THE INVISIBLE MONSTER -- IN COLOR!

Richard Webb

THE INVISIBLE MONSTER (12-chapter Republic serial/1950). Director: Fred C. Brannon. 

A fellow who calls himself The Phantom Ruler (Stanley Price) has developed a formula which makes things invisible when they are coated with it. This includes the Ruler's cloak, which makes him invisible as long as he stays within a light beam generated by his special machine. His immediate goal is to get the materials for this formula, but his ultimate plan is to gather an army of invisible soldiers to help him take over the whole country. Determined to stop him are two insurance investigators (!), Lane Carson (Richard Webb of Hillbillies in a Haunted House) and plucky Carol Richards (Aline Towne of Radar Men from the Moon). Meanwhile the evil Burton (Lane Bradford of Zombies of the Stratosphere) and his associates are out to stymie them at every turn. 

Stanley Price as the Phantom Ruler

The Invisible Monster recycles some cliffhangers but is still a snappy, fast-paced and entertaining serial. Square-jawed Webb makes an effective hero and pretty Towne is his more-than-competent companion. As the main villain, Price doesn't chew the scenery and Bradford, as usual, makes a cold, non-nonsense sociopathic assistant. Others in the cast include Tom Steele as a henchman, Marshall Reed as a cop, as well as Roy Gordon as a doctor and John Hamilton as one of the foreigners forced to work for the Phantom Ruler (in positions he secures for them for his own nefarious purposes). Highlights  of the serial include Carol nearly being flattened by a heavy vault door; Lane tied up in a handcar that is packed with explosives and sent hurtling towards a train; Carol and Lane pursued by a minecart full of coal oil that has been set on fire; and others. The fight scenes are lively and well-staged. 

Verdict: Fast-paced fun! ***. 

BEAST FROM HAUNTED CAVE

pitiful victims of Beast from Haunted Cave

BEAST FROM HAUNTED CAVE (1959). Directed by Monte Hellman. Produced by Roger Corman.

Handsome ski instructor Gil Jackson (Michael Forest) is unaware that a certain bunch who require his services are actually a gang that needs a place to hide out after stealing gold bars from an office. The head of the gang is Alex (Frank Wolff), who gets increasingly jealous over his girlfriend Gypsy's (Sheila Noonan) attention to Gil. The other thieves are nervous Marty (Richard Sinatra) and the nerdy Byron (Wally Campo). To cause a distraction during the robbery, Byron plants some charges in a nearby mine, inadvertently killing an old man. As the gang hide out in Gil's cabin with his Native housekeeper Small Dove (Kay Jennings), a bizarre, barely seen creature with snagging tentacles comes out of the mine ... 

Michael Forest

Beast from Haunted Cave might have been a more memorable picture if Roger Corman had not just produced but directed, as the film lacks the snappy tension of, say, Attack of the Crab Monsters (which also had a better premise). Charles Griffith's screenplay serves up some moderately interesting but half-baked characters, but it's the acting that makes them come alive, with each member of the cast giving more than the picture is worth. An amusing aspect is that Byron goes into the cave to see if he can save Small Dove after she is carried off by the tentacles, but hero Gil just sort of forgets about her as he tries to run off with Gypsy. Andrew M. Costikyan has contributed some moody and atmospheric photography of the cave and the woods, while Alexander Laszlo's score (Attack of the Giant Leeches) is typically strange but effective. 

Frank Wolff and Sheila Noonan

The squeals of the monster were lifted from Burt Gordon's Earth vs the Spider, and are the sounds of the giant spider. The monster in this, played by Chris Robinson, resembles a hulking, amorphous thingamajig covered in seaweed and webbing and with skinny, pincer-like appendages. It wraps its still-living victims in flimsy cocoons and apparently wants to suck their blood. An unintentionally hilarious scene has Gypsy telling Gil that the gang members are going to kill him, then adding that she intends to "stick around with him" (after he's dead, perhaps?) This movie might have been better if there was more of the monster and less of the gang. Michael Forest, a hunk with talent, appeared in many subsequent productions, as did Wolff. Noonan was also in The Incredible Petrified World but only had a few other credits. 

Verdict: With Corman at the helm this might have been more memorable. **1/4.

"TWICE THE THRILLS! TWICE THE CHILLS!"

"TWICE THE THRILLS! TWICE THE CHILLS!" Horror and Science Fiction Double Features, 1955 - 1974. Bryan Senn. McFarland; 2019. 

In this genuinely thrilling and well-written -- and humongous -- tome, author Senn covers all of the famous and infamous double-bills from various production companies (including AIP and Hammer Studios) throughout the fifties, sixties and early seventies. Senn writes with flair and intelligence about these mostly "B" horror/sci-fi/exploitation flicks, and it may make you want to revisit some of these gems or search out any movies that you have yet to see. They're all here, starting with Revenge of the Creature and Cult of the Cobra, continuing on with The Wasp Woman and Beast from Haunted Cave as well as Joan Crawford in Berserk and Torture Garden and winding up with Frankenstein and the Monster from Hell and Captain Kronos, Vampire Hunter. Senn doesn't condescend to these movies, no matter how low the budget, and thank goodness he sticks to accurate and informative analysis instead of pretentious psycho-twaddle. Of course you're not going to agree with his estimation of every movie, some of which he likes way better than I do (and vice versa), but that's just part of the fun. A minor complaint is that Senn perhaps spends too much space on those atrocious Andy Milligan films -- even reading about them is a bit tiresome -- but he is nothing if not complete. Oversized trade paperback that is packed with illustrations. 

Verdict: If you love these kinds of movies, this book is a rare treat! ***1/2.

THE MYSTERIOUS MAGICIAN

Bad guys: Brockmann, Lange, John, Waitzmann

THE MYSTERIOUS MAGICIAN (aka Der Hexer/1964). Director: Alfred Vohrer. In "Ultrascope." 

Gwenda Milton (Petra von der Linde), the secretary to a corpulent man named Messer (Jochen Brockmann), is strangled and her body dumped in the Thames. Realizing that Gwenda was the sister of criminal mastermind Arthur Milton, popularly known as the "Ringer," Inspector Bryan Edgar Higgins (Joachim Fuchsberger of The Fellowship of the Frog) figures that his adversary is bound to come to London for the funeral and to get even with the people who killed Gwenda. Joining him in his quest for the Ringer is veteran cop Inspector Warren (Siegfried Lowitz), as well as a mysterious man named Wesby (Heinz Drache of The Brides of Fu Manchu), who shows up at opportune moments and may even be the Ringer. Meanwhile Milton's wife, Cora Ann (Margot Trooger), has arrived in London and is in obvious communication with her unseen husband. Higgins promises his girlfriend, Elise (Sophie Hardy), that he will marry her if he captures the Ringer. As for the Ringer, he is going about taking care of the members of Messer's white slavery racket, including Reverend Hopkins (Carl Lange of Death in a Red Jaguar),  Shelby (Karl John), and Reddingwood (Kurt Waitzmann), who guides the gang's mini-sub.

Heinz Drache and Joachim Fuchsberger

Another Edgar Wallace adaptation from West Germany, this is a fast-paced, entertaining, fun movie featuring both of the "heroes" from the series, Fuchsberger and Drache. Elements from sixties spy movies had crept into the krimi movies and Fuchsberger sometimes comes off more like a spy than a police inspector, but that's not a problem in this picture. The Ringer had also appeared in a couple of earlier British films. You may think you have figured out who the Ringer is but you might be wrong. Siegfried Schurenberg appears as Higgins' boss, Sir John, but is not so buffoonish in this. The name Bryan Edgar Higgins is an in-joke referring to Bryan Edgar Wallace, the son of the famous author and a writer himself.  

Verdict: One of the better West German Wallace adaptations. ***. 

ANATOMY OF A PSYCHO

Russ Bender, Ronnie Burns, Pamela Lincoln

ANATOMY OF A PSYCHO (1961). Director: Boris Petroff.

Chet Marco (Darrell Howe) is freaking out because his brother, Duke, is being executed for murder. Chet tells their sister, Pat (Pamela Lincoln), that Duke told him he was innocent, but Pat assures him that their brother was not only guilty, but was pretty much a murderous hoodlum. But Chet can't forget that he and Pat were raised by Duke, and is still grateful to him. Pat gets engaged to Mickey (Ronnie Burns), at first unaware that his father, Frank (Russ Bender of Motorcycle Gang), was the chief witness against Duke. Then Mickey makes the mistake of telling not only Pat, but Chet about his father's testimony. Already a borderline psycho, Chet really goes off the deep end now. 

Darrell Howe

Despite its title, Anatomy of a Psycho is not a psycho-shocker or slasher film although it's clearly meant to summon up images of the Hitchcock classic. Anatomy is low-budget but absorbing, and has some decent performances. Darrell Howe is effective as Chet, although one can't relate to him, the main character, because he's simply so utterly odious, doing one horrible thing after another, although the film tries to make some excuses for him. Ronnie Burns, the adopted son of George Burns and Gracie Allen, acquits himself nicely as Mickey, who winds up on trial for first-degree murder (an unlikely scenario) due to Chet's actions, but Burns retired from show biz after this film; Howe had only a few credits. Pamela Lincoln was the daughter of Verna Hillie of Mystery Mountain and also appeared in The Tingler with Vincent Price and a few others.   

Verdict: Mildly interesting if not terribly memorable melodrama. **1/4.  

THE SUBSTANCE

Demi Moore

THE SUBSTANCE (2024). Written and directed by Coralie Fargeat. 

Elisabeth Sparkle (Demi Moore of Parasite) has a very popular exercise program but boss Harvey (Dennis Quiad) thinks she's grown too old and has to be replaced. A certain doctor lets Elisabeth know about a new, highly secretive procedure that she might be interested in. Via injections and other outre methods, Elisabeth winds up growing a younger version of herself (Margaret Qualley) out of her own back. Apparently these two bodies share the same mind -- at least at first -- but they must switch off every other week while the other one stays comatose in a secret chamber. Eventually, unfortunately, the younger and older versions of Elisabeth see themselves as separate entities, and jealousy ensues -- and lots worse! 

Margaret Qualley

The Substance is hardly the first movie to deal with age discrimination, or to deal with a woman who takes outrageous steps to become younger and faces dire consequences because of it. The Leech Woman and Countess Dracula are only two that come to mind. (The Manitou also presented a woman with a tumor inside her back that turns out to be a malignant human being.) Just like those others, the characterization in The Substance is kind of thin. Therefore what we've got left is an admittedly entertaining black comedy that pulls you in after a slow start. The performances are broad but good -- this includes Gore Abrahms as Oliver -- and the cinematography (Benjamin Crakun) is outstanding. 

Work out!

Two questions remain. The younger version of Elisabeth apparently doesn't actually look that much like her or people would wonder if she were her own daughter, which never happens. Secondly, there is never any talk of financial terms when Elisabeth makes her deal with the devil (so to speak) -- surely this incredible and weird procedure would cost a lot. Of course, these things don't really matter when you consider that The Substance proceeds like a very dark fairy tale and works fairly well on that level. The riotous over-the-top climax goes on too long -- the whole movie is too long -- and its coda is a little too cute. This was nominated for five Oscars, including Best Picture, Actress, and Screenplay, but not for cinematography, the only one it really deserves! The best scene shows Elisabeth preparing to go out on a date as her older self, trying one look after another, and then just giving up in despair. 

Verdict: Fun, gross, interesting, but not as original -- nor quite as good -- as one might imagine. ***. 

AQUAMAN AND THE LOST KINGDOM

Jason Momoa as Aquaman

AQUAMAN AND THE LOST KINGDOM (2023). Director: James Wan. 

In this sequel to Aquaman, Arthur Curry (Jason Momoa) has to team up with his brother, Orm (Patrick Wilson), getting him out of a horrible prison, when the threat of Black Manta (Yahya Abdul-Mateen II) again rears its head. Manta -- who blames Aquaman for his father's death and basically wants to hold everyone responsible -- finds an ancient trident and enters into an unholy alliance with a demonic figure, Cartex, from a lost kingdom called Necrus. Manta has also discovered an ancient fuel which long-ago Atlanteans realized was too dangerous, and now it is threatening the entire world, creating mutations such as giant bugs and man-eating plants, due to radiation. With the help of a nerdy scientist, Dr. Shin (Randall Park), the two brothers attempt to stop Manta before he can destroy Earth, both the surface world and the world beneath the waves.  

Black Manta

Atlantis has not yet revealed itself to the surface world at the beginning of the film, and most of the Atlantean council want to eradicate it, just as Orm does. Aquaman, of course, mightily objects to this. He does have other allies, however, including his mother, Atlanna (Nicole Kidman), wife Mera (Amber Heard), and his father Tom (Temuera Morrison), as well as some strange undersea creatures, many of which hang out in a sunken citadel full of odd talking fish-people. Then there's Topo, the cephalopod, a genetically-engineered octopus or squid who showed up now and then in the old Aquaman comics stories. There's also an adorable little baby boy, child of Arthur and Mera, who is kidnapped by Black Manta (who actually killed him in the comics, but not in the film). 

Brothers bond: Wilson and Momoa

One problem with the film -- for me at least -- is that in this Aquaman follows in the footsteps of Marvel's Thor and has been turned into a dopey comic figure. While the FX and photography are all first-rate, and the film is undeniably colorful, others have noted that it seems like a hodge podge of old ideas and different movies, turning into a mere empty spectacle that is good to look at, modestly entertaining, and ultimately forgettable. Hopefully I'm not giving too much away when I reveal that the two brothers are reunited and Atlantis reveals itself to the world at large in the finale. One hopes this doesn't mean there will be a third Aquaman movie.

Verdict: Okay if you're in a silly mood. **1/4. 

ISLAND OF LOST WOMEN

Jeff Richards and John Smith

ISLAND OF LOST WOMEN (1959). Director: Frank Tuttle. Colorized.

Radio commentator Mark Bradley (Jeff Richards) and his pilot Joe Walker (John Smith of Hot Rod Girl) run into engine trouble and make a landing on what appears to be a deserted island. However, there are several occupants, including three beautiful women: Venus (Venetia Stevenson of The Big Night); Urana (Diane Jergens); and Mercuria (June Blair). Their father, Dr. Paul Lujan (Alan Napier of The Mole People) ran away from the world with his now-dead wife and small daughters because he could see what was coming, as he was an associate of Einstein's and an expert in nuclear fission. When the two men discover who he is, Bradley wants to break the story of the missing scientist when he gets back to civilization, only Lujan wants to hold them prisoner. After Lujan destroys their plane with a flame-thrower gun, Mark and Joe concoct a plan to build a raft and leave the island. But then the gals want to go with them ... 

John Smith with the women

Island of Lost Women is a mediocre timewaster with an interesting premise, but not that much is done with it. The performances are all competent, although Richards has been seen to better advantage elsewhere, and the talented Venetia Stevenson is pretty much wasted. John Smith makes a better impression, even if he's getting by mostly on charm. The other gals are cute and Napier does the best he can with an under-written and rather sappy role. This reminds one a bit of Fire Maidens of Outer Space -- a father and daughters in an isolated habitat -- but even that was more fun than this!

Verdict: At least there's a rather good-looking cast! **. 

THE SQUEAKER

Gunter Pfitzmann and Heinz Drache

THE SQUEAKER (aka Der Zinker/1963). Director: Alfred Vohrer. 

In London a criminal mastermind called the Snake is being pursued by Inspector Elford (Heinz Drache). The Snake seems to somehow be involved with a zoo managed by Frank Sutton (Gunter Pfitzmann), who receives a threatening letter from the Snake. Sutton's fiancee, Beryl (Barbara Rutting), is a mystery writer as well as the niece of the lovably eccentric Nancy Mulford (Agnes Windeck), who owns the zoo and lives in a sprawling mansion. Other characters include newspaper publisher Sir Geoffrey (Siegfried Schurenberg); his mincing if hetero reporter, Harras (Eddi Arent); Millie Trent (Inge Langen), Sutton's strangely hostile secretary; and the skulking Krishna (Klaus Kinski), who carries out much of the Snake's dirty work. 

Drache with Agnes Windeck

The Squeaker takes a while to get going and some viewers may want to give up on it after about half an hour of relative tedium. But eventually the movie becomes rather lively, with some creative deaths, prowling tigers, weird weapons, and quite a few slithering reptiles, as well as an interesting climax wherein the eccentric old lady -- who has her own axe to grind -- confronts the Snake in her dining room. The villain's identity may or may not come as a surprise, although it's telegraphed towards the end. The cast is game, with Agnes Windeck really scoring as the old lady, but Eddi Arent -- who gives virtually the same unfunny performance in every single movie -- is incredibly irritating.  

Verdict: Yet another West German Edgar Wallace adaptation which is not without interest. **1/2. 

THE SCREAMING SKULL

John Hudson and Peggy Webber

THE SCREAMING SKULL (1958). Director: Alex Nichol. Colorized. 

Eric Whitlock (John Hudson) brings his new wife, Jenni (Peggy Webber), home to his estate where his first wife died in an accident. Insecure and neurotic, Jenni has spent time in a sanitarium -- and not just for a rest cure. Now she begins seeing a skull lying and even moving about when no one else is around. Eric suspects the culprit is the simple-minded caretaker and gardener, Mickey (Alex Nicol, who also directed), but he denies all. Jenni wonders if she should just pack it in and head back to the nuthouse ...

Webber with Alex Nichol

The plot isn't much in this standard thriller, but it's well acted, competently directed by Nicol, and well-photographed by Floyd Crosby, who did a lot of work for Roger Corman (including Attack of the Crab Monsters). John Hudson was the twin brother of William Hudson of Attack of the 50 Foot Woman fame. Although not especially attractive by conventional Hollywood standards, Webber was a very talented actress and acquits herself admirably in this pot-boiler. Nicol isn't always convincing as a simpleton, but he generally gets it across. The story mixes touches of the supernatural with a heinous human plot but this approach doesn't always blend well.    

Verdict: Good performances help put this over but it isn't that memorable. **1/4.