“DON’T LOOK NOW but Nicolas Roeg has made an eerie meditation on fate, death, mourning and love!” That would’ve been my quote for the newspaper ad if I was doing this back then. I do quotes, you know. Too bad I’m late on this one, I think I would’ve had alot to offer their marketing team.
Well, it’s like I heard. This isn’t really the type of movie I necessarily want to watch every Halloween, but it’s a good one and a nice change of pace from the other horror movies I was watching last month. It has psychic premonitions, ghosts, a murder and some creepy shit. But it’s more art movie than horror. And that’s fine – maybe better, because there aren’t many movies like this. (read the rest of this shit…)
There are alot of awful things about PSYCHO IV. It forces Anthony Perkins to play Norman Bates almost delighting in his evil, announcing that he’s going to kill again. It was an early example of the snake-eating-its-tail, dog-licking-its-balls, bird-drawing-a-picture-of-its-egg modern Hollywood attitude that what people want to see is a detailed re-enactment of the backstory that happened before the other movie they already liked. It re-uses way too much dialogue from the original, like “Mother! Oh God Mother, blood! Blood!” and “We all go a little mad sometimes.” It has laughable transitions from flashback to wraparound, like when it dissolves from young Norman laying face first on the floor to old Norman in the same position while telling the story over the phone to a talk radio host (CCH Pounder). And for Christ’s sake it has a part where he cuts his finger in the kitchen and the blood is shown swirling down the sink drain. I mean for fuck’s sake director Mick Garris, Moriarty says you’re a nice guy but come on man. That shit cannot be defended. Norman Bates got off by reason of insanity, you will not. (read the rest of this shit…)
I hope everybody had a good Halloween. Thanks for sticking around for the horror movie leftovers. Among other things I watched the entire PSYCHO series to prepare for the holiday. Well, the Anthony Perkins ones – I didn’t get to the remake or the TV show with Bud Cort. Those will have to wait.
In my opinion part 3’s not quite as good as the previous one, but it has plenty of good touches. It’s directed by Anthony Perkins himself (his first time, and the only other thing he directed was the comedy LUCKY STIFF). It starts out with an homage to VERTIGO in a whole Technicolor-looking sequence involving nuns in a bell tower. (read the rest of this shit…)
PSYCHO II is the best sequel ever made to a Hitchcock movie, better than THE BIRDS II: LAND’S END, NORTH BY NORTHWEST: RETURN TO RUSHMORE or even VERTIGOS. That’s faint praise though, since I actually haven’t seen the first one and the other two don’t exist as far as I know. What I’m trying to say is, no matter how prejudiced you might be against somebody sequelizing a classic like PSYCHO, this is actually a really enjoyable sequel, a clever and suspenseful tribute to Hitchcock and to the character of Norman Bates as portrayed by Anthony Perkins.
It’s 22 years after the events of PSYCHO. Norman Bates has been in an institution, having been found not guilty by reason of insanity, but is now considered fully rehabilitated. Against the petitioning of Lila Loomis (formerly Crane, and still played by Vera Miles) Norman is released. His doctor (Robert Loggia) seems to truly care about and believe in his mental stability, but regrets that cutbacks prevent society from having more social workers to look after him. For Norman’s sake and for ours. (read the rest of this shit…)
You guys ever seen this one called PSYCHO? It’s Alfred Hitchcock’s take on PEEPING TOM. Good shit. Check it out.
The weird thing about watching PSYCHO is that after you’ve already seen it (which in my opinion you have) the biggest trick is already given away. I’m not talking about the ending, the solution to the mystery. I’m talking about the fact that about half of the movie is all mis-direction… Marion Crane is unhappy, so she takes off with $40,000 of her boss’s money. Is the cop onto her? Will her boss know where she went? Will she decide to give it back? In a normal Hitchcock movie it might be about the money, but we know it’s not about the money. The money is not even the mcmuffin, it’s the red herring. We know not to really get invested in this because there is a little matter of something that happens in a motel shower that makes the money irrelevant. We know that and we still watch it again and again.
But with this hindsight we can also notice other things going on: the talk of Marion having to turn her mother’s picture around when her boyfriend is there, her co-worker (played by Hitchcock’s daughter) talking about her mother calling to check up on her… everyone has a mother lingering in their life from afar, overseeing things. But not quite like Norman does. (read the rest of this shit…)
Man, I knew everybody loved NIGHT OF THE CREEPS, but the way people talked about it I always figured it was some nostalgic grew-up-in-the-80s thing like GOONIES or heavy metal. No, it turns out NIGHT OF THE CREEPS is truly fucking great! You guys should’ve been more clear!
It’s a movie with a really unique feel. The only thing it reminds me of is RETURN OF THE LIVING DEAD, but for nerds instead of punks. It has a similar tone of funny-but-serious, similar stylishly cartoonish effects and puppet zombies (see thumbnail), similar confident visual style and storytelling. It lets the horror unfold a piece at a time (aliens, ax-murdering escaped mental patient in the 1950s, cryogenics, zombies, space slugs) and it just seems to know what it’s doing so I never questioned that it would all come together and make sense. And it did. It’s just great writing and directing – Fred Dekker, I forgive you for ROBOCOP III. (read the rest of this shit…)
Man, if it walks like a duck, talks like a duck… oh wait, this guy doesn’t walk like a duck. But the title slasher of NEW YORK RIPPER is a guy who makes quacking noises while killing, and in taunting phone calls.
Franco and Josh both recommended this Lucio Fulci movie to me, and I remember years ago when I first saw MANIAC somebody suggested it to me then. I gotta admit I don’t think it’s exactly good, but it’s definitely unusual and enjoyable to watch once. (read the rest of this shit…)
I tell ya, I’m as shocked as you are that a movie called THE NIGHT BRINGS CHARLIE doesn’t turn out to be the great unknown slasher gem I’ve been searching for. I mean, people love a killer they can call by his first name, like Jason or Freddy. Informality = terror. And that’s what they got here, they got Charlie. It seemed like they thought of everything, but for some reason the world gave them the cold shoulder. I’m sure around ’88 they were kicking themselves that they didn’t call him Chucky and make him a killer doll and do a way better job.
(Oh wait – I just looked it up and this movie came out in 1990. Are you kidding me? As in the 1990s 1990? Incredible.) (read the rest of this shit…)
(this isn’t really a slasher movie, but I thought it was gonna be)
THE MEATEATER (1979) is a pretty good really bad one I found. I looked up the director, writer and lead actors and none of them have any other credits except the leading man Peter Spitzer had a small part in a Cannon movie the same year called GAS PUMP GIRLS. I can’t vouch for that one, but THE MEATEATER has a certain charm to it because you can tell they’re trying hard but the amateurish acting, dialogue and pacing make it feel more like an Ed Wood movie than like other low budget horror of the era.
The story is about a Florida traveling shoe salesman named Mitford Webster (Spitzer) who comes home one day, makes his wife come out on the porch (maybe they weren’t allowed to film inside?) and complains about being unfulfilled. Then he checks the mail and oh what a surprise, he bought a movie theater in some town somewhere. (read the rest of this shit…)
THE HILLS RUN RED probly isn’t a new classic, but I think it’s a solid DTV horror and a good take on the “meta-slasher” sub-subgenre that includes SCREAM and my unfavorite BEHIND THE MASK: THE RISE OF etc. etc. This is another one about people making a documentary, but thank the Lord Christ it’s not presented as a documentary. Tyler (Tad Hilgenbrink, some guy from DISASTER MOVIE) is a film school nerd obsessed with a 1982 slasher movie called THE HILLS RUN RED (wait a minute… that’s what this movie is called! what on earth is going on here?). It was supposedly so horrifying it was pulled from release. The director and all prints of the movie have been missing for over 20 years. (read the rest of this shit…)
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Recent commentary and jibber-jabber
KayKay on The Mandalorian and Grogu: “It helps to keep expectations low going in — which is probably why I actually enjoyed this. As Vern pointed…” Jul 31, 18:47
KayKay on War: “I recall not hating this movie…but blue-balling you for 90 mins in anticipation of a Jet vs Stath throwdown only…” Jul 31, 18:07
so-and-so on Disclosure Day: “i went through another psychotic episode around the time this movie came out, experiencing prolonged delusions of reference/grandeur triggered by…” Jul 31, 16:54
so-and-so on Disclosure Day: “i went through another psychotic episode around the time this movie came out, experiencing prolonged delusions of reference/grandeur triggered by…” Jul 31, 16:53
Handsome Dan on Kazaam: “You should’ve told the guy you wear it as a tribute to the excellent 1980 self-titled LP by Sweat Band…” Jul 31, 15:28
សមមិត្តឌុច on Multiplicity: “I remember this one from childhood as funny, though very lazy. It made me wonder if builders in USA were…” Jul 31, 13:13
CJ Holden on Kazaam: “All I have to say about sweat is that Melanie C’s SWEAT is IMO a better 2026 dancepop album than…” Jul 31, 13:05
VERN on Kazaam: “Here’s a sweat-related anecdote I was tempted to put in the review, because it had just happened. You were spared…” Jul 31, 11:36
ethan2000 on War: “I completely agree that the generic title probably hurt the film’s discoverability. Choosing a name like War instead of something…” Jul 31, 10:53
scarhead on Jackass: Best and Last: “I knew that was the quote as soon as you mentioned it in your review. That is one of the…” Jul 31, 01:12
MaXiao on Multiplicity: “maybe Vern’s outie has already watched it @Hamm” Jul 31, 00:59
Franchise Fred on Multiplicity: “I will put the first Vacation up with Groundhog and Caddyshack is still legit. This fits my recollection as well.…” Jul 30, 23:58
CJ Holden on Multiplicity: “Oh, another small SLAM EVIL SUMMER connection: With ID4, PHENOMENON and MULTIPLICITY, Trekkos had a chance to see Data and…” Jul 30, 21:10
CJ Holden on Multiplicity: “One thing that it has in common with THE NUTTY PROFESSOR is that one crafty part was actually quite revolutionary…” Jul 30, 21:04
Tim Bobo on Kazaam: “I consider myself I fan of the Paul Michael Glaser Cinematic Universe, but I’ve never seen this one. I need…” Jul 30, 18:56
“DON’T LOOK NOW but Nicolas Roeg has made an eerie meditation on fate, death, mourning and love!” That would’ve been my quote for the newspaper ad if I was doing this back then. I do quotes, you know. Too bad I’m late on this one, I think I would’ve had alot to offer their marketing team.
There are alot of awful things about PSYCHO IV. It forces Anthony Perkins to play Norman Bates almost delighting in his evil, announcing that he’s going to kill again. It was an early example of the snake-eating-its-tail, dog-licking-its-balls, bird-drawing-a-picture-of-its-egg modern Hollywood attitude that what people want to see is a detailed re-enactment of the backstory that happened before the other movie they already liked. It re-uses way too much dialogue from the original, like “Mother! Oh God Mother, blood! Blood!” and “We all go a little mad sometimes.” It has laughable transitions from flashback to wraparound, like when it dissolves from young Norman laying face first on the floor to old Norman in the same position while telling the story over the phone to a talk radio host (CCH Pounder). And for Christ’s sake it has a part where he cuts his finger in the kitchen and the blood is shown swirling down the sink drain. I mean for fuck’s sake director Mick Garris, Moriarty says you’re a nice guy but come on man. That shit cannot be defended. Norman Bates got off by reason of insanity, you will not. 
I hope everybody had a good Halloween. Thanks for sticking around for the horror movie leftovers. Among other things I watched the entire PSYCHO series to prepare for the holiday. Well, the Anthony Perkins ones – I didn’t get to the remake or the TV show with Bud Cort. Those will have to wait.
PSYCHO II is the best sequel ever made to a Hitchcock movie, better than THE BIRDS II: LAND’S END, NORTH BY NORTHWEST: RETURN TO RUSHMORE or even VERTIGOS. That’s faint praise though, since I actually haven’t seen the first one and the other two don’t exist as far as I know. What I’m trying to say is, no matter how prejudiced you might be against somebody sequelizing a classic like PSYCHO, this is actually a really enjoyable sequel, a clever and suspenseful tribute to Hitchcock and to the character of Norman Bates as portrayed by Anthony Perkins.
You guys ever seen this one called PSYCHO? It’s Alfred Hitchcock’s take on PEEPING TOM. Good shit. Check it out.
Man, I knew everybody loved NIGHT OF THE CREEPS, but the way people talked about it I always figured it was some nostalgic grew-up-in-the-80s thing like GOONIES or heavy metal. No, it turns out NIGHT OF THE CREEPS is truly fucking great! You guys should’ve been more clear!
Man, if it walks like a duck, talks like a duck… oh wait, this guy doesn’t walk like a duck. But the title slasher of NEW YORK RIPPER is a guy who makes quacking noises while killing, and in taunting phone calls.
I tell ya, I’m as shocked as you are that a movie called THE NIGHT BRINGS CHARLIE doesn’t turn out to be the great unknown slasher gem I’ve been searching for. I mean, people love a killer they can call by his first name, like Jason or Freddy. Informality = terror. And that’s what they got here, they got Charlie. It seemed like they thought of everything, but for some reason the world gave them the cold shoulder. I’m sure around ’88 they were kicking themselves that they didn’t call him Chucky and make him a killer doll and do a way better job.
THE HILLS RUN RED probly isn’t a new classic, but I think it’s a solid DTV horror and a good take on the “meta-slasher” sub-subgenre that includes SCREAM and my unfavorite BEHIND THE MASK: THE RISE OF etc. etc. This is another one about people making a documentary, but thank the Lord Christ it’s not presented as a documentary. Tyler (Tad Hilgenbrink, some guy from DISASTER MOVIE) is a film school nerd obsessed with a 1982 slasher movie called THE HILLS RUN RED (wait a minute… that’s what this movie is called! what on earth is going on here?). It was supposedly so horrifying it was pulled from release. The director and all prints of the movie have been missing for over 20 years. 
