Jessabelle (2014)
Directed by Kevin Greutert
Written by Robert Ben Garant
Starring Sarah Snook, Mark Webber, Joel Carter, David Andrews, and Ana de la Reguera
Intruder (1989)
Directed by Scott Spiegel
Written by Scott Spiegel and Lawrence Bender
Starring Elizabeth Cox, Renée Estevez, Dan Hicks, David Byrnes, Sam Raimi, Eugene Robert Glazer, Ted Raimi, and Bruce Campbell
If you’ve watched a lot of horror movies, or a few specific block-busters, you’ve seen Scott Spiegel. He shemped in Evil Dead and Evil Dead II and had cameos in several other Sam Raimi films, including Spider-Man and Spider-Man 2. What’s more interesting about him is his work behind the scenes. Co-writer of Evil Dead II; executive producer of Hostel; and writer, director, or producer of a dozen other genre films. The one we’re looking at today he directed and co-wrote, and it’s decent little slasher.
The House in Nightmare Park (1973)
Directed by Peter Sykes
Written by Clive Exton and Terry Nation
Starring Frankie Howerd, Ray Milland, Hugh Burden, Kenneth Griffith, and Rosalie Crutchley
There are times in which I believe that I don’t understand humor. Watching Jim Carrey and Adam Sandler rise to fame, I nearly became convinced that I didn’t. I do enjoy comedies, but I tend not to risk watching them unless I’ve heard good things from people I trust. A bad action or horror film can be fun in their own ways, but I find bad comedies excruciating. Being funny is the whole point, so when I can’t laugh with one I can’t enjoy it at all. To be honest, there are two exceptions to that general rule, and both are due to my affection for the soundtracks. The scores by The Kinks and Herb Alpert & the Tijuana Brass make the movies Percy and Casino Royale, respectively, worthwhile for me. For the “old, dark house” spoof The House in Nightmare Park I clung desperately to my adoration of Ray Milland, and that mostly saw me through.
The Grapes of Death (1978)
aka Les raisins de la mort
Directed by Jean Rollin
Written by Jean Rollin, Jean-Pierre Bouyxou, and Christian Meunier
Starring Marie-Georges Pascal, Félix Marten, Serge Marquand, and Mirella Rancelot
The word “zombie” has been applied to so many things that it’s all but meaningless as a descriptor. Some are brought back from death, some are still alive. They could be under mental domination, operating on instinct, or possessed of full intellectual faculties. It may be spread as an infection, be the result of contamination, or achieved through hypnosis. Ravenous ghouls, mindless slaves, enraged masses: all zombies. About the only certainty in the term is that it implies a removal from normal society.
Frankenstein Must Be Destroyed (1969)
Directed by Terence Fisher
Written by Bert Batt and Anthony Nelson Keys
Starring Peter Cushing, Veronica Carlson, Freddie Jones, Simon Ward, Thorley Walters, Maxine Audley, and George Pravda
Peter Cushing starred as Baron Frankenstein in six Hammer films, which is an awful lot of appearances as the same character. You might expect that as the series went on he’d start phoning in his performances, but if so then you don’t know Peter Cushing. Not only was he a consummate professional, but Frankenstein Must Be Destroyed — the fifth in the series — is 98% of his best turn as the relentless Baron.
Escape to Witch Mountain (1975)
Directed by John Hough
Written by Robert M. Young
Based on the book by Alexander Key
Starring Eddie Albert, Ray Milland, Donald Pleasence, Kim Richards, Ike Eisenmann, and Denver Pyle
If you asked me who my favorite child actor at Disney was when I was growing up, I’d say Jodie Foster. Her hidden-treasure movie Candleshoe lodged in my brain and never left. But if for some reason you’d excluded Foster from the choices, I’d definitely give you a give you two answers: Kim Richards and Ike Eisenmann. They seemed to be everywhere, and most importantly they were Tia and Tony Malone: the Witch Mountain kids.
The Attic (1980)
Directed by George Edwards and Gary Graver
Written by Tony Crechales and George Edwards
Starring Carrie Snodgress, Ray Milland, Ruth Cox, Rosemary Murphy
The 1973 film The Killing Way presented the gruesome murders of women that follow the release of a man convicted of rape. I’ve never seen it, but that’s okay. It’s irrelevant for this review except for its connection to The Attic. You see, the main characters of The Attic — Louise Elmore and her father Wendell — were side characters in The Killing Way, played by Luana Anders and Peter Brocco. Writers Tony Crechales and George Edwards decided to reuse them here, making it not quite a sequel but at the least a shared universe. Fortunately, this loose connection means that you can enjoy The Attic without having seen The Killing Way.
The Spider Labyrinth (1988)
Directed by Gianfranco Giagni
Written by Riccardo Aragno, Tonino Cervi, Cesare Frugoni, and Gianfranco Manfredi
Starring Roland Wybenga, Paolo Rinaldi, Margareta von Krauss, and Claudia Muzi
There are certain things I just know I have to watch. Giant spider movies, naturally. Italian horror is another favorite. I can’t say no to noir, especially the sort where investigation leads to doom. Anything with Ray Milland in it. So when I learned that The Spider Labyrinth was an Italian horror-noir about a spider cult, I nearly fainted with joy. Good thing Milland wasn’t in it!
Strait-Jacket (1964)
Written by Robert Bloch
Directed by William Castle
Starring Joan Crawford, Diane Baker, Leif Erickson, John Anthony Hayes, and George Kennedy
William Castle was a man who liked his gimmicks. He’d have theaters rigged with swooping skeletons or buzzers placed under seats. There were glowing coins and votes for how the film should end. But his greatest gimmick may have been casting Joan Crawford as an axe murderer who’s spent 20 years in an asylum. It’s not a glamorous role, but it’s a juicy one; and it’s far better than the usual parts for older actresses at the time (or even now, sadly). With a script by Robert Bloch (author of the novel Psycho was based on), Crawford may have even been optimistic about its reception. Sadly, it would not live up to the incredible What Ever Happened to Baby Jane?, which she’d made only a few years previously.














