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Sometimes the more outlandish the concept, the more entertaining a movie can be. It’s The Exorcist (nearly a year before it was released) meets Airport (three years after it was released) in a TV movie directed by the man who would later make The Concorde: Airport ’79, David Lowell Rich. Some may find that it
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What are the chances that either screenwriter Bill Lancaster or director John Carpenter were inspired by a 1973 TV movie called, A Cold Night’s Death, when they made The Thing nine years later? Similarities between the two films are numerous, yet the small screen version lacks something very important that the big screen version has:
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Because I am taking a different approach to discussing Halloween II (1981) it’s going to sound like I don’t like it. Let me be clear: I love this movie. It’s just that when I watched it recently for the Nightmare Junkhead podcast, its flaws really showed. After watching something so many times, you hope to
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If you were a monster kid at the time and asked to pick your favorite werewolf movie released in 1981, you were faced with a real Sophie’s Choice between An American Werewolf in London and The Howling. The latter was released four months earlier and is the one to which I declared my love. Conversely,
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The opening scene of Butcher, Baker, Nightmare Maker (1981) was filmed with a different director and cinematographer than the rest of the movie. Michael Miller (Jackson Country Jail, 1976) reportedly took too long making it, so was replaced by William Asher. The cinematographer was Jan de Bont (Speed, 1994; Twister, 1996, The Haunting, 1999.) He
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Pursuit (1972) starts with a superimposed digital clock counting down from “zero minus 15 hours.” It doesn’t remain visible for the movie’s entire running time, but appears at key moments, especially before and after the black spaces originally filled by commercials. It’s like the gimmick of the TV series, 24 (2001-2010), minus the loud and
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You know what curiosity did to the cat. For this horror film fan willing to explore unusual territory, though, The Curious Dr. Humpp (1969) did not kill me. I can’t say I completely enjoyed it; it’s a little slow and not terribly well-made. However, the idea is compelling even when the execution is not. Yeah,
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Until I watched The Devil’s Daughter (1973) and did my subsequent research for it, I didn’t remember that Shelley Winters had appeared in so many 1970s TV movies. I count at least ten. Her B-movie appearances at the time in theatrical films like What’s the Matter with Helen? (1971) and Whoever Slew Auntie Roo? (1972)
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Strap yourselves in; it’s going to be a topsy-turvy, shaky, wet ride as Jeff and Richard have fun with three disaster films of the 1970s: The Poseidon Adventure (1972), Earthquake (1974), and Airport ’77 (1977.) Don’t worry, we’ll all survive. There’s got to be a morning after… if we hang on through the night… Be
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Home for the Holidays (1972) was released on VHS with one of those giant rectangular boxes. I’ll never forget its awful cover art. A mysterious figure in a yellow raincoat held a pitchfork. That was fine (and the killer’s “costume” in the actual movie is fine, as well); however, Sally Field’s head was placed right
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Classic Horrors Club 