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Re-Animator

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Re-Animator is a 1985 American science fiction horror film based on the H. P. Lovecraft story “Herbert West–Reanimator.” Directed by Stuart Gordon, it was the first film in the Re-Animator series. The film has since become a cult film, driven by fans of Jeffrey Combs (who stars as Herbert West), H. P. Lovecraft, extreme gore, and the combination of horror, nudity and comedy.

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Re-Animator was followed by Bride of Re-Animator in 1990 and Beyond Re-Animator in 2003. Both sequels were preceded by another film based upon an H. P. Lovecraft story, From Beyond; though this film featured an unrelated story, it was also directed by Stuart Gordon and starred both Jeffrey Combs and Barbara Crampton (Chopping Mall).

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When medical student Dan Cain finds his pet cat has been killed and stored in the fridge, he detects the hand of his crazed flatmate, Dr Herbert West. West is perfecting a serum which can reanimate life, and as his experiments begin to yield positive results, Dan and his girlfriend Megan become privy to the dubious methods by which the deranged doctor conducts his research. Before long Dan is helping West reanimate the corpses in the hospital morgue, an unwise action which leads to a night of unimaginable terror.

Wikipedia | IMDb | Tumblr | Amazon.co.uk | Amazon.com

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Re-Animator is a classic piece of camp, a goofy gory slice of midnight movie excess that still shocks to this day. It’s a testament to Gordon’s directing sensibilities, and the effects crew working with him, that even with a couple decades of pop culture desensitization, hundreds of zombie films, and the rise of limitless computer-generate gore, this low-budget ’80s flick still manages to gross me out.” Michael Rubino, DVD Verdict

“One of the pleasures of the movies, however, is to find a movie that chooses a disreputable genre and then tries with all its might to transcend the genre, to go over the top into some kind of artistic vision, however weird. Stuart Gordon’s Re-Animator is a pleasure like that, a frankly gory horror movie that finds a rhythm and a style that make it work in a cockeyed, offbeat sort of way.” Roger Ebert, Chicago Sun-Times

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Related: From Beyond | Beyond Re-Animator

Wikipedia | IMDb | Tumblr | Amazon.co.uk | Amazon.com



Peter Saxon (author)

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Peter Saxon was a house pseudonym used by various writers in the 1960s and early 70s. ‘Saxon’ wrote several pulp horror novels, including the ‘Guardians’ series, in which a group of wealthy characters battled against the occult in Britain.

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W Howard Baker first used the name to write several Sexton Blake novels for Amalgamated Press, before moving on to Mayflower Books. He is known to have authored two entries in the Guardians series, The Killing Bone (1968) and Vampire’s Moon (1972).

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Rex Dolphin, as Saxon, wrote the Guardians novel The Vampires of Finistère (1968).

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Stephen D Frances, using the Saxon name, wrote The Disorientated Man (which was filmed as Scream and Scream Again, the book’s subsequent title for rerelease), Black Honey and the novelisation of Corruption (both 1968).

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Wilfred McNeilly also published as Peter Saxon, writing The Darkest Night and Dark Ways to Death (both 1966), Satan’s Child and The Torturer (both 1967) and The Haunting of Alan Mais (1969). As Errol Lecale he also wrote the six books in The Specialist series, which – like the Guardian series – pitted a wealthy occult specialist against supernatural forces : Tigerman of Terrahpur (1973), Castledoom, The Severed Hand and The Death Box (all 1974), and Zombie and Blood of My Blood (both 1975).

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Ross Richards was Peter Saxon for the Guardians novel Through the Dark Curtain (1967).

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And finally, Martin Thomas wrote as Peter Saxon for the Guardians adventure The Curse of Rathlaw (1968).

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Other Saxon novels that have not been authenticated to individual authors are The Slave Brain (1967), The Unfeeling Sky and The Warring Sky both 1970), The Enemy Sky and Panky in Love. The latter four are not genre works.

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As you might expect, the quality of ‘Saxon’ novels varies wildly!

Entry by DF


The Facility

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The Facility (aka Guinea Pigs) is a 2011 UK medical horror film directed by Ian Clark and starring Alex Reid, Aneurin Barnard and Chris Larkin.

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The plot relates the story of a clinical trial that goes terribly wrong when the drug being tested, PRO-9 produces horrific side effects. The Facility of the title is the remote medical centre to which the volunteers are invited and the action is compressed into a few hours at the single location.

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The film played in 2012 at the  Edinburgh International Film Festival where it was chosen to be part of “The Best of the Fest” programme and will get a UK DVD release on May 6th 2013.

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IMDBb | Amazon.co.uk | British Horror

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Buy The Facility on DVD from Amazon.co.uk

“Writer/director Ian Clark’s atmospheric film survives and flourishes on tension and the audience not knowing what’s going to happen next. Strong performances keep things believable, particularly Alex Reid and Steve Evets, and the intrigue of the premise carries the film.” Ross Miller, Thoughts on Film

“When it works, Guinea Pigs shows a certain deftness, a scurrying and commendable intensity, but when it doesn’t it’s more like a hamster in a wheel – lots of effort, but going nowhere.” Andrew Robertson, Eye for Film

“Most experimental and daring of all is Clark’s decision to have no soundtrack on the film. Music is so incidental and familiar to audiences in films that most of the time we don’t even hear it but once it is removed the silence is deafening. This brilliant move that not only adds to the rest of the naturalistic elements but also the fear factor especially in the quiet moments which are even more unnerving and terrifying than they would have been with an accompanying score.” Love Horror

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The Colossus of New York

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The Colossus of New York is a 1958 science fiction film produced by William Alland (Tarantula, Creature From the Black Lagoon), and directed by Eugène Lourié (The Beast From 20,000 Fathoms, Gorgo). It stars Ross Martin, Otto Kruger, John Baragrey, Mala Powers and Charles Herbert.

Shortly after winning the Nobel Peace Prize for his work to end World hunger, doting husband and father, Jeremy Spensser (Martin), is struck down and killed by a car. Jeremy’s father, noted brain surgeon William Spensser (Kruger), is distressed that his son’s gifts will be denied to Mankind and rescues his brain from burial, keeping it ‘alive’ in a bubbling jar of liquid (don’t try this at home) with a view to ensuring his ideas and imagination can continue to flourish, even after death. Transplanting the brain into a specially contracted giant robotic body, he enlists Jeremy’s brother, Henry, to help keep the project  secret. The huge shell is mechanically unreliable and combined with the lack of human contact and affection, Jeremy slowly starts to go mad, gaining immense strength and developing the ability to harness power and unleash it in the form of death rays from his eyes. The madness builds until The Colossus goes on the rampage in New York, culminating in a stand-off at the United Nations where only his young son can save humanity.

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The Colossus of New York is one of the stranger entries into the 1950′s and 60′s wave of films with monsters and aliens on the rampage, with a distinctly serious, almost pious tone, due in no small part by the unique score by noted television composer Van Cleave, harking back to the silent era with solo piano creating the mood and tension without the histrionics of wailing theremins and huge fruity string sections.

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The morality of the film is hinted at early on; whilst viewing Henry’s latest automated invention, Jeremy asserts, “You create any more like this, you put the human race out of business”. Playing like a modern Frankenstein, advising against Man’s intervention in matters of life and more especially death, the first word’s the Colossus utters are “Destroy me”, despite his creator’s pleas that his ability to continue the work he began in death are more than worth his personal anguish. For the viewer’s benefit, the creation is made appropriately ominous-looking to drive home the point that dabbling is bad; why would any brain surgeon make their son a bucket for a head and Joan Collins shoulder pads?

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There’s little to cheer acting-wise; the annoying young son is played by Charles Herbert, also teeth-grindingly whiney in The Fly, and his relationship with his now towering father echoes that shown in Son of Frankenstein. Martin appeared mostly on television, notably in Wild, Wild West and two episodes of The Twilight Zone, John Baragrey (Henry), starred in the first Gamera film, whilst the foolish father is played by the always stern Otto Kruger, also seen in Dracula’s Daughter. None excel.

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The Colossus also has political leanings;  he loses interest in his humanitarian mission to feed the world, declaring, “Why create food for the maimed, the useless and the sick? Why should we work to preserve the slum people of the world? Isn’t it simpler and wiser to get rid of them instead?” He adds: “We must eliminate the idealists.” Calling all Communists! As the film reaches it’s conclusion, the Colossus stands before an even larger mural with the inscription from the Book of Isaiah:

“They shall beat their swords into plowshares, and their spears into pruning hooks. Nation shall not lift up sword against nation, neither shall they learn war any more.”

Heavy stuff. Except not really. Good, short (70 minutes) fun with some neat twists on a usually predictable path.

Daz Lawrence, Horrorpedia

Wikipedia | IMDb

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The Human Centipede III (Final Sequence)

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The Human Centipede 3 (Final Sequence) is a 2014 Dutch horror film written and directed by Tom Six (who also appears, playing himself) and the third and final entry in Six’s The Human Centipede trilogy.

Production began in May 2013. Eric Roberts stars as Governor Hughes and former adult movie actress Bree Olson also appears. The film will also see the return of both Dieter Laser and Laurence R. Harvey, albeit in different roles. Both Laser and Harvey have starred in the previous films in the series as Dr. Josef Heiter and Martin respectively. Other cast members returning from the previous films in the series include Bill Hutchens and Peter Blankenstein. Tony “Tiny” Lister also appears.

The movie is set entirely within a prison and will apparently contain a centipede of over 500 people. The official tagline for the film is “100% Politically Incorrect”.

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Wikipedia | IMDb | Poster image courtesy of Dread Central


Frankenstein’s Daughter

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Frankenstein’s Daughter (1958) was the third of four films crafted by producer Marc Frederic and director Richard E. Cunha in the late 1950s. In it, Victor Frankenstein’s grandson repeats his grandfather’s grisly experiments. The script includes the term ‘meddling kids’, later a Scooby-Doo reference point. The cast includes:

The grandson of Victor Frankenstein, Oliver (Donald Murphy), is hiding away as a laboratory assistant for the gentle Prof. Morton (Felix Locher). While Dr. Morton pursues a pet project, Dr. Frankenstein secretly works his own experiments on his benefactor’s niece, Trudy Morton (Sandra Knight). Although these experiments temporarily disfigure Trudy’s face and cause her to wander aimlessly at night, they are only a build-up to Oliver’s greater goal of recreating life. With the aid of one of his father’s former assistants, Oliver constructs a female monster from the body parts of various murdered people and begins to deal a horrible fate upon any who dare stand in the way of his desires…

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‘Working with a meagre $65,000 budget, a breakneck six-day shooting schedule, and a crackpot script, director Richard Cunha delivered a businesslike, unapologetic grade-z programmer that is perfectly entertaining.’ Frankensteinia: The Frankenstein Blog

‘Nicholson’s lighting throughout Frankenstein’s Daughter is particularly eerie, framing Sandra Knight’s she-monster in bizarre street lighting in the scenes in which Knight prowls the streets of a Los Angeles suburb. Nicholson is also adept at using “shock cuts” that gradually show Knight’s monstrous deterioration and disfigurement. In fact, it’s Nicholson’s camerawork that allows the film to be limned with a patina of grimy dissolution, similar to the look and feel of She Demons. Note, too, the scene in which Murphy advances toward Sally Todd just before he runs her over. Nicholson’s camera focuses strictly on Murphy’s wild, wide eyes, as he repeats to himself: “I need a brain …I need a brain!” Monsters from the Vault

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‘Neither as childishly idiotic as Missile to the Moon, nor particularly campy in any fun way, Frankenstein’s Daughter would seem to avoid boredom by simply being what it is – a Frankenstein story pared down to its barest essentials. It really should be called Woman Who Lived in the House Where a Frankenstein Descendant Conducted Secret Experiments, or Grandaddy Made Me Graft a Blonde Bombshell’s Head onto a Rotting Corpse. Well – photographed (in focus, consistently exposed), it nevertheless exhibits the full range of Z-Movie symptoms: illogical plotting, vacant characterisation, performances that don’t mesh.’ Glenn Erickson, DVD Savant

has craggy, overaged teenagers, a scene dramatising the hazards of going parking with a guy you’ve only just met, and a rock and roll band that even the one in The Ghost of Dragstrip Hollow would look down on, it also comes complete with double the usual allotment of monsters and mad scientists.’ 1000 Misspent Hours… and Counting

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Wikipedia | IMDb | Internet Archive (free download) | Images courtesy of Wrong Side of the Art


Help Me… I’m Possessed! (aka The Possessed)

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Help Me… I’m Possessed (aka The Possessed) is a 1976 horror/exploitation film directed by the Americanised Belgian director Charles Nitzet (Voodoo Heartbeat, The Ravager) and stars Bill Greer in his only acting role, Deedy Peters and Lynne Marter. The film remained in the cinematic wilderness for many years, having only a limited theatrical run in the 1970′s and only appearing on video in 1984.

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In the American desert, a young couple have been brutally murdered and the local sheriff immediately suspects fishy goings-on at the castle-like sanitarium run by reclusive Dr Arthur Blackwood (Greer). Assuring the sheriff that his work there is entirely above board and consists of little more than helping disturbed individuals return to society, he does little to allay the police’s fears, not least when his loopy doll-hugging singing sister appears.

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Indeed, we soon learn that the doctor is perhaps not entirely qualified, housing a collection of chained up, scantily clad ladies, a Catweazle-alike prisoner and a hunchback in his basement, all at the mercy of his insane experiments, designed to rid them of madness. These ‘volunteers’ when not being whipped and brutalised suffer an even worse fate if they don’t behave or illicit positive results, being killed by snake, guillotine and being hacked up to fit the wrongly-sized coffins.

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The arrival of the doctor’s new wife (Peters) sees his plans begin to unravel as disappearing members of staff and her cranky husband arouse her suspicion. Worse still, when she uncovers his experiments she learns that the harnessed ‘evil’ extracted from the patients has manifest itself as something malevolent and hideous…

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Written by both Peters and Greer (somewhat remarkably considering her later life as the girlfriend of David Soul and his as writer and producer of TV shambles Charles In Charge), Help Me… I’m Possessed! feels like an amalgam of Al Adamson’s films, slightly restrained H.G. Lewis fare and lunatic imprisonment films like Blood Sucking Freaks. The acting standards are all of the same unremarkable quality but are engaging and fun, particularly Greer who looks completely ill-fitting in the role, and all the better for it. Though the torture and blood-letting are tame in comparison to Lewis’ films, they are still brutal and heartless enough to raise a serious question mark over the film’s initial PG rating!

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The title is somewhat misleading (it was filmed with the more apt working title Nightmare at Blood Castle, there’s no possession in the film as such, only the mysterious evil presence which is represented by Lovecraftian red tentacle-like appendages wafting at the camera. Coming to a conclusion just before it starts to go around in circles once too often, perhaps the most arresting aspect of the film is the avant-garde  electronic score, completely unnerving and genuinely excellent though the film does not name any composer, only an Al Bart in the sound department, who evidently did not go on to better things.

Grimy and fun, Help Me… I’m Possessed! was recently released on DVD by Code Red in a double-bill with Blind Dead director Armando de Ossorio’s Demon Witch Child, the connection being that they were both known as The Possessed in various releases.

Daz Lawrence, Horrorpedia

With thanks to critic online and mondodigital for some of these images.

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Richard Tennant Cooper (artist)

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Richard Tennant Cooper (1885-1957) was an obscure British artist whose metaphorical phantasmic paintings show the negative effects of both disease and medical cures on the human body. There is not much information available about Cooper, except that he also depicted the horrors of the First World War. This posting will be updated as we discover more about this unique artist.

The painting above is “Syphilis” (1912).

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Above: “A sickly female invalid sits covered up on a balcony overlooking a beautiful view, death (a ghostly skeleton clenching a scythe and an hourglass) is standing next to her” (1912).

Below: “An unconscious naked man lying on a table being attacked by little demons armed with surgical instruments; symbolising the effect of chloroform on the human body.” (1912).

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“A giant claw pierces the breast of a sleeping naked woman, another naked woman swoops down and stabs the claw with a knife ; symbolising science’s fight against cancer.” (1910).

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“Diphtheria trying to steal a small child” (1910).

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“The angel of death (a winged skeletal creature) drops some deadly substances into a river near a town; symbolising typhoid” (1912).



Dr. Renault’s Secret

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Dr. Renault’s Secret is a 1942 American horror movie produced by 20th Century Fox and directed by Harry Lachman (Charlie Chan films) from a screenplay by William Bruckner and Robert F. Metzler. It is based on the story Balaoo by Gaston Leroux (author of the more famous The Phantom of the Opera) which was adapted as a film in 1913 and again as the 1927 “lost” film The Wizard. It stars J. Carrol Naish (The Monster Maker), Shepperd StrudwickLynne RobertsGeorge Zucco.

Plot teaser:

A young doctor named Larry Forbes (Strudwick) arrives in a French village in order to wed the niece of prominent local doctor, Dr. Renault (Zucco). Dr. Forbes learns from the innkeeper that a storm has washed out the bridge to Renault’s house and he ends up spending the night at the inn. There he meets  Dr. Renault’s strangely deformed man servant, Noel (J. Carrol Naish). It is during the night that the first of the murders occurs. Another tourist takes the room meant for him and is killed mysteriously…

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Reviews:

” … for those of us who delight in digging through the trash heaps of cinema’s past, this film is definitely worth a look. It features some amazingly solid acting, especially from Strudwick and Naish, and even George Zucco puts in a credible, restrained (by his standards, anyway) performance. The script does a good job of juxtaposing Noel’s and Rogell’s criminal activities, and with a running time in the 60-minute class, the film moves along at a good, steady clip. By no means a classic, but check it out anyway if the opportunity ever arises.” 1000 Misspent Hours and Counting

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“Dr. Renault’s Secret may be more charm than actual suspense, but it’s a pleasant and breezy watch, with a couple of good performances. It’s maybe not a great classic, but it’s certainly worth a look, especially if you’re largely unfamiliar with Naish, or are just looking for a good movie about a not-so-mad ape man.” Orrin Grey, Innsmouth Free Press

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“J. Carrol Naish’s performance shares considerable credit for making Noel such a strongly sympathetic character. Like Karloff, Naish is able to express a depth of woundedness and loneliness through the make-up and general oddness of the character that is genuinely touching. His quiet manner of speaking and childlike cadence also gives him an innocent quality that makes one very much pity his circumstances. It also, on the other hand, makes his utterance to Dr. Renault, “I could kill you,” all the more disturbing.” Jared Roberts, Lair of the Boyg 

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Wikipedia | IMDb | Image credits: Goblinhaus | Wrong Side of the Art!

 


Horrorpedia Facebook Group (social media)

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Open up your mind for everyone’s dissection and delectation!

There is now a Facebook Group for Horrorpedia users/followers. Sign up and have your say about all things horror related!

Post anything and everything about horror, sci-fi, cult and exploitation movies and culture. Write about movies, TV series, books, magazines, comics, theatre, computer games, theme rides, haunted houses, true crime, novels, rock bands, cartoons, artwork, toys and games, iconic directors, actors, writers, producers, composers… it’s all wide open for discussion, your opinions, celebration, rants and whines!

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Plus, we’re on Tumblr - 8,000+ more images, many of them more disturbing than on our main site!

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And we have a growing presence on Pinterest - lots of great images, many of them not on the main site!


The Nude Vampire

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The Nude Vampire – French title: La vampire nue – is a 1969 film (released May 1970) directed by Jean Rollin. It stars Christine François,Olivier Rollin, Maurice Lemaitre, Bernard Musson, Jean Aron, Ursule Pauly, Catherine CastelMarie-Pierre Castel and Michel Delahaye.

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Plot teaser:

Wealthy and decadent industrialist Georges Radamante rules over a strange secret suicide cult and wants to achieve immortality by figuring out a way to share the biochemistry of a young mute orphaned vampire woman. Complications ensue when Radamante’s son Pierre finds out what’s going on and falls for the comely lass…

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The Nude Vampire was Jean Rollin’s first collaboration with cinematographer Jean-Jacques Renon and his first film in colour.

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Buy The Nude Vampire on Blu-ray from Amazon.co.uk | Amazon.com

Reviews:

“The film comes across with the emotionally intense illogic of a dream, intellectually nonsensical but meaningful on an instinctive plane. No means a total triumph, dialogue is stilted, and the story lags in several places. Still, there is enough suggestive menace and outrageous imagery to make up for this shortcoming, and the touches of science fiction and kink point dramatically to the dreams of surrender and destruction that Rollins had up his sleeves.” Sex Gore Mutants

“Though the pacing of The Nude Vampire is still recognizably Rollin-esque, this film may prove easier for newcomers to swallow as its story veers from one oddball element to the next. Leopardskin fabrics, party masks, and lots of teasing partial skin shots set this one firmly in 1970, and as a mod French art film gone berserk, it’s plenty of fun.” Mondo Digital

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“There are a lot of signs of what is yet to come from director Jean Rollin and yet this early effort is also appealing because it is not as filled with the usual Jean Rollin clichés. Ultimately The Nude Vampire is a solid early effort from director Jean Rollin with its many memorable images and fascinating take on immortality.” 10,000 Bullets

“Jio Berk designed the fabulous costumes and the visual style was drawn from pulp comics and old paperback covers. La vampire nue is one of Rollin’s most enjoyable films and a great leap forward, technically, from Le viol du vampire. It also remains remarkably true to its original conception of a film around the idea of mystery, of enigma. Even the ending, when an explanation is given for all the mysterious events, is successfully undercut.” Cathal Tohill, Pete Tombs, Immoral Tales: Sex & Horror Cinema in Europe 1956 – 1984

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“The film’s visual highlights include shots of night-lit streets which evoke the paintings of Paul Delvaux, or tableaux ala Max Ernst (a strong influence on Rollin) often using spotlights to achieve vivid contrasts and shadowy outlines, as well as back lighting to make women’s transluscent. The picture is most fascinating if seen as an intensely fetishistic but luscious play of textures punctuated by beautifully stylised, extravagantly romantic comic-strip compositions chronicling the obsessions of a guiltily Catholic voyeur, wallowing in a sense of perversion and sin.” Phil Hardy (editor), The Aurum Film Encyclopedia: Horror

Jean Rollin on Horrorpedia: Fascination | The Grapes of DeathLips of BloodThe Living Dead Girl | Night of the Hunted | The Nude VampireThe Rape of the VampireThe Shiver of the Vampires | Virgin Among the Living Dead | Zombies Lake

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Wikipedia | IMDb


Donovan’s Brain – film

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‘A dead man’s brain told him to kill kill kill..’

Donovan’s Brain is a 1953 American science fiction horror film directed by Felix E. Feist from a screenplay he co-wrote with Hugh Brooke, based on the 1942 novel Donovan’s Brain by Curt Siodmak (The Wolf Man; Son of Dracula; The Beast with Five Fingers).

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The film stars Lew Ayres (She WaitsDamien: Omen IISalem’s Lot), Nancy Reagan (then Nancy Davis), Gene Evans and Steve Brodie (The Giant Spider Invasion).

Plot teaser:

After an horrific plane crash, despised millionaire Tom Donovan (Michael Colgan) is declared dead. Dr. Patrick Cory (Ayres) has ideas beyond his station however when he decides to operate on the corpse and retrieve the brain for research purposes. When Dr. Cory finds himself committing violent acts against his will he starts to believe that the brain of Tom Donovan, now stored in a tank, is controlling his actions…

Donovan's-Brain-Simply-Media-DVD

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Reviews:

“This version (sticking closest to the novel), scripted and directed by a rather obscure film-maker who subsequently went into television, is modest but effective, distinguished by an excellent performance from Ayres…” Time Out

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“This film is far better than you might initially expect. It actually encouraged weak imitators like The Brain that Wouldn’t Die. It has all the fun qualities of a 50’s Drive-In flick with elements of Film Noir sprinkled in. Lew Ayres is no Olivier, but gets the job done…” DVD Beaver

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“Star Lew Ayres is able to use the inflections of his voice to signal when he’s evil-Cory and when he’s just mad-scientist Cory and there are nice touches like having Cory order Donovan’s favorite cigars and getting Donovan’s style of suit made for himself. That’s just the sort of stuff you would expect a disembodied brain controlling a new body to do!” MonsterHunter

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“This telepathic control is extremely well conveyed through impressive sound design, the one filmmaking technique that achieves a zenith of stylistic excellence in an otherwise unobtrusive cinematic endeavour. Like most science-fiction/horror pictures of the 1950’s Donovan’s Brain suffers from abysmal dialogue and the prevailing sexism of the day.” The Celluloid Highway

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Choice dialogue:

Dr. Frank Schratt: “Ah, you’re off your rocker, pal!”

Cast:

Film locations:

Dear Old Hollywood

Wikipedia | IMDb | Related: The Brain (1962)


The Unsubtle Art of Body Snatching – article

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Body snatching is the secret disinterment of corpses from graveyards. A common purpose of body snatching, especially in the 19th century, was to sell the corpses for dissection or anatomy lectures in medical schools. Those who practiced body snatching were often called “resurrectionists” or “resurrection-men”. A related, slightly less ghoulish act is grave robbery, the uncovering of a tomb or crypt to steal artefacts or personal effects rather than corpses.

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The 19th century saw renewed attention given to medicine and science, the advancements in surgery and treatment being significant and ushering forth a new breed of talented doctors and surgeons. Previously oft-practiced but now clearly baffling treatments were being abandoned in preference to techniques which were more scientific than superstitious, though this meant ripping up many textbooks from the past and gaining a new understanding of how the human body worked and reacted to both drugs and disease. This, however, came with many challenges.

Before the Anatomy Act of 1832, the only legal supply of corpses for anatomical purposes in Britain were those condemned to death and dissection by the courts. Those who were sentenced to dissection by the courts were often guilty of comparatively harsher crimes. Such sentences did not provide enough subjects for the medical schools and private anatomical schools (which did not require a license before 1832). During the 18th century hundreds had been executed for trivial crimes, but by the 19th century only about 55 people were being sentenced to capital punishment each year. With the expansion of the medical schools, however, as many as 500 cadavers were needed annually.

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This created something of a moral dilemma for the authorities – clearly they couldn’t be seen to be complicit in the disinterment of the dead, or the ransacking of graves on sacred ground, but neither could they reconcile themselves with holding up the progress of medical breakthroughs and therefore the curing and treatment of the sick at the expense of only a few. The solution was a sort of compromise – although the tampering with graves was officially still frowned upon, the punishment was relatively slight, a misdemeanor rather than a felony, a potential fine and a stint behind bars rather than the, perhaps expected, execution.

With these relatively lax attitudes, families of the recently deceased had little option but to take it upon themselves to keep watch of their yet to be interred loved ones, for fear of them ‘going missing’ before they were even buried. Should they at least find their way underground, elaborate devices were employed to ensure the dead were not taken by the agents of needy doctors. Lead-weighted and iron coffins were sometimes chosen to make an attempted body snatching too time-consuming. Rich families were able to protect family member’s graves by employing large marble slabs and headstones, sometimes even locked mausolea which would prevent easy access.

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For the less well-off, it was necessary for the community as a whole to find ways to keep their graveyards free of trespassers. Watchtowers were employed in some areas, particularly Scotland, where teams of ‘watchers’ were also employed – in one instance, a 2000-strong collective was assembled.

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Anti-bodysnatching grille in Ballyphehane, Ireland

The early adoption of iron cages around graves soon developed into a more structured design, known as ‘the mortsafe’, first appearing in 1816. These were iron or iron-and-stone devices of great weight, in many different designs.

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Often they were complex heavy iron contraptions of rods and plates, padlocked together – examples have been found close to all Scottish medical schools. A plate was placed over the coffin and rods with heads were pushed through holes in it. These rods were kept in place by locking a second plate over the first to form extremely heavy protection. It would be removed by two people with keys. They were placed over the coffins for about six weeks, then removed for further use when the body inside was sufficiently decayed. There is a model of a mortsafe of this type in Marischal Museum, Aberdeen. Sometimes a church bought them and hired them out. Societies were also formed to purchase them and control their use, with annual membership fees, and charges made to non-members.

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London Burkers, a group of resurrectionists, comprising of John Bishop, Thomas Williams, Michael Shields, a Covent Garden porter, and James May, an unemployed butcher, also known as Jack Stirabout and Black Eyed Jack, who stole freshly buried bodies to sell to anatomists. In his subsequent confession, Bishop admitted to stealing (and selling) between 500 and 1000 bodies, over a period of twelve years. The corpses were sold to anatomists, including surgeons from St Bartholomew’s Hospital, St Thomas’ Hospital and King’s College. The Fortune of War Public House, in Smithfield, was identified as a popular resort for resurrectionists.

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There were various methods used by determined body snatchers; one method used was to dig at the head end of a recent burial, using a wooden spade – quieter than those made of metal. When they reached the coffin (in London the graves were quite shallow), they broke open the coffin, put a rope around the corpse and dragged it out. They were often careful not to steal anything such as jewellery or clothes as this would cause them to be liable to a felony charge.

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The Lancet reported another method. A manhole-sized square of turf was removed 15 to 20 feet (5 to 6 metres) away from the head of the grave, and a tunnel dug to intercept the coffin, which would be about 4 feet (1.2 m) down. The end of the coffin would be pulled off, and the corpse pulled up through the tunnel. The turf was then replaced, and any relatives watching the graves would not notice the small, remote disturbance. The article suggests that the number of empty coffins that have been discovered “proves beyond a doubt that at this time body snatching was frequent”.

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These events led to the more wide-spread introduction of vaults being used as resting places for the dead. The introduction of the Anatomy Act in 1832 was ultimately the answer to the practise of stealing corpses for profit, the ‘industry’ now being controlled by the Human Tissue Authority. However, this was not the end of people digging up rotting bodies for other reasons, as we will see later.

In the United States, body snatchers generally worked in small groups, which scouted and pillaged fresh graves. Fresh graves were generally given preference since the earth had not yet settled, thus making digging easier work. The removed earth was often shovelled onto canvas laid by the grave, so the nearby grounds were undisturbed. Digging commenced at the head of the grave, clear to the coffin. The remaining earth on the coffin provided a counterweight which snapped the partially covered coffin lid (which was covered in sacking to muffle noise) as crowbars or hooks pulled the lid free at the head of the coffin. Usually, the body would be disrobed, the garments thrown back into the coffin before the earth was put back into place.

Resurrectionists have also been known to hire women to act the part of grieving relatives and to claim the bodies of dead at poorhouses. Women were also hired to attend funerals as grieving mourners; their purpose was to ascertain any hardships the body snatchers may later encounter during the disinterment. Bribed servants would sometimes offer body snatchers access to their dead master or mistress lying in state; the removed body would be replaced with weights. Although medical research and education lagged in the United States compared to medical colleges’ European counterparts, the interest in anatomical dissection grew in the United States. Philadelphia, Baltimore, New York were renowned for body snatching activity: all locales provided plenty of cadavers. So in demand were corpses in some districts and so demanding were those wishing to utilise them that spies were sent to funerals to gauge sex, age, condition and means of death to determine desirability and cost.

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Public graveyards were not only sanctioned by social and economic standing, but also by race. New York was 15% black in the 1780s. “Bayley’s dissecting tables, as well as those of Columbia College” often took bodies from the segregated section of Potter’s field, the Negroes Burying Ground. Free blacks as well as slaves were buried there. In February 1787, a group of free blacks petitioned the city’s common council about the medical students, who “under cover of night…dig up the bodies of the deceased, friends and relatives of the petitioners, carry them away without respect to age or sex, mangle their flesh out of wanton curiosity and then expose it to beasts and birds.”

In December 1882, it was discovered that six bodies had been disinterred from Lebanon Cemetery and were en-route to Jefferson Medical College for dissection. Philadelphia’s African-Americans were outraged, and a crowd assembled at the city morgue where the discovered bodies were sent. Reportedly, one of the crowd urged the group to swear that they would seek revenge for those who participated in desecration of the graves; another man screamed when he discovered the body of his 29-year-old brother. The Philadelphia Press broke the story when a teary, elderly woman identified her husband’s body, whose burial she had afforded only by begging for the $22 at the wharves where he had been employed. Physician William S. Forbes was indicted, and the case led to passage of various Anatomical Acts.

After the public hanging of 39 Dakota warriors in the aftermath of the Dakota War of 1862, a group of doctors removed the bodies under cover of darkness from their riverside grave and divided the corpses among themselves. Doctor William Worrall Mayo received the body of a warrior called “Cut Nose” and dissected it in the presence of other doctors. He then cleaned and articulated the skeleton and kept the bones in an iron kettle in his office. His sons received their first lessons in osteology from this skeleton.

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Although some states took matter into their own hands, such as Massachusetts’ Anatomy Act of 1831, on a more local level, people used methods similar to those in Britain to ensure their loved one’s grave remained untouched. Police were engaged to watch the burying grounds but were often bribed or made drunk. Spring guns were set in the coffins, and poorer families would leave items like a stone, flowers or a blade of grass or a shell to show whether the grave was tampered with or not. Particularly popular around the Pennsylvania area were devices known as “cemetery guns”, wood and steel contraptions operated via trip wires arranged around the grave. Even more devastating were ‘coffin torpedoes’, a device invented in 1881 by a former judge, Thomas Howell, which detonated if the resting place of the deceased was tampered with. The aim of such arms were not necessarily to kill (though they frequently did) so much as to deter any future trespassers. In his collection of Boston police force details, Edward Savage made notes of a reward offer on April 13, 1814: “The selectmen offer $100 reward for arrest of grave-robbers at South Burying-Ground”.

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Iron fences were constructed around many burying grounds as well as a deterrent to body snatchers. “Burglar proof grave vaults made of steel” were sold with the promise that loved ones’ remains would not be one of the 40,000 bodies “mutilated every year on dissecting tables in medical colleges in the United States.” The medical appropriation of bodies aroused much popular resentment. Between 1765 and 1884, there were at least 25 documented crowd actions against American medical schools.

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Naturally, bodysnatching was not confined to Britain and America. Instances occurred in China as recently as 2006 with a resurgence in the ancient practice of ghost marriages (the bizarre ceremony of two deceased persons being wed) in the northern coal-mining regions of Shanxi, Hebei and Shandong. Although the practice has long been abandoned in modern China, some superstitious families in isolated rural areas still pay very high prices for the procurement of female corpses for deceased unmarried male relatives. It is speculated that the very high death toll among young male miners in these areas has led more and more entrepreneurial body snatchers to steal female cadavers from graves and then resell them through the black market to families of the deceased. In 2007, a previously convicted grave robber, Song Tiantang, was arrested by Chinese authorities for murdering six women and selling their bodies as “ghost brides”

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Body snatchers in France were called “Les Corbeaux” (the crows), whilst in the Netherlands, poorhouses were accustomed to receiving a small fee from undertakers who paid a fine for ignoring burial laws and resold the bodies, especially those with no family, to doctors.

Contemporary bodysnatching is understandably rare though not unknown; even the famous aren’t immune from post-life escapades; in Cyprus, the former President Tassos Papadopoulos’s body was stolen from his grave on 11 December 2009 and in the following year, the famous broadcaster Alistair Cooke’s bones were removed in New York City and replaced with PVC pipe before his cremation.

A forensics team cordons off a grave where the body of former Cypriot President Tassos Papadopoulos was located in Nicosia

In South America, there are accounts of graves being disturbed in order for body parts to be used in religious rites and ceremonies. Even Charlie Chaplin’s corpse was briefly stolen, in a bid to gain a large ransom. Some disturbed grave plots and empty coffins gave rise to rumours of vampires and other supernatural occurrences.

Finally, there is one other reason for corpses to be taken – for companionship and even sex. Necrophilia – derived from the Greek words: νεκρός (nekros; “dead”) and φιλία (philia; “love”) – is thankfully rare at the best of times and even then tends not to focus on bodies which have made it as far as the graveyard. Yet, the practice can be traced as far back as Ancient Egypt – Herodotus writing in The Histories that, to discourage sexual intercourse with a corpse, ancient Egyptians left deceased beautiful women to decay for “three or four days” before giving them to the embalmers.

Recorded examples of sexual activity with corpses obtained from graveyards include:

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Victor Ardisson

• Victor Ardisson, also known as the “Vampire of Muy,” exploited his position as an undertaker and gravedigger in late 19th century France, by violating many bodies, especially those of young women, and mutilating and decapitating them in some cases. According to his confession, Ardisson regularly spoke to the corpses which he had retrieved, feeling genuine shock and hurt when they would not respond. Ardisson was examined by Dr. Alexis Epaulard, one of the first psychiatrists to associate necrophilia and vampirism. Epaulard diagnosed Ardisson as a “degenerate impulsive sadist and necrophile.”

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Ed Gein

 

• American serial killer and body-snatcher Ed Gein is known to have used disinterred corpses for sexual gratification, as well as, of course, home furnishings.

Daz Lawrence, Horrorpedia

 

 

 

 

 

 

Works more generally related to bodysnatching include:

• H. P. Lovecraft’s works referring to body snatchers include his tales, The Case of Charles Dexter Ward and Herbert West – Reanimator.

• James McGee’s Resurrectionist centres on his main protagonist, James Hawkwood, in hunt of a group of resurrectionists who illegally smuggle bodies for medical school. Central to the theme of the novel, McGee explores the world of the resurrectionists and their doings.

• In Jonathan L. Howards novel Johannes Cabal the Necromancer, the eponymous protagonist practices body snatching.

• In Charles Dickens’s novel, A Tale of Two Cities, Jerry Cruncher works as a “resurrection man” in addition to his work as a porter and messenger at Tellson’s Bank.

• In the film Corridors of Blood, Christopher Lee plays a character called “Resurrection Joe”.

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• Henry Frankenstein’s experiments in bringing life to the deceased rely heavily on the thankless work of Fritz and in later entries into the saga, Karl and Ygor.

• In Mel Brooks’ film Young Frankenstein, Fredrick Frankenstein and Igor dig up a body to attempt to bring it back to life.

The Texas Chain Saw Massacre (1974) infamously opens would an image of an ‘art installation’ at a graveyard that has been constructed from body-parts of interred residents.

Avoid Meeting a Body Snatcher! is a 2009 ‘Danger Zone’ children’s book by Fiona Macdonald.

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Daz Lawrence

http://www.theguardian.com/world/2006/apr/02/usa.features

 


Dr. Frankenstein’s Wax Museum of the Hungry Dead

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‘Piece by bloody piece… he built a nightmare!’

Dr. Frankenstein’s Wax Museum of the Hungry Dead is a 2013 US comedy horror movie produced and directed by Richard Griffin (Creature from the Hillbilly Lagoon; Atomic Brain Invasion; The Disco Exorcist) from a screenplay he co-wrote with Seth Chitwood.

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The film stars Michael Thurber, Jamie Lyn Bagley, Samantha Acampora, Andre Boudreau, Sean Carufel, Alex DiVincenzo, Jesse Dufault, Christopher L. Ferreira, Aurora Grabill, Ryan Hanley, Shannon Hartman, Patrick Keeffe, David Langill,Beatriz Lopez, Jamie Lyn Bagley.

The film is unleashed on DVD in the US courtesy of Wild Eye Releasing DVD on March 24, 2015 as Frankenstein’s Hungry Dead.

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Plot teaser:

A group of high-schoolers on a class trip to a wax museum become the latest victims of the evil doctor Charles Frank, who is attempting to create the perfect human being from the reanimated parts of previous unlucky patrons – reanimating an army of undead mistakes and experiments as the teens try to survive the night.

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One Drop

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‘Save yourself or save the world’

One Drop is a forthcoming 2015 Canadian horror film directed by Tricia Lee (Silent RetreatClean Break) from a screenplay by Corey Brown. The film is being co-produced by Brigitte Kingsley (The Door, The Dark Rising franchise) and executive produced by Michael Baker (Backcountry, Weirdsville). The production is running an online IndieGoGo campaign to help raise funds for post-production and special effects work.

The film stars Lara Gilchrist, Benjamin Arthur, Torri Higginson, Mark Taylor, Julian Richings (Septic Man; Supernatural).

Plot teaser:

Ellie is a drug addict who overdoses and wakes up in the basement of a medical facility. Everyone around her is dead, and she is suddenly nine months pregnant. As she tries to escape, she realises that something not-quite-human is prowling the hallways, and the only means of survival may be growing inside of her…

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What We Become

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‘Stay home. Lock up. Don’t breathe.’

What We Become is a 2015 Danish supernatural horror film written and directed by Bo Mikkelsen and produced by Meta Film. The original title is Sorgenfri.

The film has had some festival showings and is due to be released in Denmark in March 2016.

Main cast: 

Mille Dinesen, Troels Lyby, Ole Dupont, Mikael Birkkjær, Marie Hammer Boda, Therese Damsgaard, Benjamin Engell, Rita Angela, Diana Axelsen, Ella Solgaard

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Plot:

A family of four is quarantined in their home as a virulent strand of the flu spreads into town and they are forced to the extreme to escape alive…

Trailer:

IMDb

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Goodnight Mommy (2014)

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Goodnight Mommy – German: Ich seh, Ich seh (“I See, I See”), UK: Goodnight Mummy – is a 2014 Austrian horror film written and directed by Veronika Franz and Severin Fiala.

Plot:

After undergoing a cosmetic facial surgery, a mother (Susanne Wuest) comes back home to her modern, isolated lakeside house and her ten-year-old twins, Elias and Lukas (Elias and Lukas Schwarz). Her head is swathed in bandages, with only her eyes and mouth visible.

The twins are unnerved with their mother’s appearance and are further taken aback when she begins to exhibit strange behaviour. She pointedly ignores Lukas and appears to only acknowledge Elias in conversation.

Though it is the middle of summer, the mother orders the twins to keep the blinds closed during the day, imposes a strict rule of silence inside the house, and allows them to only play outdoors. The mother also acts cruel and lashes out at Elias physically when he displays mischievous or disobedient acts; something that the boys comment that their mother would never do.

The twins begin to suspect that beneath her bandages, their mother may not be the same person…

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Reviews:

” … everything in this carefully controlled creep-out, gazing into mirrors and peering through shutters and tightly wrapped gauze. When it’s over, even those who have guessed its final twist (because we have seen it before) will immediately want to watch again, if only to check the logic of its shifting points of view.” Jeanette Catsoulis, The New York Times

Goodnight Mommy plays on the nerves with expert cruelty—so much so, actually, that by the time the film belatedly comes clean about the plot secret everyone has already guessed, you’re too pummelled into submission to care. No, the twist isn’t shocking. But the movie around it sure as hell is.” A. A. Dowd, A.V. Club

“Franz and Fiala do a fine job of keeping the audience at arm’s length and – while telling clues are woven into the narrative – the complete picture only emerges once we’ve been subjected (and that is the right word) to an almost unwatchably grisly gear change. The violence is extreme when it comes, but by then it’s been earned.”Andy Psyllides, Sky Movies

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“It is, accordingly, as classy as the genre gets, preferring unease to jump-scares, and psychosis to spooks. Martin Gschlacht’s stark cinematography adds to an overall sense of dread, and the viewer is often reminded of the similarly chilly terrain explored by the youngsters in Michael Haneke’s Funny Games and Caché.” Tara Brady, Irish Times

“The deliberate pacing and moments of cruelty might give the impression of a cold-hearted film, but the significance of what the children are doing and how this situation has been able to manifest is as frightening as the glimpses of visceral bloodshed. This is a potent and disturbing nightmare, with flawless performances and a rich imagination behind its grim façade.” Jonathan Hatfull, SciFiNow

Trailer:

Wikipedia | IMDb


The Suckling (1990)

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‘Flushed away at birth…’

The Suckling, also known as Sewage Baby, is a 1990 American horror film written and directed by Francis Teri.

The film features Frank Rivera (Sasquatch Mountain), Marie Michaels, Gerald Preger, Lisa Petruno, Janet Sovey,  Tim Martin Crouse, Susan Brodsky, Allen Lieb, Bobby Shapiro, Caesar Monroy, Antoinette Greene, Brian Muirhill, Jeff Burchfield, Hector Collazo, Fangoria editor Michael Gingold, Ella Aralovich.

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Plot:

A teenage couple, Rebecca and Phil, seek an abortion at a Brooklyn brothel. Following the operation, toxic waste transforms the discarded foetus into a mutant beast, complete with prehensile umbilical cord and hooked talons for hands.

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Hunting the customers and employees of the house of ill repute, the mutant envelops the house in an enormous placenta and slaughters the inhabitants one by one…

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Buy: Amazon.co.uk

Reviews:

The Suckling is cheap and cheesy, ugly and sleazy. It is trashy, ridiculous and badly acted but bloody hell; it is a film about a giant killer toxic-waste-mutated aborted fetus … It definitely made me laugh and it certainly provides its share of what the fuck moments. I kind of appreciated their enthusiasm; they sure as hell include a lot of wacky shit into their plot.” Goregirl’s Dungeon

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“The film starts off looking like it will be reasonably promising; the abortion scene is suitably distasteful and the ‘birth’ of the creature is accomplished using nicely effective foam latex and animatronics special effects. After that though, it goes downhill fast.” Daniel Benson, DVD Talk

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” … there are some genuinely amusing moments in here from time to time (just not enough of them) and the filmmakers clearly tried to put on a good show within their limited budget (though they’re ultimately not quite successful). The best thing this has to offer is its creature design, which is truly excellent.” The Bloody Pit of Horror

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“This poorly acted horror film has a few inspired, loony moments here and there but it’s mostly a trying, fairly stupid attempt … A guy in a suit plays the fully-grown creature, but the baby creature is an inspired, moving model. Other scenes include some strange S&M games, but very little nudity.” Jeffrey M. Anderson, Combustible Celluloid

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Wikipedia | IMDb

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Raw (2016)

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Raw – also titled Grave – is a 2016 French-Belgian horror film written and directed by Julia Ducournau. It stars Garance Marillier, Ella Rumpf and Rabah Nait Oufella.

Ducaurnau has said her approach to the film is heavily influenced by the Canadian auteur David Cronenberg (The Brood; Videodrome; Naked Lunch).

Raw is being released in France in March 2017, while Focus Features picked the film up for distribution in the US.

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Plot:

Everyone in Justine’s family is a vet. And a vegetarian. At sixteen, she’s a brilliant and promising student. When she starts at veterinary school, she enters a decadent, merciless and dangerously seductive world.

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During the first week of hazing rituals, desperate to fit in whatever the cost, she strays from her family principles when she eats raw meat for the first time. Justine will soon face the terrible and unexpected consequences of her actions when her true self begins to emerge…

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Reviews:

Ducourneau, a first-time writer-director, shows surprisingly sharp command and, more importantly, restraint given the subject matter. Although the film is rooted in arthouse film territory, and is particularly inspired by the films of David Cronenberg and David Lynch, Raw turns out to be its own wild animal. It has rightly earned the buzz that has surrounded the picture, and Ducourneau’s uncompromising vision is one to watch.” Jordan Ruimy, The Playlist

Certainly, coming-of-age films that use genre semantics are not uncommon, but Raw takes this to another level, in fact questioning the use of the semantic while finding its central power and horror. As an allegory of the discovery of identity, shifting sexuality, the sexual power of women, and the first steps into adulthood, it’s a unique and rare film, that will hopefully (and deservedly) find an audience beyond genre film fans.” Shelagh Rowan-Legg, Screen Anarchy

“Ducournau’s control of her material is masterful … The script is at once fiercely original and replete with a rich awareness of the genre, smoothly referencing films from Carrie to Ginger Snaps and The Craft. Marillier is excellent, playing Justine with a subtlety and assurance that grounds the film, even at its most extreme.” Chloe Roddick, Sight & Sound

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Raw is a deliciously fevered stew of nightmare fuel that hangs together with a breezily confident sense of superior craft. Genre-led distribs will be slavering for a taste, while crossover to a slightly more mainstream crowd may be possible, provided they have strong stomachs.” Catherine Bray, Variety

“Everyone but vegetarians will feast their eyes on Raw (Grave), a cleverly written, impressive made and incredibly gory tale of one young woman’s awakening to the pleasures of the flesh — in all senses of the term. Marking the feature debut of French director Julia Ducournau, who leads a terrific young cast into a maelstrom of blood, guts and unfettered sexual awakening…” Jordan Mintzer, The Hollywood Reporter

Raw’s cannibal awakening is paired wittily with a very dark college self-discovery journey in which Justine, a teacher’s pet, experiments with drinking and sex as she navigates her sometimes supportive and sometimes competitive relationship with the aggressive Alexia … Raw is filled with surreally Cronenberg-esque peeks at vet training within the brutalist walls of the campus building, from dog dissections to a horse running on a treadmill.” Alison Willmore, BuzzFeed

Cast and characters:

Wikipedia | IMDb | Official site

 


A Werewolf in the Amazon (2005)

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A Werewolf in the Amazon is a 2005 Brazilian supernatural horror film directed by Ivan Cardoso (The Seven VampiresThe Secret of the Mummy; Nosferato in Brazil) from a screenplay by Rubens Francisco Luchetti, Evandro Mesquita and Flávio de Souza. The film’s original title is Um Lobisomem na Amazônia.

Camp Motion Pictures are releasing the film in the US on digital streaming and DVD on October 4, 2016.

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Main cast:

Paul Naschy, Danielle Winits, Evandro Mesquita, Karina Bacchi, Nuno Leal Maia, Joana Medeiros, Tony Tornado, Guará Rodrigues, Pedro Neschling, Bruno de Luca, Analu Silveira, Orlando Drummond, Sidney Magal.

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Plot:

In search of a powerful hallucinogen, five friends embark on a dangerous journey deep into the Amazon. But a bad trip isn’t the only threat, as they discover when they stumble across the hidden camp of the crazed Dr. Moreau and his murderous animal-human hybrid creations…A-Werewolf-in-the-Amazon-Paul-Naschy-Collection-Camp-DVD

Buy: Amazon.com

Reviews:

“As expected from Ivan Cardoso, the style is intentionally trashy and much closer to comedy than horror. Most of the humour is provided by the banter between Nuno Leal Maia and Tony Tornado playing a doctor and a cop investigating the murders, but other strange plot turns are amusing too, such as the dramatic musical number literally bursting out of nowhere. There is also plenty of female nudity, of course…” Random Avenger, IMDb

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” … most people are going to object to the humor because it’s simply not funny and it takes away from the horror elements but outside of this I think the film offers some cheap thrills. Naschy turns in a good performance in the role of Moreau and the director even allows him a few sex scenes. The supporting actors are actually better than you’d expect in a film like this. All of the actresses have very large breasts and often take their clothes off, which adds to the exploitation nature.” Michael Elliott, IMDb

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“Naschy mostly gives speeches in his lab full of bubbling vials and when the material is as lowbrow as this you kinda feel a bit sorry for him. Still, Naschy is Naschy and since everything here is quite tongue in cheek you do respect him for being a professional about it. The rest of the movie is spent with boring elderly teens who do take their clothes off a lot and the bumbling incompetent people in charge of solving the mysterious murders in the jungle.” Joachim Andersson, Letterboxd.com

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