THE NIGHT FLIER [1997]

Evil travels by darkness in Stephen King’s THE NIGHT FLIER. Richard Dees is a man hardened by his grueling profession as a star reporter for a sleazy news outlet. While facing the gradual decline of his writing career, a major national news story breaks. A blood-thirsty night flier with a lethal set of beastly canines flies into farm towns and malevolently decimates local residents. At the outset, Richard rejects the shovel for digging into the “dime-a-dozen” story of a vampire and suggests passing the job along to an amateur. Katherine, an inexperienced but highly enthusiastic reporter snatches up the opportunity to exhibit her strengths and establish herself as a serious journalist. Soon after, the body count jumps and Richard follows; with more bloodshed comes more juice, and he needs as much as he can get to propel his career back to the top. As Richard tracks the vampire pilot, Dwight Renfield, he is warned to cease his efforts through notes written in smeared blood. He persists regardless. Meanwhile, Katherine diligently pursues the case in a vicious race against her egotistic colleague. The competitors continue on until one drops out…literally.

Stephen King’s THE NIGHT FLIER is a breath of fresh air after drowning in a vastly contaminated ocean of poorly adapted vampire films. I truly didn’t know what to expect when I bought the movie, but I instantly fell in love with the handsome monster elegantly gracing the front cover. I’m very grateful I did. Both the honest acting and the colorful interactions are impressively true-to-life. Miguel Ferrer plays Richard’s part phenomenally as a tight-fisted hardass who fights dirty. Julie Entwisle, as headstrong Katherine, also emoted far beyond the often mediocre acting that comes along with horror films from the ‘90s. Ideally, the cape-donning freak gives the gift of gore before the five minute mark hits. Dwight Renfield is as seductive as he is atrocious and horrid. He skillfully builds panic within his victims and mesmerizes them with fear. Jaw-dropping incidences of sheer terror generate unforgettable anxiety, particularly when Richard meets the enigmatic villain in a blackened public bathroom. The ending begins with an eerie scene of zombie-filled Hell, only to transition into an explosion of graphic, unadulterated barbarism that will leave you feeling elated. Severely underrated, this vampire flick is a must-see.

Rating: 9/10
Director: Mark Pavia

Cast: Miguel Ferrer, Julie Entwisle, Michael H. Moss
Country: USA|Italy

THE JOHNSONS [1992]

Womanhood gets messy in Rudolf van den Berg’s Dutch horror THE JOHNSONS. As Emalee approaches her fourteenth birthday, her sleep is plagued with recurring nightmares. In them, she encounters seven males who brutalize her with molestation and blood baths. Young Emalee struggles to establish a connection between her night terrors and real life, until she acknowledges that her eagerness to menstruate could be to blame. Emalee accompanies her mother, a renowned photographer, on a camping trip for work in hopes of relieving anxiety. During their escapade, Emalee and her mother discover the nightmares are not simple illusions, but dreams come true. Simultaneously, a university professor, Winston Keller, learns of a ritual carried out by the Mahxitu Indians and their god, Xangadix: the evil deity produces seven sons for the purpose of impregnating their sister, who shall then give birth to an apocalyptic progeny. Professor Keller’s background in demonology lands him the daunting task of assisting the FBI in placing septuplet men with a bloodstained history. His research ultimately links Emalee, the ancient myth, and the seven siblings. Professor Keller must release Emalee from the grips of the destructive ceremony before world’s end.

THE JOHNSONS bears tremendous potential that is left unmet. Admirably, the movie is suspenseful as all Hell; there are a multitude of absolutely outlandish, sinister situations which provoke violent nail biting. Emalee’s dream sequences are thoroughly compelling, as the wicked visions are portrayed in a way that the audience can experience uncompromising fear and restraint as strongly as she does. Sickly children with crimson colored hands are haunting as they surround her, trapping her into a corner with no way out. The images of faceless, unclothed men on a baneful mission are chilling to watch as they overpower defenseless, confused Emalee. Special effects, though not always believable, are plentiful and constructive. Godmonster Xangadix’s alien-like appearance, snug inside a giant, transparent egg, is an added sci-fi factor bonus. The inconsistent acting between the different characters and contexts is where the feature falls apart. Some actors seemed sincere in their efforts, while others were far from convincing. We can all appreciate a bit of silliness in horror, but the juxtaposition of serious circumstances against the often laughable performances was disappointing. THE JOHNSONS is a creative and engaging story of ancient-myth-meets-reality told insufficiently through its actors.

Rating: 6/10

Director: Rudolf van den Berg

Cast: Esmée de la Bretonière, Monique van de Ven, Kenneth Herdigein
Country: Netherlands

FRIGHTMARE [1974]

The FRIGHTMARE never ends if it’s genetic. After being convicted for cannibalism, Dorothy and her husband/accomplice Edmund are locked up in a mental institution for fifteen years. Upon release, Dorothy returns to her old ways, luring victims into her home for tarot card readings and executing them as she sees fit. Meanwhile, their daughter Jackie chains herself to the responsibility of looking after them. Jackie is also the guardian of her sister, Debra, who was born just prior to the time their parents were admitted. Jackie is violently pulled in three different directions as she attempts to build and maintain order for her family members, a loose-cannon stepmother, a weakened father, and an untamable sister. When Jackie meets Graham, an especially kind psychiatrist, he aims to liberate her from such strenuous obligation. Since Debra’s ornery behavior is Jackie’s main source of concern, Graham becomes acquainted with Debra in hopes of improving her attitude. He concludes he must bridge the gap between Debra and her estranged parents for substantial changes to occur. Unfortunately for Graham, he’s dealing with brain-craving psychos way beyond his level of expertise.

FRIGHTMARE drips, then bursts with bloody mayhem. Both the story and its characters are well-developed before we see the ravenous old hag terrorize, but the wait is worth it. Featuring weapons like a fire poker and a pitchfork, this flick offers thirst-quenching cruelty. Dorothy’s positively remorseless character is handled in an expertly creepy fashion, delivering a performance that will make your spine tingle for hours. She slyly chooses victims with no family or friends, deeming the lonely worthless. Dorothy’s disposition towards her hopeless prey rapidly moves from purely tranquil to downright malicious. The dialogue connects so beautifully with each scene, you could cut the atmosphere with a knife. From one setting to the next, the transitions are smooth and artfully done. There are a few mysteries that may eat at your mind from the beginning of the film, but the answers are eventually revealed, piece by piece, which makes for a shocking, slightly depressing end. FRIGHTMARE exhibits the fatal consequences of supplying love and loyalty to the wrong people in an unapologetic, ghastly manner.

Rating: 8/10
Director: Pete Walker [HOUSE OF WHIPCORD, SCHIZO]

Cast: Rupert Davies, Sheila Keith, Deborah Fairfax
Country: UK

SOMBRE [1998]

SOMBRE follows the bleak life of a serial killer through a blackened lens. Jean is a deeply disturbed man who survives off sex with prostitutes and strangling them to death. He is always on the prowl, wandering around for women to violate and dominate. The reason for his lustful rage is left unknown. When Jean meets Claire, a naive and untouched woman, he is forced to confront his feelings of genuine connectedness to her. Claire also finds herself struggling to accept the gripping emotions she has towards him. Claire’s sister accompanies Jean and Claire as they become familiar with one another, further complicating their perplexing affair. Much to Jean’s dismay, his voracious appetite for women binds him to the life of a lone wolf, preventing the development of a stable relationship in any form. Claire fights relentlessly to maintain contact with him, dismissing his unpredictable behavior and depraved lifestyle. She willingly subjects herself to his mania in order to remain a person of importance in his mixed up life. She even starts to bask in it.

SOMBRE is a slow-moving, psychological roller coaster ride with no end in sight. Perhaps the lack of adequate lighting and overkill of close up shots contributed to how drawn out the film felt. Clocking in at just under two hours, the movie is filled with snippets of randomness and numerous scenes of raw sexuality. The randomness is thought-provoking, and the sexuality feels real, but the two don’t seem to fit together. The storyline is either too vague or not interesting enough to follow consistently. Marc Barbé fittingly plays Jean’s character as an untamable (but fearful) beast of man, which is one strong point. In addition, the soundtrack acted as a profound mood enhancer. Bauhaus, for example, was a source of intoxicating bliss in the otherwise complex, dreary world of Sombre. More than anything, it seems director Philippe Grandrieux intended to make an art house film rather than a thriller. SOMBRE requires undying patience, and it should be watched with a mind void of distraction to be appreciated in any sense. Look elsewhere if you’re seeking French madness.

Rating: 5/10

Director: Philippe Grandrieux

Cast: Marc Barbe, Elina Löwensohn, and Géraldine Voillat
Country: France

MOTHER'S DAY [1980]

In MOTHER’S DAY, vacation spells “agony” for best friends Jackie, Abbey, and Trina. The three girls plan their annual reunion getaway expecting to feel rejuvenated by its completion. They decide to spend their weekend together bonding in the woods of New Jersey. From the car ride to the campsite, the sabbatical is brimming with laughter and reminiscing about the good ol’ days. The merriment carries on until night two, when the girls are packed up into their sleeping bags and kidnapped by two male inbreds, Ike and Addley. Like a cat would present a mouse to its owner as an expression of loyalty, the primitive perverts deliver the three victims to their mother. The redneck family then beams with pride. Beyond that point, the abnormally sadistic mom insists on dictating how the girls will kill their vacation time: getting raped, beaten, and tortured. Jackie, Abbey, and Trina are used as tools for coaching the twisted brothers on how to become the greatest brutes on the planet, while the tenacious female trio plots to escape with their dignities intact.

MOTHER’S DAY is packed with the kind of action and brutality that only a mother could love. Despite the staggeringly dark basis of the story, the movie is filled with hilarity. On one hand, the rape scenes are repulsive and intensified by quick shots that cycle through multiple viewpoints. On the other hand, it is dangerously comical to watch the mother’s lax demeanor remain unscathed as she witnesses her sons fulfill their carnal desires. As a matter of fact, it is almost challenging not to smile, laugh, and shake your head when the savagery manifests. Yes, on the surface, it seems terribly immoral to find such behavior awfully entertaining. However, the film is assembled in a manner that the mood alternates so rapidly, any negative feelings you may experience are quickly dissolved. The movie contains the essential helping of bright red blood and nauseating scenes that are sure to increase heart rate. Mother’s Day is an all-original gem to be eagerly shared between horror and exploitation fans. It might even become your new favorite movie.

Rating: 10/10

Director: Charles Kaufman [FEROCIOUS FEMALE FREEDOM FIGHTERS]

Cast: Nancy Hendrickson, Tiana Pierce, Frederick Coffin, Beatrice Pons
Country: USA

NIGHT OF THE CREEPS [1986]

The infestation begins with the launch of an alien space canister containing leech-like creatures in NIGHT OF THE CREEPS. A college couple, out for a romantic evening, are basking in the beauty of the nighttime sky when they spot an incandescent light drawing nearer until finally blasting Earth’s soil. Johnny, the hot-shot boyfriend, feels the need to investigate (of course), and he moves in closer to identify what has fallen from the sky. Well, curiosity killed Johnny after one of the critters breaks through the canister and catapults into his mouth. The movie is then brought to present-day, when two slightly awkward college kids, Chris and J.C., are devising a way for Chris to get noticed by their highly desired female peer, Cynthia. They decide the best route would be to join the most popular fraternity on campus. The boys are assigned a risky initiation task: retrieve Johnny’s frozen body from the local science lab and leave it on the front steps of a sorority house. Chris and J.C. fail their mission, but successfully unleash the creepy crawlies into suburbia without knowing. The fate of humanity relies on the kids and a troubled cop to wage war against the head-splitting space pests and the zombies they’ve produced.

From the first minute to the last minute, NIGHT OF THE CREEPS is an exceptional film. Every actor in the movie suited their roles flawlessly. The portrayal of the students seems effortless, as the cast nails cliches of the all-too-common personality types that just about anyone could experience on a college campus, both in the scenes from the ‘50s, and the modern-day ones. Most notable is Jill Whitlow’s character as Cynthia, an unexpectedly tough sweetheart who is not afraid to fight and stand up for what she believes in. Also to be acknowledged is Tom Atkins’ character (though not a college kid), Ray Cameron, a no-holds-barred kind of policeman who is fully prepared to conquer the creeps and the bodies they inhabit at any cost. The creeps were artfully done, believable, and impactful; when you see them lunge through the lips of their prey, you can almost feel and taste them in your very own mouth. The movie, while more advanced than earlier sci-fi/horror films, captures the same essence of the originals. The playful sense of humor the movie radiates makes it all the more lovable and worth watching. NIGHT OF THE CREEPS is a genuine classic and deserves great recognition as a B-movie monument.

Rating: 9/10
Director: Fred Dekker [THE MONSTER SQUAD, ROBOCOP 3]

Cast: Jason Lively, Steve Marshall, Jill Whitlow, Tom Atkins
Country: USA

CAT IN THE BRAIN [1990]

Lucio Fulci plays a victim of his gore-torn mind in CAT IN THE BRAIN. Fulci is a character consumed by his work as a horror film director. Evidently, the line has vanished between reality and the sickening scenes he constructs for a movie he’s currently working on. Nearly every waking moment of his life transforms into a flood of grisly hallucinations, and he drowns in them. Once he realizes he needs to get his head above water, Fulci seeks guidance from a psychiatrist. The depleted filmmaker is left completely oblivious and vulnerable to the psychiatrist’s evil agenda due to the massive amount of stress his work has left him buried under. The psychologist hypnotizes Fulci so that he will believe he is responsible for committing the sleazy murders happening around town. Fulci’s delirium, fueled by his art, leaves him feeling homicidal. Why couldn’t he be the murderer? In reality, it is the therapist who is ruthlessly killing women as an outlet for his own feelings of rage and rejection.

CAT IN THE BRAIN is a terrifying visual journey made up of the kind of deranged sequences that only Fulci, himself, could masterfully create. It is sincerely impossible NOT to empathize with Fulci’s character as he descends into the depths of his own personal Hell, tormented by his imagination. The movie almost has a “home video” feel and can, at certain moments, come across as a splatter fest compilation. Brains are eaten, corpses gush, and whores are slain. Every opportunity for slaughter and carnage is taken and used to its maximum potential. The insanity, though highly intense, is also laughable and great fun if your stomach can handle it. The violent flashbacks and erotic daydreams that control each thought that Fulci processes are just as mind-bending to the viewer as they are to him. CAT IN THE BRAIN may very well be Fulci’s statement on the horror industry’s ability to vigorously impact the way people perceive the world on a daily basis.

Rating: 8/10
Director: Lucio Fulci [ZOMBIE, CITY OF THE LIVING DEAD, THE BEYOND]

Cast: Lucio Fulci, David L. Thompson, Malisa Longo
Country: Italy