ABBOTT AND COSTELLO MEET FRANKENSTEIN

Franky (Glenn Strange) goes after Lou Costello

ABBOTT AND COSTELLO MEET FRANKENSTEIN (1948). Director: Charles Barton. 

Wilbur (Lou Costello) and Chick (Bud Abbott) work for a shipping company and are told to bring two items to a House of Horrors without fail. One item is a coffin that contains the living Count Dracula (Bela Lugosi of The Corpse Vanishes) and the other is a crate that holds Frankenstein (Glenn Strange), whom the vampire has under his control. Meanwhile Sandra (Lenore Aubert of The Catman of Paris) romances Wilbur because she wants to put his simple-minded brain in Frankenstein's body so that the monster will be more easily manipulated. Two other people get involved in the frenzied, comical action: Larry Talbot (Lon Chaney Jr.), who turns into the Wolfman when the moon is full and warns the boys about what's going on with Drac and Franky; and Joan (Jane Randolph of The Mysterious Mr. M), an insurance agent for the shipping company. Will poor Wilbur become subjected to a brain transplant?

Gruesome twosome: Bela Lugosi and Lenore Aubert

Abbott and Costello Meet Frankenstein is practically a textbook case of how to do a spoof the right way. The trick is that everyone pretty much plays it straight except for the two stars, who by this point were old hands at their comical schtick. The movie is not only consistently funny, but even exciting and suspenseful at times, and is also very well-produced. Frank Skinner's excellent score makes the most of every sequence. Other cast members include Frank Ferguson as the testy owner of the House of Horrors (whose exhibits turn out to be alive), and Charles Bradstreet as the handsome Professor Stevens, who works with Sandra but has no idea what she's really up to. 

Verdict: Classic comedy with the fellows in top form and a very adept and enthusiastic supporting cast. ***1/2. 

THE TRAP SNAPS SHUT AT MIDNIGHT

Jerry Cotton (George Nader) goes into action!

THE TRAP SNAPS SHUT AT MIDNIGHT (aka Um Null Uhr schnappt die Halle zu/1966). Director: Harald Philipp.  

A small-time operator named Hatton (Gert Gunther Hoffmann) steals a truck and is alarmed to discover it is stuffed with vats of nitroglycerine. The cool blonde Maureen (Dominique Wilms of OSS 117 -- Panic in Bangkok) acts as go-between for him and big-time operator Larry Link (Horst Frank of Eye in the Labryinth), but Hatton isn't in the picture for long. Link contacts the authorities and threatens to use the nitro to blow up Manhattan if he isn't paid one million smackers. FBI agent Jerry Cotton (George Nader) and his partner Phil Decker (Heinz Weiss) are assigned to get the crooks and find the nitro -- before a summer heat wave causes it to explode! 

Dominique Wilms and George Nader

This is the third of the West German Jerry Cotton films starring George Nader, and as usual it's entertaining and well-played. The film is distinguished by two exciting action scenes: when Jerry masquerades as a window washer and nearly falls to the sidewalk far below; and a tense sequence on the Manhattan Bridge when Jerry has to fight off a thug and get rid of a bomb attached to one of the nitro canisters at one and the same time. The editing manages to blend Jerry and the other characters into the New York City exteriors quite well, and the irritating theme music is used sparingly for a change. 

Verdict: More than decent action film from West Germany. ***. 

KILL ME, DEADLY

KILL ME, DEADLY (2015). Director: Darrett Sanders.

In this film noir spoof set in 1947 and shot in black and white a private eye, Charlie Nickels (Dean Lemont), goes to see a client (Lesley-Anne Down of In the Devil's Garden) who fears her life is in danger and sure enough she is shot to death not much later. Suspects include her nerdy son, Clive (Nicholas S. Williams), sexy daughter, Veronica (Raleigh Holmes), the fired gardener and butler, and a chubby femme fatale named Mona (Kirsten Vangsness) who is a sultry singer in a nightclub. This should all be great material for a hilarious satire but the movie is slow and dull and shockingly unfunny, with only a couple of mild chuckles throughout. Occasionally the dialogue is clever, but more often cliched. The stylized performances aren't especially amusing either, defeating the whole purpose of the movie, although some of them, especially Vangsness -- who does a mean imitation of Kathleen Turner -- and Down, give it their all. The climax is a little bit interesting, but not enough to save the movie. This was based on a stage play that might have worked with the right players, but Carol Burnett herself might have been stumped by the material. Vangsness was the executive producer and two of her co-stars on Criminal Minds have parts: Shemar Moore in a bit as a piano player and Joe Mantegna as Bugsy Siegel.

Verdict: This is deadly all right. Watch Kiss Me Deadly instead. *1/2. 

BAREBONES 19

 barebones 19. (2024). Edited by John Scoleri and Peter Enfantino.

The latest issue of barebones, # 19, edited by John Scoleri and Peter Enfantino, features articles on Jack the Ripper; the classic western show Rawhide; films directed by W. Lee Wilder (Billy's brother), such as Killers from Space; Mike Shayne Mystery Magazine; the first Bond novel, Casino Royale, and its TV and film adaptations; and my own piece on the wild series YANCY DERRINGER starring Jock Mahoney.

And even more!

You can buy a copy on Amazon here!

SUNSET SERENADE

Roy Rogers listens as Gabby Hayes sings

SUNSET SERENADE (1942). Director: Joseph Kane.

Although Vera Martin (Joan Woodbury) thought she was going to inherit a ranch from the deceased owner, it actually goes to his nephew, a one-year-old baby in the care of Sylvia Clark (Helen Parrish of X Marks the Spot). Sylvia doesn't know that Vera and her friend, Jackson (Onslow Stevens), are scheming to get the ranch away from her for a song. Wouldn't you know that Roy Rogers, Gabby Hayes, Bob Nolan (of Heldorado) and his Sons of the Pioneers ((including Pat Brady) are in the vicinity, out of work cowboys who are practically starving. In exchange for vittles, most of which are "et" by Gabby, Roy and his buddies help out Sylvia. Later on they have a shoot-out with Jackson's gang when he tries to steal cattle that Sylvia just sold to Clifford Sheldon (Frank M. Thomas) and Roy saves the man from a rushing river when a dam is exploded. There are also some forgettable songs sung by Roy, Bob, Pat and even annoying Gabby. Trigger doesn't have much to do in this one. Roy Barcroft of G-Men Never Forget plays one of the gang of bad guys. A "modern" western from Republic studios. 

Verdict: Acceptable but mediocre Roy Rogers entry. **. 

THE CRAWLING EYE

The alien eye creatures go on the attack!

THE CRAWLING EYE (aka The Trollenberg Terror/1958). Director: Quentin Lawrence. Colorized.

Alan Brooks (Forrest Tucker of The Strange World of Planet X) travels to the Trollenberg mountain in Switzerland at the behest of scientist Crevett (Warren Mitchell), whose observatory is studying cosmic rays. Crevett feels that something weird that happened years ago in the Andes is now happening on the Trollenberg. There are strange deaths of climbers, some of whom wind up decapitated, and a radioactive cloud that is able to move independently. All of this is disturbing to Anne Pilgrim (Janet Munro), who is one half of a telepathic act with her sister Sarah (Jennifer Jayne), and who picks up "thoughts" from whatever it is on top of the Trollenberg. Brooks and the sisters, along with reporter Philip Truscott (Laurence Payne of The Tell-Tale Heart), try not to panic when the cloud starts moving downwards towards the village and they finally see what's inside ...

Telepathic: Janet Munro picks up signals from the mountain

Based on a British mini-series, The Crawling Eye is a highly creepy and suspenseful horror show with more than competent acting, an eerie premise, and several memorable sequences. The FX work is crude and low-budget, but nevertheless effective, and there's a good score by Stanley Black (there's an especially nice passage during a scary sequence at a cabin which is slowly being enveloped by a freezing mist). A particularly tense scene occurs when the cable on the car taking frightened passengers up to the observatory begins to freeze ... As usual in films of this nature, there is plenty of illogic. When one little girl leaves her mother's side near the lower landing of the cable car to look for her ball in the inn below, one can't imagine this toddler being able to make it such a distance in so short a time. (This could have been corrected if the shot of the inn made it seem much closer.) The sequence in the cabin as shot also seems a bit impossible. But the movie is such gruesome fun that it scarcely matters. The color definitely adds a new dimension. 

Verdict: Giant eyeballs with tentacles, severed heads -- what more can you ask for? ***. 

THE D.A.'S MAN

John Compton

THE D.A.'S MAN (1959). One season and 26 half-hour episodes.

Shannon (John Compton) is a former private eye who is now working with the district attorney's office in Manhattan as an undercover investigator. He reports to assistant D.A. Al Bonacorsi (Ralph Manza), and often works with another ADA named Ed Carney (Alfred Shelly). Although Compton was almost illegally good-looking, the stories rarely make references to his appearance, -- "a face like a Greek God," a woman says in "The Duke" --  although there are indications that he's a bit of a ladies man. 

"Iron Mike Benedict:" Wm Fawcett; Compton

Among the more memorable episodes: "The Actress" features an excellent Whitney Blake as a junkie waiting for her fix to arrive as an undercover Shannon waits with her and tries to help her. "Manhattan Gigolo" has Shannon "dating" an old woman as part of an investigation into a murderous Park Avenue safecracker (Paul Burke). William Fawcett gives a fine performance as "Iron Mike Benedict," one of the alcoholic victims of Stafford Repp, a bar owner who poisons customers for their insurance money. In the touching conclusion, Mike comes to see Shannon, in disguise as a bowery bum, as the son he never had. 

Alfred Shelly with Compton

Robert Ellenstein grooms young ladies for prostitution in "Mr. Santa Claus." Shannon goes undercover as a boxer to trap men who murder fighters who refuse to take a dive in "Club Fighter." In "Shakedown," in which phony cops and a pretty gal scam lonely out-of-town businessmen, Compton puts on a very convincing hayseed impersonation. In "The Duke" John Hudson heads a gang of fur thieves at a bar-hangout which Shannon infiltrates. Shannon investigates a murder in a small town in "Girls Best Friend."

The D.A.'s Man was an interesting series that was too short-lived to make much of an impression or help Compton's career. Compton's performances were a little uneven, as well, sometimes quite perfunctory, and other times -- especially when he was in character as part of his cover -- much more impressive. All but a couple of the episodes are available on youtube. 

Verdict: Some good stories and a handsome lead actor never hurt. **3/4. 

UNDER CALIFORNIAN STARS

Roy Rogers 

UNDER CALIFORNIAN  STARS (1948). Director: William Witney. 

Roy Rogers is celebrating his tenth year in pictures and goes home to his ranch for a special radio broadcast. There he learns that his employee, Cookie (Andy Devine), has hired another of his relatives, Caroline (Jane Frazee) but at least this one is pretty. Roy also befriends a little lame boy, Ted (Michael Chapin), whose evil stepfather Lige (Wade Crosby), helps his employer, Pop (George Lloyd), kidnap Trigger for ransom. Ted doesn't tell Roy all that he knows for fear of reprisal, but helps save the day in the end. 

Rogers with Jane Frazee

This is an amiable Roy Rogers Western that benefits greatly from pleasing players and from a a score cobbled together from various sources and composers. Jane Frazee is appealing but perhaps not quite distinctive enough. Michael Chapin also went on to have a number of credits, mostly on television. The lovable Andy Devine gets a few laughs in this, and Trigger -- the only one billed above the title aside from Roy -- goes through his dramatic paces as well. Of course there are the Sons of the Pioneers and a few catchy songs, the best of which are "Dust" and the title tune.  

Verdict: Songs and sentiment plus the thrashing hooves of Trigger! **3/4. 

WITH A MIND TO KILL

 WITH A MIND TO KILL. A James Bond Novel. Anthony Horowitz. 2022; Harper. 

This novel takes place directly after Ian Fleming's excellent final 007 adventure, The Man with the Golden Gun. In that story an amnesiac Bond had been captured by Russians, brainwashed, and sent to kill M, a plot which fortunately fails. Bond was then deprogrammed, and sent into action against assassin Scaramanga -- he proves that he still has the right stuff when he succeeds in his mission. So now M decides on a daring plan -- he will be supposedly assassinated by Bond, who will return to Russia as a fugitive, still brainwashed -- (or so it is hoped that the Russians will believe) -- to find out what's up with a new organization, Stalnaya Ruka (Steel Hand)  that is planning some deadly offensive action. 

Right away Bond falls under suspicion from Colonel Boris, the master of mind control. He also has to convince Boris' beautiful colleague, Katya Leonova -- another person who supervised his brainwashing -- that he is still under their influence. Bond has very mixed emotions about Katya, hating her for her part in what was done to him, but also feeling an undeniable attraction toward her, and coming to feel that she had no choice but to do what she did to him. She is a fascinating character.

Although Bond privately refers to the bullet wound given to him during his adventure with Scaramanga, it is somewhat improbable that M wouldn't have had this taken care of, as it indicates that Bond was somewhere where he shouldn't have been during those months he was supposedly in England. it is even more improbable that none of the Russians notice this wound and wonder or ask about it. 

As the novel progresses the suspense increases as Bond has to pass certain tests, including the elimination of a certain agent in the (architecturally-stunning) Komsomolskaya subway station. As Bond and Katya grow closer he wonders if he can truly trust her. Then Bond is given an assignment to assassinate a certain party in East Berlin at the state opera. Even if he's successful in his mission, will he be able to get out of East Berlin? 

Verdict: Despite some moments that might give the reader pause, this is an exciting and memorable Bond adventure. ***. 

THE SAINT'S GIRL FRIDAY

Louis Hayward as The Saint, Simon Templar

THE SAINT'S GIRL FRIDAY (aka The Saint's Return/1953). Director: Seymour Friedman. Colorized. 

"Did you really drop a man into a vat of acid?" -- elderly lady partygoer.

"No. It was a woman." -- Simon Templar.

When Simon Templar (Louis Hayward of Son of Dr. Jekyll) learns that Judy, an old girlfriend of his, died in a mysterious car accident, he flies to London to investigate, whereupon Chief Inspector Claude Teal (Charles Victor) warns him to stay out of trouble. Learning from her guardian that Judy had huge gambling debts, Simon tries to find which illegal gambling club she was a patron of, and then who the mysterious chief is who owns the place. He enlists the aid of Carol (Naomi Chance) who works for the club to pay off her own debts, and whom Simon affectionately calls his girl Friday. She resists helping him and he and his butler Hoppy (Thomas Gallagher) try various stratagems to collar the gang -- called the River Mob -- and its unknown chief. Then they learn Carol is in serious danger ...

William Russell and Naomi Chance

The always-debonair Louis Hayward makes an excellent Simon Templar and gives a smooth and expert performance. The other cast members, including Jane Carr as the effervescent Katie French; Diana Dors [Berserk] as a lascivious blonde moll in a bad guy's apartment; Fred Johnson as counterfeiter Irish Cassidy; William Russell as gambleholic Keith Merton; and Ian Fleming as his father, Lord Merton, among others, are all quite effective. Sam Kydd has a small role, too. Hayward hadn't played the Saint in fifteen years, since The Saint in New York, and would never play it again. This is fast-paced, has a degree of suspense, and a couple of surprises to boot. For my money, the colorizing adds to the enjoyment. Although it is considered the 9th and final entry in the RKO Saint series, this is a British film from Hammer studios. 

Verdict: Easy to take intrigue from the UK. **3/4.  

THE MURDER MANSION

THE MURDER MANSION (aka La mansion de la niebla/1972). Director: Francisco Lara Polop. 

Hitchhiker Laura (Lisa Leonardi) is first picked up by Porter (Franco Fantasia of Kommissar X: Kill Panther Kill), who can't keep his hands to himself, and then given a motorcycle lift by Fred (Andres Resino). As they travel to Milan on a foggy night, they are nearly run off the road by a Mercedes with two occupants. Traveling the same dark byway are Elsa (Analia Gade), whose husband Ernest (Alberto Dalbes) is off with his mistress, Ellen (Ingrid Garbo); and Elsa's friends Mr. and Mrs. Tremont (Eduardo Fajardo and Yelena Samarina). Most of this bunch wind up in a secluded mansion near a cemetery which is owned by hostess Martha (Ida Galli of A White Dress for Mariale). Martha tells the assemblage a tale about how 12 people were murdered in one night in the mansion by vampires, which may include her Aunt and the old lady's chauffeur (Jose Luis Velasco), both of whom died decades before and supposedly haunt the graveyard. As everyone decides to spend the night despite the absence of electricity, Fred decides to explore the basement level of the building, determined to figure out if there are supernatural elements at play or not. Before he arrives at the solution, there is more than one death. 

In the basement crypt: Andres Resino and Lisa Leonardi

The Murder Mansion is a weird one. Its greatest strength is its unpredictability, although after awhile you get a bit impatient for things to happen and to make sense. The acting seems credible even if the dubbing is strange, and there's a degree of atmosphere. A very strange sequence has Fred and Laura encountering a cloaked man on the roadway who is carrying a huge scythe, and they don't even remark upon it! Even at the end of the film you may not be entirely certain as to exactly what has happened, but it's entertaining enough. Dalbes and Samarina both appeared in Night of the Skull. 

Verdict: Oddball Spanish-Italian co-production will have you guessing or put you to sleep. **1/2. 

FEDERAL OPERATOR 99

Lorna Gray and George J. Lewis

FEDERAL OPERATOR 99 (12-chapter Republic serial/1945). Directors: Spencer Gordon Bennet; Richard Cherwin; Yakima Canutt. Colorized. 

Two determined men are out to get one another. On on side is crime lord Jim Belmont (George J. Lewis of Radar Patrol vs. Spy King) -- with his female partner Rita Parker (Lorna Gray of Flying G-Men) -- and on the other is Jerry Blake (Marten Lamont), aka Federal Operator 99, who is out to stymie everyone of his schemes with the help of feisty "secretary" Joyce Kingston (Helen Talbot). Jim is supposedly a great lover of classical music, but the only piece he ever plays is "Moonlight Sonata." In addition to Rita, he's got Farrell (Hal Taliaferro) and other gunsels working for him, while Jerry has agent Fred Martin (William Stevens). 

Jerry (Marten Lamont) in disguise

Federal Operator 99 is practically a textbook case of how a cliffhanger serial should be handled. The actors play with enthusiasm, the stunt work and fight scenes (with virtually every stick of furniture being smashed) are excellent, there are several outstanding cliffhangers, and the exciting pace never flags. Poor Joyce is nearly cremated at one point, and has a huge propeller heading in her direction at another. Jerry is caught in a room with bars and fiery flame jets and engages in lively fisticuffs with Tom Steele (who plays several roles). There's a highly suspenseful business involving a bomb at a barn door. Joyce and Rita have a "catfight" in the cab of a speeding truck, with the former throwing the latter out on her keister. And there's a thrilling climax in an abandoned theater where our villains come to their richly-deserved fates. This version is colorized and eliminates the opening and closing credits of each chapter. Sometimes we see our heroes escaping a doom trap before we see the trap itself, but this is a minor problem.  

Verdict: Outstanding serial is great fun and even better in color. ***1/2.  

SUPER-ACTION: THE COPPER AGE OF DC COMICS

SUPER-ACTION: THE COPPER AGE OF DC COMICS. William Schoell. BearManor Media; 2024. 

Here is my latest installment in the history of super-hero comic books, this one focusing on DC Comics in the 80's and 90's, the so-called "copper" age. You can read about the rise of the maxi-series, such as Crisis on Infinite Earths, in which DC streamlined its universe and eliminated all of its parallel worlds (for a time at least). Then there's writer-artist John Byrne's big reboot of Superman (which did not last as long as intended, at least not with Byrne at the helm). George Perez' new take on Wonder Woman, in which the lady was turned from a joke into the star of a must-read series. In other developments Batman's partner Dick Grayson grew up, changed his name to Nightwing, and became leader of The New Teen Titans, a series so popular it rivaled Marvel's X-Men for a time. Batman got two new boy partners, Jason Todd and Tim Drake, one of whom is murdered by the Joker in the excellent (if wildly-contrived) "A Death in the Family." Flash. Green Lantern. Suicide Squad. Power of the Atom. More maxi-series than you can shake a stick at: Cosmic Odyssey, Legends, Armageddon 2001, Millennium. Read how DC Comics faced the challenge of Marvel and held its own!

Available on Amazon!

MANHATTAN NIGHT OF MURDER

Heinz Weiss and George Nader

MANHATTAN NIGHT OF MURDER (aka Mordnacht in Manhattan/1965). Director: Harald Philipp. 

In New York a group of thugs called The Hundred Dollar Gang are terrorizing business owners who don't pay the monthly protection fee of $100. During an attack on a restaurateur, the man is shot to death, but apparently not by any of the gang members. FBI agent Jerry Cotton (George Nader) and his partner, Phil Dekker (Heinz Weiss) investigate, and obtain the help of gas station owner Sophie (Elke Neidhart) while doing their best to protect little Billy (Uwe Reichmeister) who witnessed the shooting. Jerry and Phil eventually arrive at the Goldfish Club, where there are "mermaids" in a tank and a cool blonde named Wilma (Silvia Solar of Death and Diamonds) advises the gang members. But she is not the true leader -- that is something Jerry and Phil have to determine before they can put this case to bed.

George Nader

This is the second of eight German action films starring Nader as Cotton, and it is generally entertaining and fast-paced although it drags in some spots. The musical score, featuring the Carnival-like Jerry Cotton theme, becomes pretty annoying, however. Nader makes a good Cotton and the other performances are also adept. There is a terrific scene when one of the thugs, who screwed up, is tied to a chair with a bomb that will go off if anyone opens the door, and Jerry has to enter the room another way to prevent both of them from being killed. There are some fairly exciting fight and chase sequences. The identify of the ultimate gang leader is a small surprise. There are enough location shots to preserve the illusion that this actually takes place in New York City, although one suspects that this was filmed mostly in Germany. This follows The Violin Case Murders and is preceded by The Trap Snaps Shut at Midnight. 

Verdict: 2nd entry in an interesting series. **3/4. 

HELDORADO

A disheveled Roy Rogers after a fist fight 

HELDORADO (1946). Director: William Witney.

In this "modern" western, Nevada State Ranger Roy Rogers (Roy Rogers) nearly arrests Gabby Hayes (also playing himself) for putting up posters for the annual Las Vegas celebration and defacing government property. (Although the posters for the event all through the movie read "Helldorado" with two "l"s, the movie's title has only one "l" -- go figure!) Roy "meets cute" with heiress Carol Randall (Dale Evans), who is dating Alec Baxter (Brad Dexter) without knowing he's a crook helping to pass phony cash in the casinos. Carol has not only been made Queen of Helldorado -- or Heldorado -- but also an honorary deputy sheriff, and she annoys Roy by taking her duties too seriously, trying to find out who murdered Alec when his body is found with bullets in it. Which of them will get to the killer or killers first? And how many songs will Roy sing with or without the Sons of the Pioneers?

Brad Dexter as playboy Alec

Heldorado is certainly not an awful movie but I wish it had been more entertaining. Even serial specialist William Witney, who certainly knew how to pace a movie, can't do much with mediocre and over-familiar material. Like Rogers' voice, the songs are perfectly pleasant, although the title tune sounds as if it were ripped off from somewhere else. The best performance is probably from Brad Dexter as the amiable mountebank Alec. Paul Harvey (of Unmasked) is also effective as the deceptively friendly Driscoll, a bad guy who locks Dale in a refrigerator at one point. The Sons of the Pioneers, with Bob Nolan and Pat Brady, are along for the ride and sing as well. There's also a treasure hunt that doesn't have much to do with the rest of the story, but seems to function as padding.

Verdict: Nothing's too terrible if Roy Rogers is in it! **1/4. 

IN THE DEVIL'S GARDEN

Suzy Kendall

IN THE DEVIL'S GARDEN (aka Assault/1971). Director: Sidney Hayers. 

A girl, Tessa (Lesley-Anne Down), is sexually assaulted in the woods and is so traumatized that she is unable to speak. Then another girl is not only raped but murdered. Dr. Lomax (James Laurenson) tries to get through to the mute girl without success. Detective Velyan (Frank Finlay of Lifeforce) is frustrated by the lack of clues in the case when Julie West (Suzy Kendall of Torso), the arts teacher at the nearby girls' school, gets a glimpse of the killer, but can only describe him as being "like the Devil." Nevertheless she, a reporter (Freddie Jones) and Velyan and his associates cook up a plan to use the brave Julie as a decoy. Meanwhile there are a few suspects, including the headmistress's sleazy husband, Leslie (Tony Beckley of Beware My Brethren), and even Dr. Lomax and some of the police officers. Julie discovers that the killer is much closer than anyone realizes ... 

Frank Finlay and James Laurenson

In the Devi's Garden, originally released under the dull title Assault, is an interesting and suspenseful thriller with some solid performances. The ending is dragged out a bit too much, and the identity of the killer is telegraphed a bit too soon, but there are some intriguing developments nevertheless. Lesley-Anne Down was introduced in this film -- it was actually her fourth movie -- and is unrecognizable at 17. James Cosmo, Dilys Hamlett, Patrick Jordan, and Anthony Ainley also have significant roles. Sidney Hayers also directed Circus of Horrors.

Verdict: Reasonably worthwhile suspense-thriller. **3/4. 

NIGHT OF THE SKULL

The skull-faced killer 

NIGHT OF THE SKULL (aka Le noche de los asesinos/Night of the Killers/1974). Director: Jesus Franco (Jess Franco).

On a dark and stormy night in 19th century Louisiana, Lord Archibald Marian (Angel Menendez), originally from England, is buried alive by an assailant wearing a skull mask. Marian's wife, the vicious Cecelia (Maribel Hildago), is next, chained to rocks as the tide comes in. As the murders continue, all of them seemingly centering on the will and who will gain from it, there are numerous suspects: the weird servants, Rufus (Luis Barboo) and the ill-tempered Deborah (Yelena Samarina of House of a 1000 Dolls); Marian's two bastards, Rita (Lina Romay) and Alfred (Antonio Mayans); Baron Tobias (William Berger) and his wife Marta ((Evelyne Scott); Albert Pagan (Dan van Husen) and his wife. Inspector Bore (Vincente Roca) has just begun investigating when Major Oliver Brooks (Alberto Dalbes) from Scotland Yard arrives to take charge of the baffling case. 

getting ready to read the will

This is one of the prolific director Jess Franco's better movies, which, sadly, isn't saying much. The shame of it is that the film has atmosphere and a very good plot with an excellent twist, but the direction is as uninspired as ever.  Yet the picture isn't boring and has many intriguing aspects to it. Despite the credits, the movie has absolutely nothing to do with Edgar Allan Poe and is not based on any of his writings, but apparently was ripped off from an Edgar Wallace novel. Made in Spain.

Verdict: A pretty good mystery story that would have been much better with someone other than Jess Franco at the helm. **1/2. 

WATCH ME WHEN I KILL

 WATCH ME WHEN I KILL (aka Il gatto dagli occhi di giada/1977). Director: Antonio Bido. 

Mara (Paola Tedesco), an actress who needs some aspirin, is nearly on the scene when a pharmacist is murdered, and the killer seems to think she knows more than she does. When another person is brutally murdered, her boyfriend Lukas (Corrrado Pani), thinks it all may have to do with a jury trial and a murderer who has escaped from prison. Upon further investigation -- and more murders -- Lukas realizes that there is something very different at play here. But will he arrive at the solution before either he or Mara become victims of the killer?

Watch Me When I Kill is an intriguing and suspenseful movie with a convoluted plot and solution that reminds one quite a bit of the storylines of Dario Argento's movies. Alas, director Antonio Bido is not Argento, and aside from one energetic if clumsy bathtub murder (with opera in the background), the film doesn't have much style. Lukas spends an awful lot of time running around from place to place asking questions. An unusual aspect of the movie is that for once the killer has a perfectly plausible motive for snuffing certain individuals. The screenplay is not strictly logical, however. 

Verdict: Take with a grain of salt and this is quite entertaining. ***.  

THE FISH WITH THE EYES OF GOLD

Ricardo Vazquez and Wal Davis

THE FISH WITH THE EYES OF GOLD (aka El pez de los ojos de oro/1974). Director: Pedro L. Ramirez.

In Girona, Spain Zachary (Ricardo Vazquez) witnesses the murder of a woman on a beach by an assailant wearing a scuba outfit. Coincidentally his friend, Derek (Wal Davis), spends the night with a woman who picks him up and when he awakens finds her butchered in the bed. The Inspector (Barta Barri) is suspicious of Derek, who maintains his innocence. Meanwhile the murders continue, and Derek comes to suspect Marco (Rex Martin), a gigolo who is having an affair with Zarchary's wife, Virginia (Norma Kastel). Derek also begins a relationship with Marina (Ada Tauler), whose grumpy father runs an aquarium. While Derek and Zachary are on their way to confront Marco, the brakes on their car fail ... someone is out to keep them from finding out who the killer is. It all seems to tie in with a piece of jewelry shaped like a bizarre fish ... 

Ada Tauler as Marina

The Fish with the Eyes of Gold is a pitiful attempt to come up with a twisty, convoluted, Dario Argento-type shocker along the lines of The Bird with the Crystal Plumage. Forget it! -- this dull movie has a silly and confusing plot line, a poor musical score, virtually no suspense or style, and if you keep watching it's only because you want to learn who the killer is and what his or her motive might be. It's not worth waiting around for. One murder -chase sequence is presented in slow-motion, which makes it even less exciting. One victim is stabbed in the shower, a scene that does not compare favorably with Psycho. 

Verdict: Very poor Spanish giallo. *1/2. 

RADAR MEN FROM THE MOON

Commando Cody takes to the air!

RADAR MEN FROM THE MOON (12-chapter Republic serial/1952). Director: Fred C. Brannon. Colorized. 

With their air running out and facing extinction, aliens on the moon, led by Retik (Roy Barcroft), decide to wipe out earth and take it over. To do this they send one man -- that's right, one man -- Krog (Peter Brocco) to our planet, where he enlists the aid of criminals such as Graber (Clayton Moore of The Lone Ranger), to commit acts of sabotage (which in retrospect are kind of pointless without an army to back it up -- however the Radar Men do have a deadly ray weapon).

Bakewell, Wallace, Towne

Up against the moon menace are Commando Cody (George Wallace) who flies through the air with his jet pack, and his associates Ted (William Bakewell) and plucky, brave Joan (Aline Towne), as well as an associate they report to, Henderson (Don Walters). For twelve chapters our intrepid trio try to get material and weapons from the Radar Men (flying to the moon in their own ship on two occasions), while Graber and his buddies try to wipe them out and destroy their rocket. The good guys face explosives, poison gas, ray guns demolishing their planes, automobiles going over cliffs, a flow of molten rock in a moon cavern, and so on in some exciting cliffhangers. While Radar Men from the Moon may not be an outstanding serial, it is nevertheless fast-paced, silly fun with a more than competent cast. Clayton Moore would eventually graduate from villain roles to serial hero. Footage from previous Republic serials, especially King of the Rocket Men,  is sprinkled liberally throughout this cliffhanger.  

Verdict: Whatever its flaws, this is a fun serial. ***. 

THE CURSE OF THE LIVING CORPSE

"He's after us -- one by one!"

THE CURSE OF THE LIVING CORPSE (1964). Written, produced and directed by Del Tenney. 

When Rufus Sinclair, the miserable patriarch of a 19th century family finally dies, everyone remembers how he was always afraid he'd be buried alive. In spite of that, son Bruce (Robert Milli) has the funeral as soon as possible. When people start dying in gruesome ways -- the maid, Letty (Linda Donovan), winds up with her severed head on a serving platter -- and the patriarch's coffin is found empty, the assumption is that he is still alive and out for revenge. "He's after us -- one by one," exclaims his "widow," Abigail (Helen Waren). Other potential victims include son Philip (Roy Scheider of Jaws), his wife, Vivian (Margot Hartman), lawyer James Benson (Hugh Franklin), nephew Robert (Dino Narizzano) and his girlfriend Deborah (Candace Hilligoss of Carnival of Souls), and others. Who will survive? 

Roy Scheider with Helen Waren in background

The Curse of the Living Corpse reminds one a bit of those "old dark house" movies as we have a cloaked, gloved figure moving through hidden panels and the like. The acting is pretty good, with Robert Milli getting into the Gothic atmosphere of the piece a bit more than the others even if he's a little hammy at times. (He played Horatio in Richard Burton's Broadway production of Hamlet.) Scheider is amusingly  flamboyant in a role quite different from the everyman he essayed in Jaws, and Helen Waren and Hugh Franklin are perhaps the most professional in the rest of the cast, although no one is that bad. Jane Bruce is also amusing as the disapproving and horrified cook, who just wants to hand in her notice even though one boss after another is quickly murdered. George Cotton is also fun as the constable who gets drunk when he should be watching the house and its inhabitants. Margot Hartman was married to the director, Del Tenney. This is low-budget but not badly made in spite of it. 

Verdict: Fun little horror flick with some good performances and a sense of dark humor. **3/4.  

FINAL SUMMER

The killer on the loose!

FINAL SUMMER (2023). Written, directed and produced by John Isberg. 

A young boy is somehow accidentally killed on the last day of summer camp, and counselor Lexi (Jenna Kohn), whose younger brother was run over years ago, feels responsible (as well she should). Not much later a man wearing a skull mask and carrying an ax, begins murdering the other counselors at Camp Silver Lake. Could it be the strange Warren Copper (Robert Gerard Anderson), the camp handyman, whose grandson was killed? A variety of young men and women try to survive while the maniac stalks them and the suspense mounts ... 

Jenna Kohn as Lexi

As Friday the 13th clones go, Final Summer is by no means terrible. The acting is generally good, there are some genuinely tense sequences, and the flick boasts some excellent, moody cinematography (also by director John Isberg). Isberg's screenplay, however, lets the movie -- and movie-goer -- down, as he tries to be too clever, perhaps in hopes of coming out with a sequel. There are too many illogical and confusing moments and anti-climaxes, and I don't know what the hell the killer's motivation was when the ultimate architect behind the murders is revealed (a homage to the original Friday). It is also never explained why the likable Peter (well-played by Wyatt Taber) is captured instead of killed, aside from the fact that the audience may be rooting for him. The ending is way too dragged out. One assumes nobody uses a cell phone because the film takes place in 1991, before their widespread use. While there is plenty of violence, gore geeks will be disappointed that the movie is never bloody disgusting. Thom Mathews, who briefly plays Sheriff Parmer, was Tommy Jarvis in Friday the 13th Part VI: Jason Lives. 

Verdict: Slasher flick just misses. **1/2. 

DEAR DEAD DELILAH

Agnes Moorehead as Delilah

DEAR DEAD DELILAH (1972). Written and directed by John Farris. 

Delilah Charles (Agnes Moorehead) lives in a southern mansion called South Hall with her niece, and nurse, Ellen (Elizabeth Eis) and Ellen's husband, Richard (Robert Gentry), and servants. Richard accidentally bumps into a woman named Leddy (Patricia Carmichael) in a park, knocks her down, and invites her to stay at South Hall, where she is hired as a companion for Delilah. At dinner Delilah tells her brothers Morgan (Michael Ansara) and Alonzo (Dennis Patrick), and younger sister, Grace (Anne Meacham), that she has only a short time to live and is leaving the estate to the state for preservation. However, she insists their late father hid $600,000 in the house or on the grounds and all they have to do is find it. As someone begins taking an ax to various family members and others, Leddy -- who went to an institution after chopping up her hateful mother -- is afraid she is falling back on old ways. But there may be more to this than meets the eye ... 

Robert Gentry as Richard

Moorehead is delightful in her last theatrical film, and she is one of the chief reasons to watch the movie, which is modestly entertaining in any case. Better known as a horror novelist, John Farris proves a better screenwriter than director, although the picture has a pretty good pace. The dysfunctional characters are interesting but the actors really bring them to life. One problem is that when you think about who else could be responsible for the deaths, only one person really springs to mind, minimizing the suspense. Some of the murders are gruesome, especially a wheelchair decapitation with the murderer on horseback -- which is certainly dramatic but not terribly sensible -- but nothing as graphic as today. Meacham was one of Tennessee Williams' favorite actresses, and she appeared in several of his plays. Robert Gentry became a popular soap opera actor, especially on Generations and Another World. Will Geer plays the lawyer Roy. 

Verdict: This low-budget ax fest needs a slicker production and zestier direction but it has its moments. **1/2. 

MY TEACHER, MY OBSESSION

Rusty Joiner ignites his student's interest

MY TEACHER, MY OBSESSION (aka Dad Crush/2018 telefilm). Director: Damian Romay.  

Single dad and high school English teacher Chris (Rusty Joiner) moves with his daughter, Riley (Laura Bilgeri), to a new community where she meets a sullen classmate named Kyla (Lucy Loken). Kyla warns her new friend that mean girl Tricia (Alexandria DeBerry) has got a big crush on her father, and doesn't want her becoming friends with her. But Kyla has also noticed how "hot" the new teach is, and she is rather put out when he starts dating her mother (Jana Lee Hamblin). Kyla determines to change this appalling situation any way she can, and get her hooks into hunky Chris come Hell or high water. 

Chris confronts his daughter

Movies like My Teacher, My Obsession can be a lot of trashy fun, they can be handled with some adult sophistication, or they can be neither, which is the case with this bit of treacle. My Teacher is modestly absorbing but it never develops into anything that entertaining or trenchant. The performances are adequate, and even good at times, although some of the cast members could have shown more emotion at certain points given the circumstances. Kyla's homicidal psychosis seems to come out of nowhere, but characterization is not the telefilm's strong point. Rusty Joiner is a model who turned to acting with mixed results.  

Verdict: Good-looking cast helps put this over ... barely. **. 

EDGE OF THE AXE

The maniac at large

EDGE OF THE AXE (1988/aka Al filo del hacha/1988). Director: Joseph Braunstein (Jose Ramon Larraz).  

A woman killed in a car wash by an ax-wielding maniac is the first of several female victims in the small town of Paddock, which has only two cops. There are plenty of suspects: computer geek Gerald (Barton Faulks); his best friend, the exterminator Richard Simmons (Page Mosely), who married his older wife Laura (Patty Shepard of The Killer is One of 13) for her money; Police Chief McIntosh (Fred Holliday), who tries to discourage everyone from thinking a serial killer is on the loose; creepy Father Clinton (Elmer Modlin); and others. 

Christina Marie Lane and Barton Faulks

Now you might think that the residents of this town, not to mention the (unseen) mayor, would insist that the Police Chief call in the FBI when there is murder after murder with no one being arrested. Then it develops that all of the victims are connected, but only the computer nerd figures it out and only near the very end. The only thing more ridiculous is the identity of the killer -- this come out of nowhere -- who really doesn't seem physically capable of the killings, which are gruesome if not too graphic. The script is disjointed, as if if were written on the fly, or if scenes were left on the cutting room floor. Barton Faulks gives a more than decent performance as Gerald, but both he and best buddy Richard are pretty obnoxious characters. Apparently the director has some sort of following but it's hard to see why, as this film -- while it may have some suspense -- has no style or special flair to it at all. You wouldn't know that this was a Spanish production as the American cast all speak English and no one is dubbed. The movie was filmed at Big Bear in California.

Verdict: An ax murder movie you can miss. **1/4. 

ROBOT MONSTER

George Nader and Ro-Man

ROBOT MONSTER (1953). Produced and directed by Phil Tucker. Screenplay by Wyatt Ordung. Originally shown in 3-D. Colorized. 

"You look like a pooped-out pinwheel!" -- little Johnny to Ro-Man.

After a nuclear war an alien race have wiped out the rest of earth's civilization, aside from a handful of people: a professor (John Mylong) and his wife (Selena Royle); their daughter Alice (Claudia Barrett); their little boy Johnny (Gregory Moffett); his sister Carla (Pamela Paulson); and Alice's sometime boyfriend, Roy (George Nader of Death and Diamonds). Ro-Man (George Barrows; voiced by John Brown) is unaware that these people are immune to his ray guns because of an antibiotic they've taken. Ro-Man -- who appears to be a gorilla wearing a diving helmet -- seems taken with Alice, but will his interest in her be enough to save them? Things get grim in this comic bookish nightmare ... 

Claudia Barrett, John Mylong, George Nader

Behind the opening credits of Robot Monster are a variety of science fiction magazines and comics, which is especially appropriate because the movie is like a kid's comic book story, with ridiculous "science" and not much logic. The basic idea of a family trying to hold out against an all-powerful invader is perfectly good, but the movie -- especially its depiction of the ludicrous invaders -- is even sillier than some of those much-more-entertaining Republic sci fi serials such as Radar Men from the Moon. Still the acting is generally good, with Royle and Barrett playing with conviction, no easy feat considering the movie's absurdities. It's strange that the movie has such downbeat sequences as a child being murdered, however, considering the general tone of the picture. To pad out the running time there is stock footage of dinosaurs with some flimsy excuse for their appearance. Elmer Bernstein's theme music is better than the picture deserves. George Barrows also wore a gorilla outfit in Hillbillies in a Haunted House fourteen years later. Every cast member, aside from the children, had dozens and dozens of credits. 

Verdict: It's not very good but it may hold your attention in spite of it if only to see who survives. **1/4.