Wolf Man vs. Vampire Woman: The Rematch!

Night of the Werewolf (aka "The Craving" and "The Return of the Wolf Man") (1981)
Starring: Paul Naschy, Azucena Hernandez, Silvia Aguilar, Julia Saly
Director: Paul Naschy
Rating: Seven of Ten Stars

An psychopathic witch (Aguilar) resurrects the evil vampire Countess Bathory (Saly) in a quest for ultimate power and eternal life. But she didn't count on the intervention of Waldemar Daninsky (Naschy), the tragically heroic reluctant werewolf and his sexy sidekick Karen (Hernandez).

By the time he wrote and directed "Night of the Werewolf", Spanish actor Paul Naschy had played the continuity-challenged werewolf character Waldemar Daninsky nine or ten times (depending on whether one counts a movie that may or may not ever have been released), and this film assured him his place in history as the actor to play a werewolf in movies more than any other actor. And he went on to play a werewolf six more times--including three more appearances as Daninsky.

It is therefore not surprising that "Night of the Werewolf" has a very familiar feel to it. Naschy follows the formula of previous outings--Daninsky is a recluse, trying to deal with his monstrous side, who is forced back into the world, first to save the film's love interest from bandits/rapists/her own stupidity... and then to save the world from an evil greater than he. And, in the end, Daninsky wins by performing the ultimate sacrifice and/or must himself be slain because the werebeast within him is too strong to overcome--hitting most of the same plot and emotional notes that worked in previous films.

The plus in this approach is that if you liked previous Naschy outings, you're bound to like this one, as there are just enough variations to the formula to add a little freshness to the going-ons. The negative side, however, is that if you didn't like the previous films, you want to avoid this one like it was a plague carrier. The twists on the formula won't be enough to make this film worth your time.

Decently acted and featuring a script that tries to address some of the common Stupid Character Syndrome mainstays of the vampire and werewolf movie--like why do vampire killers never seem to go looking for the monster's hide-out during the daytime, and why doesn't the werewolf always just lock himself away when the moon is full--it's further augmented by beautiful women who take their shirts off every now and then. While there are some awkward scene transitions and disappointing werewolf transformation effects, the good ultimately outweighs that bad.

Fans of Hammer Films' gothic horrors from the 1950s and 1960s may also wish to seek this film out. Naschy captures the mood of those films perfectly in several sequences... even if his film looks a bit shabbier, because he didn't have Terence Fisher's gift for making $1.95 look like 1.95 million. Still, there aren't many good gothic horror flicks outside the Hammer Films canon, so one has to take them where one finds them.

Reportedly, this was Paul Naschy's personal favorite of all the 12 or 13 Daninsky films, which is no great surprise as this was his first outing as both star, writer, and director. Personally, I think "Werewolf vs. Vampire Woman" (of which this film is, essentially, a remake) is better, but I enjoyed this one, too.

'Attack of the Vegan Zombies' is an uneven but entertaining effort

Attack of the Vegan Zombies! (2012)
Starring: Christine Egan, Jim Townsend, Natalia Jablokov, Kerry Kearns, Watt Smith, John D. Kelly, H. Lynne Smith, and Wyatt Gunter
Director: Jim Townsend
Rating: Five of Ten Stars

A string of bad growing seasons might cause Dionne and Joe (Egan and Townsend) to lose the vineyard and winery she inherited from her father, so Dionne turns to her mother (Smith), a practicing witch, for help. Together, they cast a spell that causes the grapes to grow like never before... but there is one big problem: The plants are sentient and thirsty for the blood of anyone who drinks wine made from the vineyard's grapes.

"Attack of the Vegan Zombies!" is one of those films I wish I liked more than I do. It has a lot going for it... a cast that's generally more talented than what I often see in films at this budgetary level, and a writer/director who seems to actually haven taken his script through more than a single draft, because the dialogue actually seems polished (although I got the sense that maybe a little more research into wine-making might have been needed). Also, as an idea for a low-key "Shaun of the Dead"-type horror spoof, this is a great one.

Townsend also clearly has a firm command of the technical aspects of filmmaking. The scenes are well-framed and well-lit, the edits and establishing shots always dead-on, the sound always clear and well-balanced, be it dialogue or sound effects. On a technical level, this film stands heads-and-shoulders above the vast majority of is low-budget, direct-to-DVD kin.

But as much as I want to like it, the weaknesses present here are so strong that they really get in the way of my overall enjoyment of the film.

The most glaring and persistent of these weaknesses are the characters portrayed by Watt Smith and John D. Kelly. These are a pair of uber-nerds that are played with such over-the-top gusto and caricature that they are out of step with the more realistic performances around them, making their characters irritating on the level of the comic relief characters that were shoehorned into the majority of horror films from the 1930s and 1940s. However, the aren't quite as bad as the majority of those characters, because Kelly and Smith have enough charisma to be likable through the annoying character acting. It's a shame that director Townsend chose to go in that direction, because the geeky banter back and forth between these characters would have been even funnier if they'd been played in a more straight fashion.

Another aspect that weakens the film is that Townsend may have taken on more than he was ready to handle in his first outing as a director; he may have made a mistake when he chose to play the male lead in the film he also directed, because every scene he appears in as an actor seems flat and lifeless when compared to those he isn't in. The clearest example of this is the scene where Dionne and her mother reveal that they are witches with a very real ability to weave spells. It's a great little scene that brings back fond memories of the "Bewitched" TV show, but actresses Christine Egan and H. Lynne Smith showed far greater energy in the scenes where they were interacting with each other or with other actors while Townsend was off-screen watching the scene unfold instead of trying to watch it from within. With more time and money to "get it right", Townsend might have been able to both star in and direct this picture, but given that he only had $30,000 as his budget and presumably the severe time limitations that arise when you have to coordinate your cast-with-dayjobs with when your locations are available, I don't think he had the opportunity for the multiple takes probably needed.

Finally, the film, strangely, seems to come apart at the seams during the final half-hour. For most of its running-time, it builds steadily toward what promises to be a chaotic climax full of killer grapevines and blood-sucking zombies. But as we get to that climax point, promises made early in the film don't pay off--like the exchange the mother has with a local restaurant owner to whom she sells a case of wine that seems to have been made from the magical grapes and its promise of a whole hoard of zombies attacking the winery in search of more "nectar". There are also strange continuity gaffes, and a repeated shying away from anything resembling physical altercations or violent action: We get the set-up, but in nearly every case, the action is either truncated or completely absent. All-in-all, what seemed very promising just sputters out at the end... even to the point where Townsend makes the huge error of tacking on one last joke in the form of a "shock surprise ending" which is predictable, not very funny, and nowhere near the closing moments that this film deserved.

There is enough good about this film that I hope it does well enough for Townsend to either motivate him to self-produce another movie, or for someone to hire him to make one for them. I would like to see what he could come up with, given lessons learned from this film. I also wouldn't mind seeing Christine Egan take another turn in front of a camera, as I think she did a fine job here, in what seems to be her only film role so far. This really is a an okay little movie that got torpedoed by a few bad choices on the part of a first-time director.

"Attack of Vegan Zombies" was completed in 2010, and Townsend has been selling copies of the film directly through his website and on Amazon.com. However, it was recently picked up for distribution by Midnight Releasing, and it will be available everywhere come January 3, 2012.

(My thanks to the good people at Maxim Media for providing me with a copy of the film for review.)

Day of the Turkey Review: The Witches' Mountain

The Witches' Mountain (1971)
Starring: John Gaffari, Patty Shepard, and Monica Randall
Director: Raul Artigot
Rating: Four of Ten Stars

A commerical photographer (Caffari) takes a random girl (Shepard)--it WAS the Seventies!--with him on a trip to shoot a photo-essay on isolated Witches' Mountain. Random weirdnesses, and eventually witches, haunt them every step of the way.

"The Witches' Mountain" is a film with a muddled story and a twist ending that guarentees nothing in it makes sense.

How does the prologue with the evil little bitch girl fit with the climax? Was Shepard put in Gaffari's path through magic? What was the deal with the deserted village? Why do witches look like a modern ballet company during rehersal when doing "black magic"? Why do witches like to steal our hero's car and break into his house? These are just some of the questions you will be left with when the final frame of film freezes on your DVD player.

The best actor in this film is Shepard, who has shockingly blue eyes and has an odd sort of beauty about her--very much like the more well-known Barbara Steele--but no one is exactly bad... except perhaps that god-awful creepy innkeeper/comic relief character. But that might just have been the voice actor who did the dubbing.

Shepard's beauty aside, the only other thing this film has to offer is some great moments of unintentional hilarity to brighten any Bad Movie Night. Otherwise, this is just a mediocre horror film that's scare free and, like its protaganists, ultimately ends up nowhere.

'Open Graves' is not worth your time

Open Graves (2009)
Starring: Mike Vogel, Eliza Dushku, Ethan Rains, Lindsay Caroline Robba, Naike Rivelli, and Gary Piquer
Director: Álvaro de Armiñán
Rating: Four of Ten Stars

A group of 20-somethings (Dushku, Rains, Rivelli, Robba, and Vogel) working and surfing in Spain fall victim to a powerful and deadly curse after they play a board game made from the bones of a witch.

If you've seen the classic movie "Jumanji", you know the basic premise of this film. You've also seen that premise used far more effectively. Heck, you've even seen more intense and frightening scenes than what you'll get in this horror movie.

"Open Graves" features a script so weak and predictable that I wonder why it was made as an R-rated film. Anyone who has seen even one other film featuring a cursed object will be able to guess where the film is going, up to and including the ending, so the only audience who would have enjoyed this picture would have been young kids. Everyone else will grow increasingly bored as this movie unfolds and brings nothing new. (There is a creepy little twist involving Eliza Dushku's character toward the end of the film, but it's so minor so as to be a reach for me to even mention it as a positive aspect of the film. I suppose the subplot involving a police detective with a dark agenda is also unpredictable... but only because it ends without any particular resolution. Not a Good Thing.)

Of course, it doesn't help the overall weakness of the material that the actors appear to have been cast mostly for their good looks than their talent. They add more attractiveness to this already beautiful-looking film, but they ultimately also help emphasize the emptiness and unoriginality of the script, because there is little or no life to their characters. The exception to that general statement are Dushku and Vogel, who bring enough charisma to their characters that we care a little about what will happen to them... but for all but the most entertainment-starved captive audience that's not enough to make it feel like watching this film was time well spent.

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.

Evil heritage can lead to becoming 'Satan's Slave'

Satan's Slave (aka "Evil Heritage") (1976)
Starring: Candace Glendenning, Michael Gough, Martin Potter, and Barbara Kellerman
Director: Norman J. Warren
Rating: Seven of Ten Stars

After her parents die in a sudden car explosion, Catherine (Glendenning) is taken in by her uncle (Gough) and strange nephew (Potter). However, Catherine soon learns that she is more a prisoner than a guest and that her uncle intends to turn her body into the vessel for the spirit of a long-dead witch.

Full of psychic premonitions, creepy Gothic manor houses and their even creepier inhabitants, 1970s-style Satanic rituals with naked chicks writhing on altars, and periodic explosions shocking gore, "Satan's Slave" is a one-stop shop for low-budget British horror from that era.

It may also be the best film from Norman J. Warren, as it more successfully sustains an oppressive atmosphere throughout, features better acting and writing than others I've seen from him, and makes far better use of the same thematic material he explored in "Terror". Furthermore, this is one of those very rare horror films that features a twist ending that actually works! While it probably had a greater impact on audiences in the 1970s--where the habit of ending films with a "it was all just a hoax" was still in the childhood movie-going memories of many, and the downer endings that are now so commonplace so as to be annoying were still somewhat unusual--it still offers a surprising jolt for modern audiences. (And by mentioning the surprise twist and that it will cast a pall on the film's finale won't deaden its impact.)

The film is further elevated by a great cast who all do a fantastic job in their roles. Candace Glendenning strikes just the right balance between vulnerability and independence to make Catherine a very sympathetic heroine, while Michael Gough hams it up as the quietly sinister Satanic cult leader to make his performance fun and engaging. They are ably supported by Martin Potter--whose portrayal of a character with a seemingly docile milquetoast personality is a sinister aspect in itself, because we are introduced to him as he commits a brutal, sexually driven murder--and Barbara Kellerman who comes and goes as a near-complete cypher in the picture but is interesting to watch nonetheless. (In fact, Kellerman's character is the only real complaint I can mount about the script; we never gain any insight whatsoever into her motivations or who she is.)

"Satan's Slave" is one of several pleasant surprises lurking within the better-than-average Mill Creek-manufactured 50-movie DVD multipack "Pure Terror". It's one of the prime reasons to purchase the set. The film is available in other collections, but not as economically as it can be acquired in "Pure Terror".

There ain't much Irish in this Banshee

According to the original Irish legends, the banshee is a spirit that followed five powerful Irish clans and her mournful howls would fill the darkness of the eve before one of their numbers were to come to a dark end. Recent tales have expanded the nature of the banshee to a more general nature... although one has to wonder if the creators of this film even bothered looking up the word "banshee" in a dictionary.

In honor of St. Patrick's Day, I present a review of a movie featuring the Banshee... kinda. And while the Banshee may be an Irish spirit, it admittedly has about as much to do with St. Patrick as this movie has to do with the Banshee. (This is an expanded version of a review that appears in Movies You Should (Die Before You) See.)


Cry of the Banshee (1970)
Starring: Vincent Price, Hilary Dwyer, Patrick Mower, and Elizabeth Bergner
Director: Gordon Hessler
Rating: Three of Ten Stars

When the ruthless, psychopathic Lord Edward Whitman (Price) has a coven of witches massacred, the leader (Bergner) escapes and calls forth a Banshee that will visit death and destruction upon the entire Whitman line, until it exists no more.

Every so often, a movie comes along where every character in it is so unlikeable or so one-dimensional and flat that the viewer really doesn't care what happens to them, and has no one in particular to root for or identify with. "Cry of the Banshee" is one of those films.

The writing here is so bad that not even Vincent Price, who usually manages to bring a fresh feel to even the corniest villian, and some degree of twisted charm to even the worst psychopathic murderer, can tease anything from the character of Edward Whitman other than "this is a bloodthirsty upperclass twit in Elizabethan England who gets off on killing buxom peasant wenches suspected of performing pagan rituals in the woods."

The opposite side of the story--the coven leader Oona--is a performance that stands as a tribute to the questionable gift of overacting. Then there's the story problem that her "revenge" is as broad and uncalled for as the atrocities of Lord Edward's random witch-hunts.

The most glaring example of how bad this movie is the complete illiteracy of anyone involved with the production side. A simple consultation of a dictionary to find the defintion of "banshee" would have gone a long way to making this movie a little less dumb.

The film almost redeems itself at the end with a nicely executed twist (even if the sudden shift in Price's character was a little odd) and there's some honest-to-god horror to be found there, as opposed to simple sadism and brutality, but it's too little and too late. By then, "Cry of the Banshee" is firmly in the Bad category. (There are worse--and director Hessler is responsible for some them, such as "Scream and Scream Again"--but there are also far, far better.)






--
Trivia: The opening titles sequence was by Terry Gilliam of "Monte Python" and "Time Bandits" fame. It's pretty nifty and more creative than "Cry of the Banshee" deserves.

'Season of the Witch' is a time of fantasy/horror

Season of the Witch (2011)
Starring: Nicholas Cage, Ron Perlman, Claire Foy, Ulrich Thomsen, Robert Sheehan, Stephen Campbell Moore, and Stephen Graham
Director: Dominic Sena
Rating: Six of Ten Stars

A pair of 14th century Crusader knights (Cage and Perlman) return to their homeland to find it ravaged by a terrible plague. They join a priest (Moore) and three other swordsmen (Graham, Sheehan, and Thomsen) on a dangerous mission to escort a mysterious girl (Foy) who is suspected of being the witch who has caused the plague to a remote monastery where her soul will be cleansed.

"Season of Witch" is a fast-moving fantasy/horror film that mixes movie cliches--can there be a horror film set in the Middle Ages that doesn't feature some plague or another?--and refreshing approaches to standard fantasy/horror/action movie types--such as the knights played by Cage and Perlman who have grown disillusioned with earthly religious institutions but who still don't go on long, never-ending screeds about God not existing--with a degree deftness that a fairly standard story and characters have enough of an air of freshness about them that you won't regret the time or the money spent on watching this movie.

The audience for this film are big fans of D&D-style low-fantasy adventures, as the horror here is more R.E. Howard than H.P. Lovecraft, and the heroes' relationship with God and religion is more Solomon Kane than Joan of Arc. It's a straight-forward adventure populated with situations and characters that will either bring feelings of nostalgia or satisfaction to DMs and players who will feel like the scenery in their mind's eye while playing paper-based RPGs has come to life on the screen before them. This movie is what a D&D movie should be like, with its ass-kicking heroes, sinister witches, zombies, and uber-powerful demons.

Unfortunately, the film shares a bit of the haphazard plotting that is typical of even the best conceived roleplaying game adventures, be they "homebrews" or published scenarios. Much of what happens in the film seems to happen just because it's a plot necessity, especially once the characters reach their destination. I can't go into it too much without spoiling the movie, but you will find yourself wondering why the heroes even made it inside the monastery walls as the film barrels toward its CG monster-filled climax. The red herrings presented--is the girl a witch or not?; is the priest a bad guy rapist/satanist or not?--are clumsily implemented and there is never any real doubt on the part of the viewer what the truth is. And then there's the unfortunately, unintentionally comedic named location of "City of Villach."All in all, the script is fairly weak, succeeding in large part because it is constantly moving the film forward to the next creepy scene or the next fight, and because the filmmakers were smart and confident enough in their abilities to stay off the soap-box and show us the brutality and corruption that can arise from religious fanaticism instead of telling us. (Although the friend I saw the film with though less of it than I did, she being troubled by the fact that the only women in the film were demon-possessed witches who were just there to be dispatched.)

The other keys to what makes this film fun to watch is the peformances by Nicholas Cage, Ron Perlman, and Claire Foy. None are particularly deep characters, but Cage and Perlman play well off each other, and they are perfectly believable as life-long friends and honorable knights. Meanwhile, Foy can project wide-eyed innocence and demonic menace with equal force.

Fans of the films stars and of low-fantasy (or the even lower D&D-style fantasy) will enjoy "Season of the Witch". Admirers of the Tolkien and Lewis screen adaptations might want to skip it.

The baffling 'Crypt of Dark Secrets'

Crypt of Dark Secrets (1974)
Starring: Maureen Ridley, Robert Tanet and Wayne Mack
Director: Jack Weis
Rating: Three of Ten Stars

A Vietnam vet (Tanet) retires to "Haunted Island" is murdered by three dippy locals who want his money. Luckily for him, an Aztec voodoo spirit named Damballa (Ridley) has fallen in love with him. She resurrects him to fulfill his destiny.


While reading my summary of "Crypt of Dark Secrets", you probably said to yourself, "An Aztec voodoo spirit?" Well, that's just one of the questions you'll be aksing yourself as you are watching this slow-moving disjointed film that has so little meat to it that the padding is padded. Other questions will be "Where is the crypt from the title?", "Is this movie going anywhere?", and "Was this the first work of the monkeys who wrote the latest video from that al-Qaeda freak with the bulls-eye birthmark on his forehead?"

However, just as you have had your fill of bad dialogue delivered by even worse actors, and you're about to give up on the film, there's a scene with the very sexy Maureen Ridley wearing very little or nothing at all. If there ever was an actress who was cast in a movie for no reason other than looking fabulous while naked, it's Maureen Ridley... she is miserable to watch whenever she tries acting, but when she's writing around naked or wandering around in a buckskin bikini, her lack of talent as an actress become irrelevant.

I'm giving this film a 3/10 rating, even if it's a very low 3 and it probably should be a 2. But, the combination of Maureen Ridley's bare flesh and a certain weirdness factor to the story that made me think, "I see an interesting Ravenloft scenario here" and "I wonder how this would have turned out if it had been made 20 years later and Charles Band was directing?" causes me to give it a little extra consideration.

For the record, if Band had helmed this production--given what he did with "Blood Dolls", "Hideous!" and "Head of the Family"--I think this film would have been a thoroughly perverted and thoroughly hilarious slice of voodoo weirdness. If you're a hardcore fan of his films, maybe this is worth a look. Although, don't blame me if you don't like it.)





Click here to read about "The Naked Witch" at Movies You Should Die Before You See.

'Practical Magic' is chick flick all can enjoy

Practical Magic (1998)
Starring: Sandra Bullock, Nicole Kidman, Stockard Channing, Diane Wiest, Goran Visnjic and Aidan Quinn
Director: Griffin Dunne
Rating: Eight of Ten Stars

Two very different sisters (Bullock and Kidman) who descend from a long line of witches, come together for the first time since their lonely childhood to cover up a murder and to break a long-standing family curse.


"Practical Magic" is a textbook definition of a "chick flick", but it has enough humor and suspense, along with just a touch of supernatural horror, that guys will be able to sit through it without complaining and even have a good time. It's a well acted movie that rests upon a solid, well-written script that's driven by a very literal interpretation of the notion of "Girl Power". There are a couple of continuity hiccups--such as the moon apparently going from full to a sliver in three days--but otherwise you'll have to do some real nitpicking to find fault with the film.

Sandra Bullock puts on her usual fine performance, once again playing her standard rumpled, slightly nerdy Girl Next Door character. Nicole Kidman, as wild and slutty sister, even puts on a good performance, something I don't think I've said about her since "Dead Calm". (Her put-on American accent slips on more than one occcasion, but she does a decent job otherwise.) They are supported admirably by the rest of the cast, with Goran Visnjic standing out as a particuarly creepy Bad Boyfriend.

So, guys, next time it's her time to chose for a Movie Night, and if she has a habit of picking historical dramas or tear-jearkers or pure chick flicks, see if you can steer her to "Practical Magic". You'll thank me for it.

'Terror' is fairly terrible

Terror (1978)
Starring: John Nolan, Carolyn Courage, and Mary Maude
Director: Norman J. Warren
Rating: Four of Ten Stars

The friends and associates of a young movie producer (Nolan) start dying messily after he completes a movie based on his family's history. Is it really a 300-year-old witch's curse that's reasserting itself, or is there someone (or some thing) else behind the slayings?

I understand that the forces of evil are inscrutable and driven by motives that mere mortals can't understand. This, however, should not be the case when it comes to movies featuring evil forces. Movies need to have some semblance of a sensible plot, and they need to give some sort of connection between back story and what unfolds.

In the case of "Terror", we have evil forces doing evil things that make no sense whether viewed in the context of the ancient curse, or in the context of facts revealed by characters on the screen. The coolest scene (where a forest seemingly comes to live and lifts a car into the tree-tops) seems like it was just thrown in because it was just that--cool.

"Terror" has some good scares and some good acting. It would have been nice if some time had been spent on developing a good script.

Beware the voodoo sex dolls of 'Baba Yaga'!

Baba Yaga (aka "Kiss Me, Kill Me" or "The Devil Witch") (1973)
Starring: Isabelle De Funes, Carroll Baker, and George Eastman
Director: Carrado Farina
Rating: Six of Ten Stars

Commercial photographer Valentina (De Funes) becomes the target of the twisted effections of immortal, sadistic lesbian witch Baba Yaga (Baker). As Valentina's models and friends start falling victim to mysterious curses, she turns to her filmmaker friend Arno (Eastman) for help. Will they together be able to overcome supernatural lesbianic powers as old time itself?


"Baba Yaga" is a decidedly weird movie. From beginning to end, it has a dreamlike quality about it, and as it progresses and Valentina is snared increasingly by Baba Yaga's dark powers, it starts to feel like a nightmare. Usually, films of the disjointed, somewhat pretentious variety that is represented here bug me. But here, we have a film that is so well done that I can accept the quirky, illogical and random nature of many of the events. The acting also reflects the dream-sense that permeates the film, with De Funes being particularly fun (and sexy) to watch.

Part horror movie, part bizarro softcore Euro-trash sexploitation flick, "Baba Yaga" is strange and well-makde enough that it's worth a look. The climax where Valentina is trapped by Baba Yaga and a bondage voodoo sex-doll come to life, and Arno is attempting to rescue her, is extremely well done.

I hesitate to recommend "Baba Yaga" as a film you should seek out, but I found it an interesting movie.

(Trivia: The movie is based on an Italian comic series, "Valentina". I read a few album reprints when I was a kid, and I remember them as being strange and sexy, just like this movie. De Funes' appearance is also very much like the character appears in Crepax's drawings, which are displayed during the opening credits. So, I guess this sets "Baba Yaga" aside as one of those rare successful comic book film adaptations.)




(Special Bonus Trivia: Artist Crepax based the look of Valentina on actress Louise Brooks. You can check out pictures of the real thing at the companion blog Shades of Gray by clicking here.)

'Warlock' will cast a spell on you

Warlock (1989)
Starring: Julian Sands, Lori Singer and Richard E. Grant
Director: Steve Miner
Rating: Seven of Ten Stars

A powerful, evil warlock (Sands) travels from the 16th century to modern day America to escape the witch hunter hot on his trail. The hunter (Grant) is more tenacious than he gives him credit for, and soon their battle resumes in 1989, with a young woman (Singer) who finds herself cursed by the warlock caught in the middle.


"Warlock" is a fast-paced, thrilling horror movies with numerous great moments and excellent performances by all the principles. The witch-legends it creates and how it uses them give the script a tremedmous freshness, and I am extremely impressed with the screenwriter's talent for crafting dialogue: Each character has is own "voice" and each sounds perfectly realistic (as far as time-traveling warlocks and witch-hunters are realistic that is).

Julian Sands gives perhaps his best performance so far as the boundlessly evil Warlock devoted to undoing Existence itself, while Richard Grant is almost as excellent as his world-weary foe. Singer is also good as a somewhat bubble-headed blond, a part that probably anyone could have played, but even she gets to shine during the scene where she is "nailing" the warlock's footprints, and during the final scene on the Utah Salt Flats.

This film is a prime example of how Steve Miner is one of the most underrated directors working in film; this 20-year-old movie is far more entertaining and scary than the vast majority of horror films being released today.

Japanese horror you can take or leave

Misa the Dark Angel (1997)
Starring: Hinako Saeki and Ayaka Nanami
Director: Katesuhito Ueno
Rating: Five of Ten Stars

"Misa the Dark Angel" is about a young witch who insiutates herself into a boarding school for girls when she and her crusty mentor decide a magical curse rests over the place. Misa, however, being a lonely teenager with no friends, become enamoured with the 'normal' life led by the students at the school and looses sight of why she is there. And that's when the terror begins.

There is nothing particularly bad about this film. The acting is solid, the camera work, lighting, and sets are all used to full effectiveness to underscore the horror and mystery of the events that unfold, and the cast members die in appropriately ironic ways. (That said, "Misa the Dark Angel" is *not* a teenage slasher flick, even if the above sentence might imply that; it's a far more low-key horror film, with patches of horrific gore. Actually, if there is something wrong with the film, it's that it's almost too low-key. The film is almost entirely event free in the second act.)

On the other hand, there's nothing that really stands out, either. It's a solid effort, nothing more. It's worth seeing if you enjoy Japanese horror flicks, but I don't think it would be worth going out of your way for.

'Secrets of the Clown' is solid debut effort for 1st-time director

Secrets of the Clown (2008)
Starring: Paul Pierro, Dusty Mitchell, Michael Kott, Kelli Clevenger, Thomas Perez and Scott Allen Luke
Director: Ryan Badalamenti
Rating: Six of Ten Stars

Ater his girlfriend (Clevenger) leaves him, someone, or some thing, starts brutally murdering his neighbors and friends, and finally some evil entity starts haunting his home, Bobbie (Pierro) turns to a psychic (Kott) for help, A clown doll tthat his girlriend cherished seems to be at the center of everything, but will its secrets be revealed before Bobbie joins the growing list of victims?

"Secrets of the Clown" is a film that will remind you of films from Hammer Films, Amicus and American International in its heyday. It's a nifty little horror film with a classic feel to it, and if you enjoyed movies like "Burn, Witch, Burn!" and "The Devil Rides Out", you'll get a kick out of this one. You'll also enjoy it if you're an afficianado of the "clown horror subgenre"--yeah, I didn't realize there was such a thing either, but I've seen such a thing referred to in a couple of different places and I've seen enough clown horror flicks to accept that it could be a subgenre--as the clown motif comes into play on a couple of different levels in the film.

What's more, the titular secrets of the clown are not ones that you will readily guess. I thought I had the film figured out about ten miinutes in, but then a plot development proved me wrong. Then, when I thought I knew where writer/director Ryan Badalamenti was going, he threw another curveball at me. The secrets behind the murders and supernatural occurances in this film are not easily given up, and you'll be trying to figure out what's going on right along with the characters.


In fact, this film is unveiling its plot up to virtually the final moment of a very strong finish. Once again, I was reminded not to pre-judge a movie before the end credits start to roll. In this case, as the film came to a close, my first thought was, "Ah... they're leaving things open for a sequel. That's nice... this was a neat film and I wouldn't mind seeing a follow-up" but then came the twist-ending, and I thought, "He HAD to ruin a perfectly good film with yet another crappy twist-ending" and I almost stopped the DVD in disgust... but then Badalamenti put a twist on the twist and all was right with the world. He actually came up with an ending that was as neat as I'm sure he thought it was, a rare and precious thing.

Another very strong thing about the film is the use of sound throughout and the an excellent musical score by Matt Novack. Badalamenti is clearly a filmmaker who understands the importance of using sound and music to heighten the mood of a scene.

Another area that didn't quite work in the film was the acting (or maybe the direction), but it's a flaw that I see in many films at this level of production: The actors were all very polite and very stage-oriented in the way that no one stepped on anyone else's lines and everyone was very careful to not cross in fron to someone else while they were speaking their line. This causes several scenes to feel unnatural and still, despite the fact that most of the cast actually did a decent job delivering their lines. They just should have made it less obvious that they were, indeed, just delivering lines.

Among the actors, though, I want to single out Michael Knotts for praise. He did a wonderful job as the quirky psychic, playing the role with a level of over-acting that I don't think the world has seen since Bela Lugosi passed on. There are a couple of scenes where I wish he had dailed it down a bit, but, over all, he was great fun to watch.


(Trivia: "Secrets of the Clown" cost roughly $15,000 to make.)

'Horror Hotel' has lots of amosphere but few sparks

Horror Hotel (aka "City of the Dead") (1960)
Starring: Venetia Stevenson, Christopher Lee, and Patricia Jessel
Director: John Llewellyn Moxey
Rating: Five of Ten Stars

When Nan (Stevenson) decides to spend her Winter Break working on a research project involving witches, her professor (Lee) urges her to travel to a small New England village that has a rich history of witchcraft. Once there, she discovers that the fog-bound hamlet is crawling with evil witches and Satanists (both alive and undead).


"Horror Hotel" has a few nice scares, a couple of genuinely chilling moments, and nice performances by its stars (with Jessel being particularly excellent in a dual role as innkeeper and evil undead witch), but the most constant feature of the film is tedium. The fog-shrouded village and its decaying cemetary are rich with atmosphere, but the pay-offs of that atmosphere are too few, and I often felt myself wishing that the film would get on with it.

In final analysis, "Horror Hotel" is a fabulously atmospheric movie, but the filmmakers are then unable to fully capitalize on that atmosphere.