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Eyes Without a Face

A fan of silent serials and a precursor to the French Nouvelle Vague, Georges Franju was inspired by the early thrillers of Louis Feuillade when he made the haunting, at times shocking, story of a disfigured woman, a driven scientist, and the horror of physical beauty.

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Mulholland Drive

David Lynch’s tale of an aspiring actress becomes a surreal nightmare, a puzzle box of a film about the dark side of Hollywood played out against the sunny Los Angeles landscape.

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Creature of Destruction

“There is no monster in the world so treacherous as man.” So we are reminded at the beginning of Larry Buchanan’s Creature of Destruction and, just in case we forgot, at the end of the film as well. I like a film with a message, but the message is considerably less interesting if the film…

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Murders in the Rue Morgue

Director Gordon Hessler is back for another AIP Poe adaptation, this one mildly clever in the way it incorporates the Poe elements into the film. As we saw with The Oblong Box and many others, it was common to take the title of a Poe short story or poem, apply it to the film, then…

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Vampyr

There is a moment in Danish filmmaker Carl Theodor Dreyer’s Vampyr, a relatively unimportant throw-away couple of seconds, where the nominal hero of the story catches sight of a couple of shadows — shadows with no physical source to cast them — creeping across a field. Either because of the particularly old source material or the specific intention of the director, the film is grainy, hazy, gauzy.

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Punching Cthulhu in the Face

My latest on The Cultural Gutter is Punching Cthulhu in the Face. Pulp fiction writer Robert E. Howard is best known as the creator of Conan the Barbarian. How does Lovecraft’s style of vague dread and horror experienced by perpetually terrified academics hold up when the main player is, say, a skull-cracking Pictish king who laughs at the eldritch horror of the Elder Gods?

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The Devil Rides Out

Hammer and Christopher Lee tackle Satan and Dennis Wheatley’s occult adventurer Duc de Richleau on one of the studio’s finest horror films, despite some shoddy special effects at the back end.