Horror Movie Reviews

The Devil's Rain isn't a good film. So if you're a fan of the film and expect me to prattle on about how it's an undiscovered gem, you should read the next review. As a kid I didn't even find this film scary. I did find it absurd and a bad movie classic. It's a shame, really, as Robert Fuest directed a couple of really good horror films most notably the two horror satire Dr. Phibes films with Vincent Price. It's not all his fault, though, as he has a lot less to work with here.

Ernest Borgnine chews the scenery as the evil Corbis. He's been searching for his book (I suppose you could call it a book of blood) that has the names of his disciples written in their own blood. Being an evil guy, he does typical evil things. One of the evil things he doesn't do is write the ridiculous dialog he has to recite. When he possesses the book Corbis will be able to take the souls he has collected to Hell and please his master.

What's impressive is the cast that director Fuest was able to assemble. It must have been a very dry season for these Hollywood vets and newcomers. Tom Skerritt wouldn't be discovered by a wider audience until his breakthrough role in Alien. William Shatner was having a tough time of it (as he mentions himself in his autobiography). For a long time after Trek he wasn't able to find steady work. His performance is quite restrained and, actually, quite credible given some of the bombastic performances in other films. John Travolta had just begun to breakthrough on television and he was still a year away from his first major theatrical appearence in Brian DePalma's Carrie. The reason he's mentioned so prominently in the credits is that the film was finally released after his big break in that film and Saturday Night Fever. Ida Lupino and many of the other actors in this film had seen better roles and better days.

Ernest Borgnin clearly relishes his role as Corbin. Cast against type for a change, he plays a character with absolutely no redeeming value. What's refreshing about the film is the no holds barred performance he gives. Clearly he was happy to be working and could care less about the low budget stature of this film.

Fuest manages to create a couple of interesting set pieces in the film. The conclusion, though, is a complete mess (no pun intended). It's the Wicked Witch's worst nightmare come to life. The effects are passable for the mid-70's and the make up pretty decent (it's clear a large part of the budget went into the make up after looking at the sets). There's a general fatigue to the picture that undermines any chance of suspense. Couple that fact with a script that travels in tired cliches and you have an uninspiring mess of a movie. Director Fuest was a talented fellow but he didn't get much of a chance to make too many other theatrical films. It's really too bad as he proved with the Phibes films and Theater of Blood that, given the right material, he could create a memorable minor classic.

While the film isn't as incompetent as an Ed Wood epic (Fuest's professionalism and the actors involved prevented that from occurring), it's still quite a disaster and probably one film that isn't on most of these actor's filmographies.

I actually enjoyed this movie, but I'm a fan of off-beat horror and I liked Fuest's Phibes movies. The character development is slim to none, the plot pretty simple, and the makeup nothing spectacular, but I liked the unusual structure and pacing and thought many of the cult scenes were creepy and atmospheric. The oddball way in which the story was told made what could have been another conventional drive-in movie rather unpredictable and a little unsettling. Not to say that it's a great movie, but I think that creatively it's above-par for the genre and that many reviewers don't give it enough credit.

This film received 4 stars because it is soooo bad, it's enjoyable! Anton Levey had his satanic hands in this one, advising on the script. Apparently, he knows about as much about film-scripting as anything. It really shows his stupidity and the gullibility of the audience to believe it presents anything realistic. Borgnine plays a campy role as leader of a satanic cult hanging out in a desolate ghost-town. Shattner is at his all time campy best, and Travolta is, well, just try to find Travolta in this, because his part is very 'small' (pun intended). As another reviewer, I saw this film at a very young age. I was frightened (pre-teens tend to be easy that way). Mainly, though, I was interested in the cheesy-on -a-second-look effect of people without eyes (achieved by bad make-up laid over obvious black scrims).
Essentially, Borgnine collects souls in a crystal, and searches for a 'McGuffin' (a pointless object to drive the plot) hidden with Shattner's family.
If you're looking for one of the following things; a great performance by Borgnine, Shattner, Travolta, or a classic and frightening horror film, look elsewhere. If you're looking for maximum Nacho Cheese at Camp Hokey, you will not be disappointed! A humorous film to delight the most jaded Ed Wood fan. Great, unintentional fun.

The great director Robert Wise who brought us "The Haunting" produces an original but muddled film about the theory of reincarnation.

A stranger starts to follow a schoolgirl around the place much to her parent's distress. During a confrontation with the stalker he explains that he believes that their daughter is in fact the reincarnation of his dead daughter who died in an automobile accident and asks them if he can spend a little time with the girl so that he can get to know her. The girl's farther dismisses the man as a lunatic but the mother is not so skeptical and after her daughter starts to experience nightmares and hysteria she begins to believe that the stranger is telling the truth. Cue lots of set pieces involving domestic problems, kidnapping, custody battles and a little girl who is plagued by unknown forces.

All in all this is more family viewing than a horror film and certainly not in least bit terrifying as it would have you think. The story also borders on the ridiculous at times, even though it is supposed to be a film about the supernatural. This is also one of the early works of Anthony Hopkins and you get to see him here as an actor on the up-and-coming. Overall, worthy of Sunday afternoon entertainment, but little more.

Audrey Rose is a good little thriller about reincarnation. it's not scary in a horror movie sort of way like The Excorcist or The Texas Chain Saw Massacre so if you are looking for a movie about demon possession or a movie with lots of blood, guts and decapitations than this aint your flick but if you like stories about reincarnation than this just may be the flick for you! I enjoyed watching Audrey Rose and I thought the girl who played Ivy was really good. And it also stars Anthony Hopkins who is brilliant as Eliot Hoover.

Audrey Rose is I think an outstanding movie about reincarnation, one of the things I like about the movie is that it's a little scary but it's not too scary that it gives you a total wiggins where you get scared when you turn the lights out at night and it has a great cast that includes Anthony Hopkins, Marsha Mason, John Hillerman, John Beck, Norman Lloyd and Susan Swift.

Oh BTW: This is not an Exorcist Spoof, it's about reincarnation, life after death, not demon possesion.

Movie is definitely recommended!

To say THE PROWLER is any kind of great film is simply untrue. However, the whole thing has an eerie, unsettling, dream-like quality to it that carries it through the slower patches and makes the film's near-total lack of coherency and logic much easier to take. The tension is kept taught throughout, and with top-notch scoring, photography, gore effects and direction, makes for a surprisingly effective and repeatable horror film. Just make sure you watch it in the dead of night! The Blue Underground DVD has a fine anamorphic transfer that is as good as the original negatives will allow, some fascinating on-set footage of the make-up effects, an impressive stills and poster gallery that is definitely worth ploughing through and a superb, hugely entertaining commentary with director Joseph Zito and make-up maestro Tom Savini. Very much recommended.

Joseph Zito's relentlessly cruel THE PROWLER is one of the very few memorable films to have emerged from the vast wasteland of 80's era slasher cycle crud. Like THE BURNING and MY BLOODY VALENTINE, THE PROWLER tells an undeniably cliche ridden tale but compensates with memorable characters, decent production values, a surprisingly effective musical score and, of course, some of the most inventive and grotesquely realistic murder sequences in the genre. In fact, this may very well be the most violent movie of its ilk ever made. Despite its ferocious gore, this film somehow managed to get an uncensored theatrical release (with an obviously bogus "R" rating).

While there are no real surprises on hand for the horror aficionado, THE PROWLER is so slickly filmed by real craftsmen that it naturally has instant appeal as one of the only competently directed and watchable movies of its kind. If there is such a thing as a "classic" slasher, THE PROWLER is surely one.

The Blue Underground DVD is a highly recommended purchase for fans of this terrific little gorefest. The film is presented in widescreen format (1.85:1) in a nice, colorful transfer, looking much better than it ever has before. Disc extras include trailers, a poster/stills gallery and a fun but brief behind-the-scenes videotaped look at Tom Savini's awesome makeup effects. Best bonus of all is an occasionally raucous audio commentary by Savini and director Joseph Zito, in which the two apparent friends share informative and entertaining tidbits about the film's often chaotic production.

This forgotten gem of a slasher movie is the R-rated version.
Several years ago, I rented The Prowler UNRATED version from a
mom and pop store in Van Nuys, Ca. I copied it and then returned
it late for one night. The following week, the video store burned
to the ground! Needless to say, I never had to pay the late fee!
Anyway, the UNRATED version is extremely gory and it's very cool
even on VHS. Tom Savini(SPFX Artist) would be proud!!
Ted Buchanan
Tujunga, CA
Tigerted@hotmail.com

To say THE PROWLER is any kind of great film is simply untrue. However, the whole thing has an eerie, unsettling, dream-like quality to it that carries it through the slower patches and makes the film's near-total lack of coherency and logic much easier to take. The tension is kept taught throughout, and with top-notch scoring, photography, gore effects and direction, makes for a surprisingly effective and repeatable horror film. Just make sure you watch it in the dead of night! The Blue Underground DVD has a fine anamorphic transfer that is as good as the original negatives will allow, some fascinating on-set footage of the make-up effects, an impressive stills and poster gallery that is definitely worth ploughing through and a superb, hugely entertaining commentary with director Joseph Zito and make-up maestro Tom Savini. Very much recommended.

Joseph Zito's relentlessly cruel THE PROWLER is one of the very few memorable films to have emerged from the vast wasteland of 80's era slasher cycle crud. Like THE BURNING and MY BLOODY VALENTINE, THE PROWLER tells an undeniably cliche ridden tale but compensates with memorable characters, decent production values, a surprisingly effective musical score and, of course, some of the most inventive and grotesquely realistic murder sequences in the genre. In fact, this may very well be the most violent movie of its ilk ever made. Despite its ferocious gore, this film somehow managed to get an uncensored theatrical release (with an obviously bogus "R" rating).

While there are no real surprises on hand for the horror aficionado, THE PROWLER is so slickly filmed by real craftsmen that it naturally has instant appeal as one of the only competently directed and watchable movies of its kind. If there is such a thing as a "classic" slasher, THE PROWLER is surely one.

The Blue Underground DVD is a highly recommended purchase for fans of this terrific little gorefest. The film is presented in widescreen format (1.85:1) in a nice, colorful transfer, looking much better than it ever has before. Disc extras include trailers, a poster/stills gallery and a fun but brief behind-the-scenes videotaped look at Tom Savini's awesome makeup effects. Best bonus of all is an occasionally raucous audio commentary by Savini and director Joseph Zito, in which the two apparent friends share informative and entertaining tidbits about the film's often chaotic production.

This forgotten gem of a slasher movie is the R-rated version.
Several years ago, I rented The Prowler UNRATED version from a
mom and pop store in Van Nuys, Ca. I copied it and then returned
it late for one night. The following week, the video store burned
to the ground! Needless to say, I never had to pay the late fee!
Anyway, the UNRATED version is extremely gory and it's very cool
even on VHS. Tom Savini(SPFX Artist) would be proud!!
Ted Buchanan
Tujunga, CA
Tigerted@hotmail.com

What a great movie. An active volcano releases giant scorpions into the modern world.1950's Sci-fi staple Richard Denning stars in this classic as an archiologist working in mexico. Great picture and sound quality. Its been a long wait but its finally here and the transfer is wonderful.

After disappointing DVD releases, virtually barren of extras, of some of the finest SF/horror films in their catalog (Them, Thing from Another World, Curse of Frankenstein, Horror of Dracula), Warner Video finally redeems themselves somewhat with this excellent package (and concurrent releases of Beast from 20,000 Fathoms and Valley of Gwangi). While the extras are not exactly generous, they're of great interest to B-movie and stop-motion animation fans.
I have to place Black Scorpion in my top three Big Bug movies, along with Tarantula and Beginning of the End. Fans of Them will probably consider this heresy, but frankly, as fine a film as Them is overall, those big head-nodder ant props just never engendered much suspension of disbelief, let alone horror, in me, even as a kid. In contrast, Black Scorpion inverts the situation, with a pedestrian B-movie scenario framing some of the creepiest, scariest, and convincing Big Bug special effects footage of the era. A volcano in Mexico releases a horde of giant scorpions that roam the countryside, destroying and killing, grabbing people with their pincers and jabbing them with their stinger tails. Several beautifully animated stop-motion set pieces are featured, including the sequence in which the scientists descend into the volcano crater to explore the scorpions' underground lair and encounter cool and creepy wormlike and spiderlike creatures; the scene of the scorpions destroying a train and feasting on the screaming passengers, then battling a supergiant "king" scorpion; and the king scorpion's last stand inside a sports stadium, where it scoops up military vehicles like marbles and plucks helicopters out of the sky, slamming them to the ground, while the military bombards it mercilessly. Black Scorpion was the last monster epic supervised by Willis O'Brien, the legendary stop-motion pioneer (The Lost World, King Kong, Mighty Joe Young, etc.), though the hands-on animation was done primarily by Pete Peterson, who proves himself a close second if not equal to Ray Harryhausen in terms of technical skill. His scorpions, in contrast to most other 1950s movie monsters, are realistic, quick-moving, bloodthirsty, and relentless. Unfortunately, someone had the really bad idea to keep cutting to inserts of a laughable, drooling, life-size scorpion head prop that distracts from and somewhat undermines the otherwise stunning stop-motion animation of the scorpions and other bugs. The "black" scorpion of the title is occasionally shown as an empty black matte silhouette, apparently because they ran out of money, and the special effects scenes also suffer at times from from matting and process work with poorly matched contrast. But when the scorpions are darting around, killing with their spiked tails, there are few 1950s SF creatures that can equal them for pure repulsive horror. The human leads are familiar B-movie stalwarts Richard Denning (Creature from the Black Lagoon, Target Earth, Day the World Ended, etc.), playboy model Mara Corday (Tarantula, The Giant Claw), and Carlos Rivas (Beast of Hollow Mountain). Director Edward Ludwig had previously directed mostly B-westerns and exotica such as Smuggler's Island and Jivaro, and must have seemed like a logical choice to the producers of this monster flick set in the Mexican desert. The story is pretty generic, but moves along reasonably well, and it's really just an excuse for the monster sequences anyway, so pop some popcorn, sit back, and enjoy.
Warner's DVD finally gives fans and collectors reason for praise rather than griping. The movie, presented in full frame, looks simply fabulous, with terrific black level, contrast, grayscale, detail, and sharpness. There is some nearly unavoidable very light speckling and spotting, but overall the print is stunning. (Others have speculated that this film was meant to be matted to 1.85:1, but that doesn't appear to be the case to me.) The extras (!!) include trailers (Black Scorpion, Gwangi, Beast from 20,000 Fathoms, and Clash of the Titans); a three-minute featurette with Ray Harryhausen (talking about seeing King Kong as a child, meeting Willis O'Brien, and working with him on Mighty Joe Young) that's interesting and informative as far as it goes but much too brief; and the long-sought (by animation fans) and little-seen 10-minute dinosaur sequence from Irwin Allen's Animal World, apparently presented here for no other reason than Warner's had it and felt (uncharacteristically) like throwing us a bone. And last, but for me the jewels of the set, are two short (4:00 and :40) animation tests by Pete Peterson for proposed or aborted projects. The first is called The Las Vegas Monster and features a cool outsized astro-mutated baboon demolishing a house and tangling with a truck left over from Mighty Joe Young. The second, Beetlemen, is a clip of an army of walking insectoid creatures that's unfortunately in very poor condition and tantalizingly brief but still amazing and effortlessly beautiful. A comparison of Peterson's animation in these tests and The Black Scorpion with the Animal World footage (and more so Harryhausen's later films) demonstrates that while Peterson was close to Ray on a technical level, Harryhausen's creations project a "life" and "personality" that is noticeably absent in Peterson's otherwise impressive work. It really reinforces for me the true artistry of Ray Harryhausen's achievements (no slight to Peterson intended). I'm amazed that Warner bothered to include these rare tests (lost for years and discovered in a trunk) given their past track record. The only thing to complain about here are the cheap snap-case covers that Warner is still packaging their DVDs in, giving them a second-class, low-budget appearance, and leaving them more susceptible to dust, etc. But that minor grievance aside, this is a really fine release (especially for Warner Video) and needs to be in the collection of every 1950s SF or stop-motion animation fan.

It appears THE BLACK SCORPION is part of a Warner's Stop-Motion wave.It's being released concurrently with O'Bie's protégé Ray Harryhausen's BEAST FROM 20,000 FATHOMS and THE VALLEY OF GWANGI ( a film O'Bie had tried to make back in the 30's) Although I find it odd Warner's chose to release this O'Bie film first , I'm thrilled one of his talkies is finally making it to DVD.While often compared to THEM the Stop-Motion Master's creatures put those Gi-Ants to shame. In addition to the titular Scorpions, there are Spiders and other invertibrates discovered in a Mexican volcano.It's historically interesting because this may be as close as we'll ever get to seeing O'Brien's censored "spider pit" creatures from KING KONG.This release is a good start but Warner's still needs to get with the program and release KING KONG, SON OF KONG, MIGHTY JOE YOUNG, and THE GIANT BEHEMOTH on DVD.It's really a shame only the inferior re-makes of KING KONG and MIGHTY JOE YOUNG are currently available.

EXCELLENT BONUS FEATURE:It also includes the Holy Grail of O'Brien and Harryhausen's collaborations. For years it was believed that THE ANIMAL WORLD prehistoric footage would never again see the light of day.As I understand it the live animal footage used in the bulk of the film came from many sources and acquiring all the video rights was deemed cost prohibitive for what was essentially a dated educational film.Congradulations to whomever at Warner Home Video realized most fans of this genre weren't going to watch the rest of THE ANIMAL WORLD anyway.

DEMENTIA 13 was Francis Ford Coppola's feature film debut. For that reason alone the movie is worth watching. However, besides that fact, the film stands up as a fairly decent piece of classic thriller/horror. In many ways the movie parallels another thriller/horror classic: PSYCHO. Both films begin with a beautiful blond committing a crime who ends up coming to an untimely and gruesome demise about halfway through the story. Though Psycho hid the identity of the killer a little better, it's pretty obvious in both films who the murderer is. The acting in the film is believable and the use of lighting is rather creative, adding to the movie's tone.

Overall, a underrated horror classic worth watching on it's own merit's and not just those of it's director.

I happened across this film by accident when I decided to buy "Night of the Living Dead." "Dementia 13" was the second film on the DVD that contained both films. So I decided to check it out thinking that it would be just another b-movie with bad acting and stupid horror gags. I did notice, however, that Francis Ford Coppola directed this film, so my interest was piqued.

What I discovered is a truly good film! "Dementia 13" revolves around a family in Ireland and the matriarch's odd obsession with her deceased daughter who accidently drowned 7 years prior. Before you know it, people mysteriously start disappearing.

I feel that this is a good film because it keeps you guessing right up until the end. You think you know who the killer is and then a twist occurs and you end up questioning your entire theory. I should have known that a film by Francis Ford Coppola, even one like this, would not disappoint.

I would highly suggest watching this film. It is not only interesting, but also suspenseful and chilling!!!!!

Francis Ford Coppola and Roger Corman are two names I would never have thought of putting together, but linked they are in the production of the highly enjoyable thriller Dementia 13. I was quite amazed to discover that Coppola got his start as an assistant to Corman, and this film, Coppola's directorial debut (the first he acknowledges, anyway), was actually filmed on the same set of the contemporary Corman production of The Terror. This really is Coppola's twenty thousand dollar baby, as he wrote as well as directed the film. I for one found it quite good. Although the killer is not that hard to identify, there were enough suspicions cast upon one or two other characters to keep me from putting all of my accusatory eggs in one basket before the climactic ending. There are also some twists and turns along the way that I didn't really see coming, and I was forced to change my whole outlook midway through the drama. Dementia 13 is not really scary or gruesome, but it does succeed in producing something akin to chills on one or two occasions. The murder weapon of choice is an axe, but the wielder of that axe is in no way very proficient; he can only succeed by hacking away maniacally until such time as he actually makes contact with the victim's body. He does have a natural talent for lifting a dead body by the hair and dragging it along behind him, though, which is always a plus on a mad killer's resume.

At the heart of this story is the tragic death of a little girl named Kathleen. Each year on the anniversary of her death, the grieving mother and her sons reenact the funeral service, which culminates in the mother's collapse. This particular year, two unwelcome guests reside in the family's ancient Irish castle, the greedy wife of the eldest son (who is unable to be there for reasons made quite obvious at the beginning of the movie) and the fiancé of another son. As individuals begin to mysteriously disappear from the castle grounds, almost everyone in the family becomes a potential suspect. The family doctor is yet another person to keep your eye on, as his behavior is questionable and suspicious at times. The deceased child Kathleen does haunt the family in a sense, and her appearance to an individual marks that person for certain axe-related death. I found this movie more and more compelling at it went along, and I quite enjoyed trying to figure out exactly who the killer actually was. The pace of the story was aided greatly by very effective background music, and Coppola definitely displayed the type of talent that would blossom into directorial greatness in his later career. If you enjoy a good who-dunnit movie, you will almost certainly get a big kick out of Dementia 13.

My feelings regarding this film were always ambivalent. I saw it at a child and loved it. However, as I've aged, my attitude towards it is more complex. I'm a distant relative of J. Carrol Naish (a point of pride with me; for those whose only exposure to him is this film, catch him starring with Bogart in "Sahara.") and I've loved Lon Chaney since childhood, so there's something painful in watching this film as an adult and seeing the ingominious circumstances these 2 legends ended their careers in, considering the artistry they had both been capable of (for those whose only image of Chaney is as "The Wolfman", catch him in "Of Mice And Men"). Also, I'm not one to indulge in the trend of elitist contempt towards the low-budget films of the 60's and early 70's. "Golden Turkeys" indeed. Silly, laughable cinematic atrocities? Perhaps, but there's nothing worse, in my opinion, than the insulting multi-million dollar pablum that Hollywood currently purveys ad nauseam. I'll take "Frankenstein's Daughter" over "Gigli" any day of the week. At the very least, Al Adamson had the passion of a true fan of the old-time horror movies. No, this isn't Karloff's "Frankenstein" or Laughton's "Island of Lost Souls." It's not even "Children Shouldn't Play With Dead Things." But if you're willing to watch it in the spirit in which it was made, and you've fortified yourself with several bottles of beer, it can be diverting, escapist entertainment. Surely that has to count for something in this bleak day and age.

Ol' Franky and Drac just can't seem to get along in this one. If I had to wear make-up like that I'd be cranky too! All in all, it was fun to watch. The acting was bad,..., the women were, well, let's just say they're well built, but that's it, and poor Lon Chaney was overweight and looked like he was ready to keel over at any moment. Also, the fight between the monster and the cops has to go down as the worst screen scrap in history, oy! So what was good about this clunker? I can't really say. Maybe I'm demented. Maybe I just miss watching old movies that were harmless yet fun. I do know that if you want sit down on a Friday night and watch some real stupidity, then this movie's for you. They just don't make movies like this anymore.

This movie is bad in a surreal way, in a worse-than-Ed Wood sort of way, in a holy hannah-they-actually-put-this-on-DVD sort of way. I got this movie because I can remember even as a small child watching it and cringing, recognizing a bad movie before I knew what a bad movie was.

Two initial points of observation:

a. This movie did have a couple of fine chicks

b. The dork playing Dracula was the worst Dracula EVER. The guy looks like King Diamond. I kept waiting to hear him sing like Abigail or go into some kinda, "Let me help you out of the chair, G,G,G, Grandma..." He's got this whole grease paint mime thing going on, and when he talks he's the only guy in the movie with a built-in echo. Udo Kier made a better Dracula. T.J. Hooker would make a better Dracula, or Matt Houston, or Mary Tyler Moore.

Anyhoo, the plot of this movie, such as it is, involves King Diamond, I mean Dracula, going to find some descendent of Dr. Frankenstein because he wants some kind of formula or something. Now, for no other reason than to serve the movie title, he wants to dig up Frankenstein's horrying creation, the Monster---which fortunately, and conveniently, just happens to be buried down the road in the local graveyard. But the wheelchair-ridden latter-day Frankenstein decides he doesn't want to take orders from Count Diamond, I mean Dracula, so Dracula whips out this big plastic-looking silver ring the size of a Cracker Jack box and shoots a poorly-animated lightning bolt at the wall. Yeah, that's what I thought, Frankenstein, now straighten up.

The Monster looks like a rotten baked potato (with chives) with a mullet. Cheap, extra-small jacket, block shoes (Frankenstein cliche meter: 9.6). So, in desultory fashion, much like the storyline, the Monster goes around attacking people, just kind of pushing and slapping them to death. Anyway, as this is going on, throw in some random hippie scenes, bikers, bad acting, bell bottoms, and a couple of cute chicks.

So, full circle, the movie takes you on a ride that leads you to a church at the end of the movie, where King Diamond settles in to bite his victim with his big fat hinged plastic white fangs. But the Monster decides to crowd in, so, the fight is on, baby! The Thrilla in Salmonella. Tickets by the Boardwalk, just look for the little guy with the hat. Dracula, at approximately 6 minutes until sunrise, backs out of the church and fifty yards into the adjoining woods. He stands there trying to give his best onstage magician performance scary face while the Monster pushes and slaps at him. Finally, he rips off the Monster's arms and head, like something very cheaply stuffed, and then he's like, "uh, wait a minute, the sun..." He runs back to the church (the chosen sanctuary for all vampires) and just makes it to the steps when the sun hits him. Man---he was so close. Boy, I tell ya, if he had just made it another two or three steps, we coulda had a sequel. Dracula vs Milo, or Dracula vs the Blind Dead, or Dracula vs Xanadu.

If you want to spend a mindless break in front of your TV after a hard day's work, then this is for you. I loved the part where the two guys are discussing their virginity while being wheeled down the corridor to be sacrificed; and the weirdo guy says to the other, 'I just haven't found the right one yet'.
I think reviewers on this site tend to rate the movie out of it's context instead of for what it really is, a dumb brainless horror movie which was intended to scare you a bit as well as make you laugh now and then. I like to experience those emotions after a terrible day at work in a job that I totally loathe with a passion. If you want to watch a horror movie that's a little more intellectual, then watch Bram Stoker's Dracula.....or is that a love story ???

Where oh where do I start. Words escape me. I can't begin to describe just how FUN this movie is. That's right, horror can be fun. Ever wanted to see a movie that successfully pokes fun at goths, satanist and the odd cloaked gay boy in eyeliner? And did you ever wonder what zombies would look like in fleourescent lighting? Oh hunny, buy this flick, it shant disappoint you.

If nothing more this movie is worth its price for the witty one liners and unique special effects. Such as "I'm a virgin, I'm saving myself for Marilyn Manson." and "My brothers going to be the antichrist? My mom's gonna be piss!"

It gets the vampress.net stamp of b-horrory goodness approval. Buy it, Vampy said so.

This horror film has got it all. Gore, comedy, Demons and your typical hotty. I liked this film. I usually do not like newer horror films because they tend to be too serious and fail logically. The Convent is a straight up horror film that does not take it self serious. The producers had fun with the script by adding all the ingredients that make a good horror film entertaining to watch.

Lust For a Vampire is the second part of the Karnstein trilogy, that began with Vampire Lovers and which was to conclude with Twins of Evil. Of the three movies, this one is definitely the weak link in the three, but still has some merits. Originally, Peter Cushing and Ingrid Pitt had been tapped to star in this film, but due to family illness, Cushing opted out, and Pitt's prior committment to another project at the time made her unavailable. One can only wonder how the film would have benefited with Cushing's cultured experience and Pitt's stony, seductive approach. As it stood, we had to content ourselves with Ralph Bates and Jutte Stensgard, a Danish bombshell with no acting talent whatsoever. Bates wasn't so bad as the schoolmaster, he brought a sleaziness that improved the character. But Jutte Stensgard, however, just doesn't stack up to the role of Micarlla-although she is undeniably some very fine eye candy, she is neither menacing nor believable as a vampire. Also, another blow to the production was Terence Fisher's exit from the project and Jimmy Sangster taking up the directorial helm at the last minute. Did Sangster contribute more of an erotic element to this picture-watch the first 30 minutes of relentless toplessness and near nudity and judge for yourself. Where the film gets interesting is when the body count starts to grow, and when Bate's schoolmaster Giles character comes more into prominence. Chief strengths of the film are the night scenes, and the rustic location as a whole. I've always believed that the best vampire stories are set in small villages as opposed to cities. As a whole, the film suffers from weak characters ("I love you"s come at the weirdest, most implausible moments), a very thin plot that seems as if it has been padded by lots of gratuitous nudity, and a very bizarre decision on someone's part to place a pop song in the middle of a seduction scene! Also, you will need to suspend your knowledge of vampire lore, because these vampires walk and play in the daytime. The violence is almost non-existent. There is a sacrificial scene at the very beginning of the film, and a couple of graphic stakings later on, but that's about it. The DVD features are commendable. There are some nice poster galleries and a clear commentary track. There is a hidden treat for Stensgard fans (go to features and then hit right arrow to light up the cross on the dagger, and then hit enter). If you choose to bypass this film for something else, you will be none the worse for missing it.

The middle chapter of Hammer's Karnstein trilogy (between The Vampire Lovers and Twins of Evil), LUST FOR A VAMPIRE is a textbook example of the studio's penchant for excess in the early '70s. Fans of classic Hammer fare like Horror of Dracula and Curse of Frankenstein will be disappointed with the weak script and atrocious acting. But if the lesbian vampire sub-genre is your thing, you'll, uh, get off on this film.

Treasure or trash, LUST FOR A VAMPIRE looks fantastic thanks to the wonderful folks at Anchor Bay. There's a commentary track that is fairly pedestrian, and the goofy theatrical trailer.

If this sort of thing is your cup of T (and A), by all means, sink your teeth into it.

It is the year 1830. Richard Le Strange, blue-blooded ladykiller and writer of supernatural potboilers travels the Continent in search of material for his next literary endeavour. He gets more than he had bargained for when he, through underhanded means, secures a teaching position at a school for young ladies and falls for the comely new arrival whose penchant for nude moonlight swims and too-intimate relations with her co-inmates hints at a secret more sinister than he would immediately have suspected. Tragedy ensues.

"Lust For a Vampire" is the second film in Hammer's Karnstein trilogy and the sequel to "The Vampire Lovers", itself an adaptation of Joseph Sheridan Le Fanu's short novel "Carmilla", which, incidentally, preceded and inspired Stoker's "Dracula" and still remains the best vampire tale ever written. "Lust..." is, as has already been said, generally thought to be the weakest in the aforementioned trilogy. Now, I haven't seen Part Three, "Twins of Evil", yet, but I happen to be of the heretical opinion that "Lust..." has qualities to recommend it. Even though "The Vampire Lovers" is tolerably faithful to Le Fanu's story, I was, upon first viewing it, deeply disappointed (its reputation had, I admit, raised my expectations to absurd levels); and although I've since had reason to relent in the severity of my censure somewhat, I still maintain that, of the two, "Lust..." is by far the more entertaining film. Of course it's shameless exploitation; of course it's kitschy, hackneyed and awkward; of course it doesn't make a whole lot of sense--but so what? If it's diverting, it's good, and this is very, very diverting indeed. The plot, what little there is of it, moves along briskly enough; the acting and dialogue doesn't make one cringe too much; the sets and period clothing look alright; and, lest we forget, the ethereal Yutte Stensgaard is one of the most preposterously attractive women ever to grace the silver screen. So... If you like your vampire tomfoolery charmingly old-fashioned and seasoned with a bit of naughtiness, visit beautiful old Styria, land of ancient Evil, excitable peasantry and plunging necklines.

I seen this movie it is truely horrible. This is one of the worst b- movies I have ever seen. I recommended you not to rent or purchase this film. You will be very disappointed.

I'm obsessed with this movie! When i first saw it in the theatres back in the 80's, this movie was severely cut due to the graphic violence. I love everything about this movie, from the casting, to the location shots, to the storyline and acting. For those unfamilar with the Troma movies, Troma is a company that specializes in grade B horror/sci-fi exploitation flicks. Many of the Troma movies have a very dark and twisted sense of humor to them, in additon to the drama and suspense or horror. Mother's Day is no exception. The story is about three girls who were best friends in college, who go on yearly reunions where they camp in the woods. This time they have chosen to camp out in an area where a demented family of hillbilly rednecks are living. Mother is the head of this strange family. She is living with her two backwoods sons and schooling them in the art and specialty of attacking and rapeing and killing of young women. This whole premise sounds totally sick and demented, and it is....as only the Troma team can present it. You have to see this movie to believe how incredibly over-the-top it is. The performances are excellent, especially the two sons. They are both adults, but behave like children due to their backwards upbringing. All that these boys want to do is make their Mother proud and be the best killers possible. The chemistry and interaction between Mother and her two sons makes for fun viewing. Even the three girls who eventually get kidnapped give credible performances. A lot of the female victims in horror movies are disposable characters that you really don't care if they get killed off or not, but there's enough character development here that you'll find yourself caring about the girls in Mother's Day. The final climactic showdown scene between the girls and the sons is exciting and memorable, mostly for the creative use of weapons. The only cheesy part of that scene was when one of the girls was shown holding a television set over her head as a murder weapon. You'll have to suspend your disbelief on that one. I guess tv sets were really light way back then (i'm being sarcastic!).The dvd extras include commercials for other Troma films, a few comedy skits about Troma that are so-so, and other stuff about Troma Studios. The best extra has to be the director's commentary because it is one of the best i've heard for a grade B horror movie since the commentary for The Evil Dead. I learned so much trivia and interesting info on the making of Mother's Day from the commentary. Fans of the movie will love the commentary!This movie has elements of Texas Chainsaw Massacre, and Last House On The Left, and i highly recommend this movie if you're a fan. Please keep in mind that Mother's Day is a dark comedy horror movie. It IS a horror movie, there's no denying that, BUT there are enough elements of twisted dark comedy to it involving the personalities of the two sons and their interaction with each other that it reminds us we're not watching a totally serious horror movie such as The Exorcist. Mother's Day is not for everyone, and many of the reviewers here on Amazon have said it's the worst film they have ever seen, blah blah blah. Anyone who says that is not a true fan of Troma films because they obviously don't understand the genre. You'll need to watch more than one Troma film to understand that statement. Just watch the trailers for the other films on this dvd and you'll know what i mean. This movie is excellent and i'm glad to see the dvd is the director's cut with all the violence and gore that was cut from the theatrical print lovingly put back in. If you loved Motel Hell (and i DO!!), you'll love Mother's Day.

I have seen this movie several times, the special FX are nothing more than [junk], the storyline is tolerable, and the acting is ridiculous. All in all a wonderful "B" Flick to sit down and sink your teeth into. Any reviewer that feels this movie has to be analysed to be death has too much time on his hands. This movie is what it is and that's all!! Just enjoy it for that simple reason.
I have enjoyed this movie for many years and will continue to enjoy it for many to come. I am still trying to get my hands on the unrated widescreen version (if there is one...)(fingers crossed!!).