, but it is a great little proto-slasherflick and quite possibly the first horror film to flirt with a holiday theme. (In fact, it might be more than a proto-slasherfilm. It's got all the elements that are present in "Halloween", except for fornicating teenagers. We do, however, get an cheating lawyer (O'Neal) and his horny secretary (Heeren).

The bodycount is low by modern slasher-movie standards, but every death is shocking and unexpected. Although I had a vague notion of what I was in for, the first murders took me completely by surprise.

It's a fast-moving film with a bare bones plot, although I wish it could have been a little less bare-bones. I'm still wondering why Jack had to "borrow" his lawyer's Jaguar when he appears in the story. How did he get to the mansion in the first place if he didn't have a car? I also feel that the framing sequence was an odd choice... telling the movie as a flashback undermines a bit of the suspense.

Still, as an example of a thriller/horror movie that was part of the cinematic evolution that led to the slasher flick subgenre, "Silent Night, Bloody Night" is far better than several of its contemporaries.