Sutures (2009)

A battered woman stumbles out of the wilderness and is admitted into the hospital…once she has been treated Detective Zane (Jason London) visits her to ask about her ordeal. The young woman, named Sienna (Allison Lange), recounts how she and her pre-med friends headed up to an isolated castle for some rest and relaxation. However, a mysterious man in black followed them, and one by one they were kidnapped and taken to a dank underground “hospital” where crazed Doctor Hopkins (Andrew Prine) utilized his new “patients” for experiments as well as harvesting their organs for the black market. However he and his staff treated them, one by one they ended up dead…except for Sienna, who happened to escape.

As Sienna recounts her tale to the Detective, she tells him more about the man in black, whose name was Alexander Tatum (Carlos Lauchu). Alexander should have been a renowned surgeon, but a tragic past and a daughter diagnosed with a rare disease lead him to help Doctor Hopkins in exchange for a possible cure for his sick daughter.

Will Detective Zane get to the bottom of the killings? Will Alexander come after Sienna now that she’s escaped?

Yes, this is another kids-getting-kidnapped-for-their-organs movie like a ton of other “torture porn” flicks out there. And, in my opinion, it’s one of the most boring. I was expecting some nicely done gore and a familiar but entertaining story…however I didn’t really get anything I was hoping for. The movie never really “grabbed” me and I was bored from the first couple of scenes all the way to the end. You don’t know how many times my finger was itching for the fast-forward button!

However, even though I didn’t like the film, let me rattle off some technical strengths it had…First off, it was competently shot thanks to director Tammi Sutton. I thought the lighting was great and the scenes in the underground black market “hospital” were very atmospheric. The acting was also pretty decent; I especially liked the performances from Allison Lange as survivor girl Sienna and Carlos Lauchu as the dark and mysterious Alexander.

These few strengths, however, were not enough to make Sutures a good or enjoyable film. I’ve read positive reviews of the film, all of which left me scratching my head. Did we watch the same film? The film started somewhat strongly enough once it got past the boring bits of showing Sienna and Detective Zane in the hospital. The group of pre-med students was typical, but at least the characters had distinct personalities. Things started getting rocky when attention was averted to Alexander. At first he was an intriguing and mysterious presence, but that mysteriousness was all stripped bare as soon as he killed a gas station attendant. By that time, too much had been shown of the killer and my interest in him waned.

Then, somehow Alexander became like a ninja and was able to infiltrate the castle and soundlessly kidnap the kids one by one. This just seemed implausible to me and was pretty groan-worthy. The action then moved to the underground hospital and started to feel awfully like Hostel. Except that instead of people paying to torture youths, Doctor Hopkins had set up a kind of underground medical school. He had the victims pumped full of exotic diseases and gave them fatal wounds, then challenged his med students to keep them stable. Or he just ripped their organs and breast implants out to sell on the black market. An interesting concept, but it was never developed to its potential. Plus, this storyline diverted attention from the much more interesting Alexander (maybe by “interesting” I just mean hot, ok!), who was demoted from lead killer to the Doctor’s lackey.

With all these intersecting storylines things got convoluted pretty fast. There’s the story of Detective Zane trying to get answers from Sienna, then Alexander’s tragic past flashbacks, then the Doctor’s black market hospital and Sienna’s survival of the hospital. It just tries for too much and while the twist ending tries to tie up loose ends, it just fails. The ending might come as a surprise, but that’s only because it is so ludicrous.

Making things even more confusing was the editing, which jumps from past to present randomly and with little explanation. Look, I don’t need my hand held when watching a film, but the jumpy editing made things hard to follow and the film really should have been more streamlined.

Plus, who the F cast the kids who are supposed to be some of the characters as children in flashbacks?? Did no one notice they were completely different races than the adult characters? It’s called common sense and continuity, people, and the filmmakers failed on both accounts!

All of these problems may have been forgiven had there been any memorable bloodshed in the film, but the gore is all pretty typical. Well-done, but uninteresting. People who have been infected with a disease spew up black bile, limbs are hacked off, organs and implants are cut out, people are shot and so on, but nothing that really stood out to me. Perhaps I’m just a jaded horror viewer, but none of the gore in Sutures grabbed me.

Sutures is a forgettable film that lacks a cohesive narrative and an engaging story. It’s poorly put together and not even the gore scenes are memorable. To me, it was a very bland horror flick with few redeeming qualities. If watching horror flicks about organ harvesting rings is your thing, then by all means have at it. However, if you like your horror original, scary and gruesome, Sutures is not a good match. My body definitely rejected it (nyuck, nyuck!).

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The Hound of the Baskervilles (1959)

This 1959 film is Hammer Studios’ treatment of Sir Arthur Conan Doyle’s Sherlock Holmes story. With a wonderful cast, including Peter Cushing and Christopher Lee, and an atmospheric setting of a castle on the foggy English moors, this is a classic that pairs well with a dimmed room and plenty of popcorn.

The story begins with a cruel aristocrat, Sir Hugo Baskerville, tormenting and exploiting his servants. After offering up a maid to his slovenly guests during a party, Sir Hugo discovers she has escaped and he gives chase. He catches up to the girl near some crumbling ruins on the moor and stabs her to death. However, immediately after he is killed by a “hound of hell”. Many years later the curse of the “hound of the Baskervilles” persists. Sherlock Holmes (Peter Cushing) and Watson (Andre Morell) are hired to investigate the most recent death of a Baskerville and to make sure the last remaining heir, Sir Henry (Christopher Lee) doesn’t succumb to the “curse”. Can Holmes solve the case before it’s too late?

I love old mystery movies like this! However, The Hound of the Baskervilles is really the cream of the crop! Its well-constructed plot, creepy setting and enjoyable characters all kept my attention for its entire running time. I was even trying to figure out “whodunit” half-way through, but I must admit Sherlock Holmes had me beat on this mystery!

First off, the setting is just gothically gorgeous…crumbling ruins in the moonlight, misty moors, old creaky castles, howling hounds, flickering candlelight…I could gush on and on, but you probably get the idea! I absolutely love the gothic aesthetic, especially when it’s pulled off in film correctly. I really wasn’t expecting a Sherlock Holmes tale to have such a creepy and romantic atmosphere, but Hound certainly did and pulled it off as well! Director Terence Fisher, no stranger to gothic horror, certainly shows off his skill in this film!

Secondly, the story was just fantastic. It is based on Sir Arthur Conan Doyle’s tale, so I really shouldn’t be surprised! The film sticks pretty close to the original story as well, though a few liberties and changes were made. I’ve heard people b*tch and moan that they changed too much, but I don’t think that’s the case. The film’s ending feels a bit more realistic instead of the romantic ending Doyle imagined in his book and the other liberties are small enough to not really affect the whole of the story. Kudos to screenwriter Peter Bryan for sticking close to the original story while making it his own as well!

Lastly, the characters and the acting were excellent! I especially liked the cocksure and arrogant Sherlock Holmes that Peter Cushing played! Andre Morell was equally good as the competent Watson, whom we spend most of the first part of the film with. And who can forget Christopher Lee? Ladies and gentlemen, he is absolutely scrumptious here!! I mean, can I please just swoon in his arms? Anywho, Lee is great as the befuddled Sir Henry, who is not sure whether to believe his family’s curse or not. All of the other players in the film did a fine job, too.

The film didn’t need that many special effects, so there’s not much to talk about in that respect. A bloody knife and a mine that caves in on Holmes offer the most shocks in the film, besides the exciting ending, but that doesn’t mean the rest of the film is boring! Far from it, it’s amazing what director Fisher does with atmosphere and great actors! The cave-in and a nighttime chase through the moors were the most exciting scenes for me to watch, but the ending is also quite good and comes as a bit of a shock!

If you haven’t had the pleasure of watching Hammer’s Hound of the Baskervilles, do yourself a favor and get it now! It’s simply elementary, my dear readers!

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The Virgin of Nuremberg (1963)

The Virgin of Nuremberg was a medieval torture device that most of us know as the Iron Maiden. It was an upright sarcophagus with metal spikes on the inside. The victim was tied inside and when the doors were shut their body would be penetrating with the strategically placed spikes. These spikes were designed to not penetrate any vital organs, therefore extending the agony of the victim and ensuring they died a slow death.

In The Virgin of Nuremberg (aka Horror Castle), a 1963 film directed by Antonio Margheriti, this torture device plays an integral part of the plot. Max (Georges Rivière) and Mary (Rosanna Podesta) Hunter are staying at a castle in Germany Max has inherited. One night, Mary is awoken with screams…and sees a mysterious figure in a red cloak kill a maid. It seems that the original owner of the castle has returned…and is back killing innocent victims with the castle’s old torture instruments! Who is this madman, what are his ties to the Hunters and how can he be stopped?

The Virgin of Nuremberg is a decent gothic horror tale. While not as good at Margheriti’s later effort Castle of Blood, it is still an elegant and atmospheric film. Plus, Christopher Lee stars in a small role as the castle’s disfigured man-servant!

The story of the castle’s owner and his sordid history were interesting. You were never quite sure whether he was back from the dead or if it was just someone posing as him, which kept me in suspense until the final “unveiling” of the killer (whew, and what an unveiling it is!). The castle’s inhabitants and servants also did a nice job of creating enough red herrings to keep me guessing. The character of Rosanna wasn’t that developed, but Podesta did a good job of playing the stereotypical “damsel in distress” in her white flowy nightgowns that faints away at any sign of trouble.

The setting of the big, dark castle was appropriately creepy and I especially liked the shadowy torture room filled with steel cages, surgical implements and various torture devices. The eye-popping color red is used throughout the film (as accent colors in rooms as well as the killer’s red robe and, of course, the blood!) and really pops against the rest of the dark castle. The gothic visuals really add to the film’s ambiance and made me enjoy it even more.

Quite a bit of blood is spilled in the film, surprising for its time. It is certainly not a gorefest, but there are some nice deaths throughout the film. Memorable scenes include a woman with her eyes gouged out impaled within the ubiquitous iron maiden, a cage with a hungry rat inside place over a living woman’s head and, as previously mentioned, the unveiling of the killer.

The Virgin of Nuremberg is a stunning Italian gothic horror film and while it isn’t appreciated as much as other films in the genre, I believe it definitely deserves a look!

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The Legacy (1979)

Always a sucker for ‘70s thrillers set in old mansions with an occult/satanic twist, I decided to check out The Legacy, a 1979 flick starring Sam Elliott and Katharine Ross. While it focused less on the occult than I expected and was set up more of like a murder mystery whodunit, I found myself enjoying The Legacy, creepy cats and all (more on this later).

The film is about Los Angeles architect Margaret Walsh (Katharine Ross) who receives a mysterious job offer from England. Before her job starts, she and her boyfriend Pete (Sam Elliott) embark on a bike ride through Europe, but trouble starts when an accident puts their fate in the hands of the wealthy Jason Mountolive (John Standing), who insists they recuperate at his sprawling estate. Soon, other guests begin arriving and Margaret realizes she may have been handpicked and brought to the estate to inherit a sinister legacy. As various guests begin dying off, can Margaret and Pete escape before it is too late?

As far as 70s satanic films go, The Legacy pretty middle-of-the-road. It’s not one of the best but it’s certainly not one of the worst. However, I appreciate that it’s not your typical satanic cult film and not a lot of emphasis is placed on the “black magick” aspect of the film. Instead, it focuses on the mystery of why Margaret is part of the proceedings and who is going to die next.

The story takes a while to get going, as the first 30 or so minutes are spent on Margaret and Pete exploring the estate and puzzling over the other guests and the rather unhelpful help. The “mystery” as to why they are there and why guests are dying is pretty obvious, but it’s still fun to watch them slowly piece it all together.

Of course, it has its WTF moments – like the horrible opening credits that feature the worst song EVER to assault my ears in a horror movie, or the copious shots of cats throughout the estate (which are never really explained, though I guess they are Mountolive’s or the Devil’s minions keeping an eye on things), or repetitive shots of Margaret and Pete driving round and round on country roads trying to escape but somehow always ending up at the estate – but it also hosts some neat-o moments. The first death, featuring a drowning in a pool, comes pretty unexpectedly and jars you awake after the somewhat slow first 30 minutes of the film. There is also a scene that occurs a bit later featuring a rock star (played by Roger Daltrey) choking on a chicken bone and an emergency tracheotomy being performed on him that’s quite well-done! And who can forget the reveal of Mountolive on his deathbed?

Sure, the gore is non-existent and some of the deaths are a little cheesy (especially the one where Charles Gray’s character burns to death), but director Richard Marquand (who would go on to direct 1983’s Return of the Jedi) does a pretty good job of delivering an atmospheric, not-quite-satanic occult/supernatural story. The use of the mansion, with its labyrinth of seemingly never-ending rooms and grounds, creates a creepy atmosphere as the estate takes on a character all its own. Marquand even creates a claustrophobic feeling, even with all that space, that makes the audience feel as trapped as the guests. And the ending just feels pitch-perfect in a dark, twisted way!

The Legacy is an entertaining, though at times cheesy, occult flick from the ‘70s. From the awful opening music number to the silly “sinister” shots of cats (yeah, WTF?!) this movie had me giggling most of the time, but it also had its moments of tension and shocks and was entertaining throughout it’s hour and a half running time. It may not be entirely memorable, but The Legacy decides a look at least once!

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The Devil's Nightmare (1971)

Another little seen Satanic film from 1971 is The Devil’s Nightmare (La Plus Longue Nuit du Diable) aka Castle of Death aka Nightmare of Terror aka Succubus, etc., etc. Usually only familiar in Euro-sleaze or Euro-horror circles, The Devil’s Nightmare is a surprisingly entertaining flick dripping with gothic atmosphere and surreal scenes.

The film begins during WWII, where the Baron’s wife is giving birth. Upon learning that the babe is a girl and that his wife died in childbirth, he stabs the baby to death. Quite a shocking opening from a 1970’s film!

We then jump ahead a few years, where a reporter is interviewing the Baron in his dark and dreary castle about his family’s past. He seems to think his family is cursed, having made a pact with the Devil centuries ago that states the oldest daughter of each generation must serve the devil by becoming a succubus (and explaining the earlier scene where he killed his daughter). After this illuminating interview, the reporter makes the mistake of tarrying too long taking photographs of the castle and meets a grisly end. We then meet a group of travelers who are forced to take refuge in the Baron’s castle after becoming lost and taking directions from a creepy, corpse-like man. Each of these seven travelers is supposed to represent one of the Seven Deadly Sins (Lust, Gluttony, Greed, Sloth, Wrath, Envy, and Pride), though some are easier to distinguish than others.

That night, they are introduced to a mysterious visitor (played by stunning redhead Erika Blanc, known for her sleazy Euro-horror roles in films like The Night Evelyn Came Out of the Grave and Kill, Baby… Kill!), who begins to lead each traveler down the road of temptation! Turns out she is a succubus and lures the sinners to their damnation with their specific vices. The only one who doesn’t fall under her decadent-but-deadly spell is the lone priest in the group, but can he stop her and the Devil before all their souls are damned to Hell?

While the story, written by Jean Brismée (who also directed) and Pierre-Claude Garnier, seems like a pretty straightforward allegory inspired by medieval morality tales, it also features a surprising and clever twist ending. I definitely didn’t see the ending coming, and when it actually happened it threw me for a loop! Quite the wicked little surprise that shows you should never make a deal with the Devil! Besides the ending, the story is kept lively by the colorful and sinful characters, keeping the audience rooting for their deaths! There is the annoying married couple, with the sleazy husband who covets other women (Envy) and the distrustful yet rich wife (Greed), a nymphomaniac brunette (Lust), a lazy blonde (Sloth), a holier-than-thou priest (Pride), a cranky old man (Wrath) and a hungry tour guide (Gluttony).

There isn’t much gore to speak of, but some of the ways the travelers are done away with are pretty amusing. The glutton of the group eats himself to death and chokes on poisoned wine (and the close-ups of him stuffing his greasy mouth are probably the most disturbing of the movie) while a greedy woman drowns in a mound of gold. Other kill scenes make little sense and don’t seem to tie into the specific person’s sin (like the Sloth woman dying from snakebite while she sleeps). Still, the scenes of the succubus stalking her prey, with her sunken cheekbones and ghoulish makeup, are always entertaining.

I also enjoyed the Baron’s creepy gothic castle that looked like it was transplanted straight from Transylvania. With its intricate stonework, gaudy Baroque furnishings and rich red drapes, Dracula would have felt right at home! Of course, Satan’s succubus considered it pretty comfy as well.

My only complaints were that the film drags a bit too much in certain parts, especially during some drawn-out lesbian scenes that go on for way too long. Maybe certain guys will enjoy them, but the soft-focus, girl-on-girl action did nothing for me, especially with the ridiculous paisley decorating scheme and the horrible ‘70s music lurking in the background. I also wished that some of the deaths tied more into each traveler’s particular sin instead of running out of ideas halfway through the film and having them die in seemingly random ways.

Though The Devil’s Nightmare certainly has its faults, I was still surprised by the entertainment value it offered. This film isn’t for everyone, but those that appreciate classic Euro-horror will most likely get a kick out of it. If you haven’t seen it, it at least deserves one viewing! It would be a sin not to see it!

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Mad Monster Party (1967)

Looking for something ooky and spooky to watch this Halloween? Look no further than the kooky Mad Monster Party! Created by the same folks that brought you stop-motion animation Christmas specials like Rudolph, the Red-Nosed Reindeer, Mad Monster Party is a howling good time for the whole freaky family!

After finding the secret of life, Baron Von Frankenstein (voiced by Boris Karloff) has finally discovered the secret of destruction (“I, Baron von Frankenstein, master of the secret of creation, have now mastered the secret of destruction”)and is inviting all his favorite monsters to his castle for a celebration! He also plans to announce that he is retiring and bequeathing all his secrets to his (gasp!) human heir, the clueless Felix Flanken (voiced by Allen Swift, who also voiced most of the monsters). The Baron’s assistant, lovely redheaded Francesca (voiced by Gale Garnett), doesn’t take too kindly to the news. She and the other monsters, including Dracula, Frankenstein’s Monster and his Mate (voiced by Phyllis Diller), The Wolf Man, The Mummy, The Invisible Man, Dr. Jekyll/Mr. Hyde, The Hunchback, The Creature from the Black Lagoon and so on, plan on taking Felix out before he inherits the Baron’s secrets!

Mad Monster Party is a mad, mad, mad little movie that is a joy to watch around Halloween! With newly restored editions, I really think they should play this on television around Halloween just like they play all of the other stop-animation movies around Christmas! It’s got some spiffy musical numbers, lots of adult humor and overall just looks amazing!

The character design is amazing, especially considering how many monsters are running around. Besides those mentioned above, there is also the hilarious Chef Mafia Machiavelli (“Here we have the antipasto – black widows pickled in their own poison, smoked lizards and snakes, and marinated mice.”), Yetch, the creepy, Peter Lorre-inspired servant (Yetch: “It’s me, your Don Juan.” Francesca: “I Don Juan to look at you”.), a groovy skeleton band called Little Tibia and the Fibulas (“It’s the mummy!”) and, of course, the uninvited It that crashes the party later in the film!

The scope of the film is very ambitious, and seems much bigger than other Rankin/Bass productions like The Year Without Santa Claus or Rudolph, The Red-Nosed Reindeer. The setting of Baron Von Frankenstein’s towering castle, with its crocodile-filled lagoon and man-eating flora and fauna, is absolutely stunning and really invokes nostalgic feelings from childhood, especially when accompanied by the stop-motion animation! This is definitely one for the spooky kid in all of us!

If you are looking for some light-hearted fare this October, Mad Monster Party is one classic film to check out! Even though they slip some decidedly adult humor in there, it is still suitable for young tots, too! Anyone looking to regain some Halloween spirit should definitely watch Mad Monster Party – it never fails to put me in a kooky mood!

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The Living Dead Girl (1982)

Though I haven’t delved too deeply into Jean Rollin’s filmography, I have found the films of his I have seen to be quite poetic and darkly romantic. The Iron Rose was the first film of his I saw, and it entranced me with its gothic feel and dark poetry. After that, I eagerly sought out his other work, which led me to view The Grapes of Death, a film I found to be rather disappointing.

However, I recently viewed Rollin’s The Living Dead Girl (aka La Morte Vivante), which came highly recommended, and this film did not disappoint. Sticking to a more straightforward storyline and somewhat leaving his slow and hypnotizing filmmaking behind, Rollin brings us a film filled with gore, nudity and an enthralling Living Dead Girl.

The film opens with a couple of workers dumping barrels filled with toxic waste into an old crypt under a castle in the French countryside. While they are down there, they decide to do a little grave robbing as well. As they are prying open the coffin lids of two coffins, an earthquake causes the toxic chemicals to spill everywhere. While one grave robber gets killed by the stuff, another gets his eyes clawed out by the resurrected Catherine Valmont (Francoise Blanchard), who looks as fresh and pretty as the day she died two years ago!

She makes her way back to her castle, though her family is also dead and the place has been put on the market. She kills anyone that gets in her way, including a realtor and her boyfriend who come to the empty castle for some hanky-panky.

When her childhood friend and blood sister Helene (Marina Pierro) discovers Catherine is still alive, she rushes to her aid and vows to never leave her, helping her to kill people when Catherine craves their blood. Even while Helene tries to find a semblance of normality for the two of them, Catherine truly realizes what she is and begins lamenting her current undead condition.

Catherine’s secret becomes further threatened when an American actress photographs her and becomes intent on uncovering her identity.

Living Dead Girl is probably Jean Rollin’s most commercial and accessible film. His signature dream-like atmosphere is more muted in the film (though still present) and the plot moves along rather briskly for a Rollin film. The gore and nudity are also copious and occur often, as do the lesbian undertones (which are present in many of Rollin’s vampire films) between Helene and Catherine.

Catherine’s weapon of choice were her long, curved nails, with which she slashed and stabbed through many victims. Blood splattered, sprayed and streamed over the screen throughout the film. There’s plenty of violence, from a girl getting her stomach repeatedly slashed open to a man on fire. The most impressive gore sequence came towards the end, when someone’s throat is literally ripped out, and it was so prolonged that it made me squirm a little in my seat! There was also plenty of flesh exposed on which to splatter said blood. Gorehounds will delight in many of the blood-letting scenes!

Francoise Blanchard is amazing as Catherine Valmont. Her innocent blue eyes and angelic blond hair contrast nicely with the chaos that surrounds her. She is very much the victim as opposed to the monster in this film, and you really feel for her predicament. Marina Pierro also does a marvelous job as Helene, who just can’t seem to come to grips with what Catherine really is. Her steely resolve to protect her friend and the love she shows toward Catherine are very admirable traits, though near the end you wish she would just come to understand what Catherine is going through. The rest of the acting is respectable, even with the subplot involving the actress stumbling across Catherine’s secret.

Surprisingly, the subplot doesn’t feel unnecessary, but instead adds a bit more depth and drama to the story, written by Rollin and Jacques Ralf. As for the pacing, it moved at a quick clip, something that can’t be said for all of Rollin’s films. There are plot holes (including the freshness of Catherine’s corpse!), but they are easy to overlook when the film is viewed as a whole. I enjoyed how the story never took a decidedly “zombie” or “vampire” stance with Catherine’s resurrection, but straddled the two myths. Catherine is never named as a “zombie” or a “vampire,” but is merely “undead” and marries aspects from both. She drinks blood like a vampire but also stumbles around like a mindless zombie most of the film. In the end, the character works, which is all that really matters. The rest of the story, including Catherine’s mounting angst and Helene’s burgeoning frustration, works nicely with the ensuing chaos and catastrophe of Catherine’s “condition.”

The cinematography, done by Max Monteillet, was also stunning and the vistas used in the film were gorgeous. The Valmont’s castle was outfitted for a king and the surrounding fields and town were vibrant. The leads were beautiful as well, which completed the film’s rich palette. Visually speaking, each scene has something to grab your eye.

If you are looking to explore Jean Rollin’s work, Living Dead Girl is the most accessible place to start. Its straightforward story moves at a brisk pace, the acting is excellent, the gore is out of this world and the leads are beautiful (and you’ll get to see plenty of them throughout the film if you catch my drift). The film follows some genre guidelines (toxic spill awakens the dead) but has a unique spin on the consequences. This Living Dead Girl is no brainless zombie intent only on brains, she is a thinking, rationale being with a strong sense of right and wrong who just happens to be back from the dead…and is a very messy blood-feaster.

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The Red Queen Kills Seven Times (1972)

There might be those that grow weary of the routine plot of gialli films. They usually rely on similar circumstances, plot twists, glamorous characters and black-gloved killers. If you are a fan of giallo, though, you just can’t get enough of ‘em! There is just something about their sophisticated style, vivid visuals, gory death scenes and elaborate who-done-its to keep you hooked!

In 1972’s The Red Queen Kills Seven Times, director Emilio Miraglia never strays far from the giallo formula, but still manages to create a tension-filled film with candy-colored set-pieces, an impressive cast and sufficient plot twists to keep you guessing!

In the wealthy Wildenbruck family, an old legend says that every hundred years two sisters, the Red Queen and the Black Queen, will violently quarrel. The Black Queen will kill the Red Queen, but a year later the Red Queen will return for revenge, killing six people before finally killing her sister, the Black Queen. Sisters Kitty (Barbara Bouchet) and Evelyn Wildenbruck never really got along in childhood and as grownups have drifted apart. Kitty is a fashion photographer working for a fashion house and still visits her family’s castle where she and Evelyn were raised by their grandfather. Evelyn hasn’t been heard from for some time, but it’s assumed she’s living in America, where she moved to one year prior.

One night, their grandfather has a heart attack after a fright and the Red Queen, wearing a flowing red cape and cackling loudly, is seen near the castle. When the grandfather’s will is read, it is discovered that no one can touch it until the following year. Did the grandfather know something about the 100 year curse that his heirs don’t?

Soon after, murders begin occurring. It seems as if people from the fashion house where Kitty works are being targeting. After the general manager is killed, the police come up with a sketch of the murderer from an eyewitness. Kitty recognizes the face as the face of her own sister Evelyn! Problem is, she killed Evelyn a year ago.

Has the prophecy about the Red Queen come true or is someone else to blame for the murders? Could it be Kitty’s lover, vying for the general manager position, top model Lulu seeking revenge, drug-addict Peter seeking money or is Evelyn really back from the grave?

Red Queen’s luscious visuals and lurid color palettes make for a sensational viewing experience. Rather than bathing entire shots in bright hues of red and blue (think Argento’s Suspiria), each object – a bright yellow car, a blood-red cape, a cool blue and green apartment – pops out at you. The colorful 70s fashions also help bring a real liveliness to the film – plaid polyester suits, batiks, bold cuts and colors contribute to the sense of excitement. The settings – the Wildenbruck’s opulent castle, the fashion house’s posh office and the characters luxurious apartments, for example – all seem larger than life as well! These visuals grab your attention and help pull you into the story.

Giallo fans know the story is usually the weakest point in the film (gialli usually rely more on visuals than a cohesive storyline), yet Red Queen did a fine job of working all its kinks out. It also hid its secrets pretty well, with the villain never being obvious until close to the end. Except for a few rough patches (unnecessary rape scene, I’m looking at you!) the story flowed smoothly and made sense.

The acting was also done extremely well. Barbara Bouchet was fantastic as Kitty Wildenbruck. She was both an independent woman, yet vulnerable at the same time. As she begins to unravel, you can’t help but feel sympathetic towards her. Even though she was behind Evelyn’s demise (or was she?) it is very easy to feel sorry for her when everyone around her starts dying and she’s forced to face her demons. The rest of the cast is equally impressive. All the ladies in the film are absolutely gorgeous and include the previously mentioned Barbara Bouchet as well as Marina Malfatti, Maria Pia Giancaro and Sybil Danning. Unfortunately for us girls, the men aren’t as attractive as the women, but nonetheless they put on a good show.

The Red Queen Kills Seven Times isn’t as gory as some other gialli, but it does deliver. Make sure not to miss the scene where an escaping mental patient is purposely impaled on an iron fence or the death by VW Bug. Just like the rest of the film’s visuals, the blood is brightly garish!

Gialli often follow the same formula – a deep, dark secret is revealed which unleashes a black-gloved killer, usually in a posh clique, and everyone is a suspect. Still, despite the formula that most seem to follow, they can still be incredibly entertaining. The Red Queen Kills Seven Times is no different and is a sophisticated, sexy, stylish and sinister romp into the world of giallo.

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Castle of Blood (1964)

Exquisitely creepy and essentially gothic, Antonio Margheriti’s Castle of Blood is the perfect moody film for dark, stormy nights. Heck, I watched it while the sun was still shining and it still made my apartment feel like a dank, dark crypt. Much like Mario Bava’s classic Black Sunday, Castle of Blood is full of foggy cemeteries, beautiful damsels in distress, cursed ghosts and a very gloomy yet suspenseful atmosphere.

Journalist Alan Foster is planning to meet with great author Edgar Allan Poe at a pub. When he arrives, Poe is regaling a group of men with one of his fantastical tales. After the tale is finished, Poe goes on to tell Alan that his tales are based on truth. Poe’s friend, Lord Blackwood, agrees with him and he and Poe challenge the scoffing Alan to stay at a supposedly haunted castle overnight. It is a special night, the night of the dead, where the ghosts of the castle supposedly come back to reenact their last moments on earth. According to Blackwood, no one has ever been able to last the entire night in the castle.

Alan begrudgingly agrees to the proposition and the three take a two hour carriage ride to the isolated and seemingly abandoned castle. Poe and Blackwood drop Alan off and tell him they shall return at dawn to see how he fared. Alan opens the creaky iron gates of the castle, creeps through an overgrown cemetery and is spooked by a little black cat before heading into the dark castle. Here he does some exploring and finds that he is not alone. A woman named Elisabeth appears and soon she and Alan have fallen in love. Trouble is, Elisabeth is a ghost and soon the other inhabitants of the castle appear. Alan starts to wonder if he is going mad but soon discovers that the apparitions are after more than his sanity…they want his blood!

For fans of old, black and white, atmospheric haunted house movies, Castle of Blood is a must-see. If, on the other hand, you need constant gore and action to keep your attention during a movie you may want to skip this one. The first 10 minutes alone show Alan just making his way into the castle and poking around. I love these kind of movies, though, the kind that are full of creaky doors, black cats, overgrown cemeteries, eerie fog, nefarious mysteries and murders!

The acting is quite well-done, though perhaps a bit over-dramatic for today’s audiences. Still, Barbara Steele shines as the doomed Elisabeth Blackwood and Georges Riviere is excellent as the unbelieving Alan Foster. The rest of the cast does a spectacular job as well and each character helps create a foreboding atmosphere as the movie progresses to the finale.

Margheriti’s direction is excellent. Everything is in the chiarcoscuro style and very Gothic-inspired. Scenes of rolling fog in between gnarled trees and broken tombstones look gorgeously creepy and the cramped, dark corners of the castle are truly claustrophobic. Margheriti builds on the dread with each scene and really delivers at the end.

The Synapse DVD release of Castle of Blood has previously unreleased scenes, such as a lesbian scene, a nude scene and a few extra scenes that add further explanation. These scenes were so rare to find that the only prints that existed were French. Therefore, you will notice that when these scenes pop up they have French audio with English subtitles. After getting over the language switch, you’ll find that these never-before-seen-scenes add a lot to the overall movie. Synapse has done a great service to movie fans by adding these “lost” scenes back into this film.

Castle of Blood is a must-see for fans of old haunted house films. The Synapse DVD is highly recommended for its restoration of “lost” scenes, but I recommend seeing this film any way you can!

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Castle Freak (1995)

Despite its silly cover and title, Castle Freak is a surprisingly solid straight-to-DVD film from director Stuart Gordon. Though Gordon is most famously known for his blackly comedic and fun Re-Animator film, he takes a more serious approach with 1995’s Castle Freak, which stars Re-Animator alumni Jeffrey Combs and Barbara Crampton.

An American family inherits a massive castle from an unknown relative in Italy. If the stress of moving wasn’t enough, the family also lost their 5-year-old son just nine months prior. The father, John (Jeffrey Combs) was driving drunk when he crashed the car carrying his son and daughter. His son was killed and his teenage daughter Rebecca (Jessica Dollarhide) was left blind. Since then, things have between John and his wife, Susan (Barbara Crampton), have been awfully strained. John sees the inheritance as a way to rekindle things with Susan, but Susan just can’t seem to forgive him, even though he has sobered up.

Meanwhile, their old Italian housekeeper tells them the scandalous story of the Duchess who lived in the castle and how she took an American husband. The Duchess soon had a child, Giorgio, but her husband abandoned them both and went back to America. Supposedly, Giorgio died when he was just 5 years old and for the 42 years since then the Duchess has let no one inside the castle. Some of the villagers, though, believe that the Duchess kept Giorgio alive and tortured him to punish her philandering husband. The old lady says that sometimes strange noises can be heard coming from the castle...

Soon, strange things start befalling the family. Rebecca swears there is someone else in the castle. After a stressful few days of strange noises and emotional turmoil, John takes to drinking again and even brings home a prostitute. Before long, mutilated bodies start piling up and suspicions fall on him.
Can the family band together to prove that the castle freak exists before John is hauled off to jail or, worse yet, before they all die painful deaths at the hands of the freak?

The most impressive thing about Castle Freak is the depth it goes into in regards to character development. There are no wispy-thin characters and everyone has a detailed background. The interactions between all the players drew me further and further into the story, fully engaging me until I couldn’t pry my eyes from the screen. Of course, Jeffrey Combs was a joy to watch as always. Though he quickly becomes unhinged as the movies progresses, I couldn’t help but feel for the poor guy as well. Barbara Crampton does a fantastic job as the fed-up and overwhelmed Susan, but it’s Jessica Dollarhide as Rebecca that really shines. Even though she was handicapped, she wasn’t whiny or spoiled, but looked at her disability as a challenge she had to face. It was very easy to root for her the entire time! Another standout performance was the castle freak himself, played by Jonathan Fuller. His creepy movement and Neanderthal grunts, plus the raw emotion he exhibited, really left me with conflicted feelings. One minute I was cheering him on as he escaped, the next I was hoping he would be caught…

For a straight-to-DVD film, Castle Freak sure looks sharp, even if it does have a low-budget feel. The special FX makeup and gore are the most impressive. The makeup and prosthetics done on the “freak” look incredibly real and very freaky. The gore is pretty gruesome, especially a scene involving Mr. Freak and the prostitute. There’s a fair bit of whipping, biting, dismemberment and plenty of blood flowing!

I also enjoyed that the film was shot on location in Italy, at an actual Italian castle (owned by the head of distribution company Full Moon Pictures). The beautiful countryside and gothic castle complemented the story (loosely based on the H.P. Lovecraft tale “The Outsider”) perfectly.

The film is not without its flaws, though. It takes about a good solid hour for anything to really happen, which might be a deal-breaker for some. The beginning felt a little too repetitive and slow for me, but the ending made up for the fact. Also, no matter how well it tries to hide the fact, Castle Freak is still a low-budget film and at times looks as such.

Still, for what it is, Castle Freak is a great film if enjoyed by the right people. It has complex characters, a fantastic location, great performances and solid special FX. The next time you have an itch for a serious B-movie, look no further than one of Full Moon’s best efforts, Castle Freak!

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