I don’t know what DEMENTIA 13 means, but that’s the name of Francis Ford Coppola’s official on the record first feature directorial work, and it’s the rare Coppola horror outing, almost 30 years before BRAM STOKER’S DRACULA. It’s a tight little black-and-white Roger Corman production that seems to split the difference between gothic horror like the Poe movies (THE RAVEN, THE HAUNTED PALACE and THE MASQUE OF THE RED DEATH were released the same year, 1963) and the modern slasher like PSYCHO and PEEPING TOM (released three years earlier). It’s got a castle, a rich family and some possible ghostiness, but also a money scheme running afoul of an ax murderer. And there’s a mystery. And some brutality I wasn’t expecting in a movie of this era.
It’s got a great opening – John Haloran (Peter Read, THE BRAIN, TALONS OF THE EAGLE) is upset one night, wants to row out onto the lake to be by himself, but his wife Louise (Luana Anders, THE YOUNG RACERS, NOWHERE TO RUN) comes with him and bickers with him about money. His mother is sick and plans to will her fortune to charity – Louise wants him to talk to her about putting him in the will. All the rowing gets his heart worked up and he collapses. She goes for his heart pills (apparently this happens alot) but the container is empty, and he dies. (read the rest of this shit…)
HYDRA (2019) is a modest Japanese crime movie that I enjoyed for its simplicity. It begins harshly, with a very efficient killing and disposal of a guy in a public restroom. The very human detail that the victim can’t stop peeing as he’s stabbed and dragged from the urinal to a stall ups the disturbing factor by about 150%. And that’s before we see a man wearing tight swimming trunks (Takashi Nishina, GAMERA 3: REVENGE OF IRIS) so he can chop up the body and then hose himself off before giving a few chunks as treats to his piranhas. Seems like he’s got the process down pat.
You know how it is – sometimes the mood hits you for a little martial arts/horror combo, specifically the type found in Hong Kong vampire movies from the early 2000s, so you check out two of them. At least that’s how I dealt with the problem. The first one in my double feature, VAMPIRE EFFECT (2003) credits Dante Lam (BEAST COPS, THE STOOL PIGEON) as director and none other than Donnie Yen (
BANSHEE is a pretty cheesy 2000s crime/action type movie I added to my Letterboxd watchlist long enough ago that I don’t remember where I found out about it. I think I was scouring for movies directed by women that were more in the b-action type zone I prefer instead of the respectable stuff you usually see on lists. So I came across this obscure car thief movie I’d never heard of from Canadian director Kari Skogland and screenwriter Kirsten Elms (
THE SWORDSMAN is a 2020 Korean film about a swordsman. Color me intrigued. (Seriously. I like swordsmen.) I wonder what’s up with this swordsman that makes him THE swordsman?
PRISONERS OF THE GHOSTLAND is the latest entry in the Nicolas-Cage-weirdo-arthouse-version-of-an-exploitation-movie subgenre (see also: 
I’ve said it before and I’ll say it again: I want them to keep making these franchise western martial arts movies until the cows come home. And how ya gonna get a cow back on the farm after they’ve seen 
). 
I’ve been curious about BLACK MOON RISING (1986) – and many of you have recommended it to me over the years – for the specific reason that it’s based on a script by John Carpenter. According to the book John Carpenter: The Prince of Darkness by Gilles Boulenger, he wrote it in 1974 and sold it in late 1975 to producer Harry Gittes (GOIN’ SOUTH, ABOUT SCHMIDT), who does not have a credit on the movie. A decade later it ended up being directed by Harley Cokeliss (BATTLETRUCK, studio second unit director of 
I think you can see why I’d assume a movie called MEATCLEAVER MASSACRE would qualify as a slasher movie, or at least a chopper movie. Surprisingly, if there is a meatcleaver anywhere in the movie I missed it. There is a massacre, but it’s the inciting incident, and the story is about a series of killings to avenge the massacre. I’m using title on the VHS box, but the opening credits expand it to THE HOLLYWOOD MEATCLEAVER MASSACRE, and it does indeed take place in Hollywood. So at least one third, arguably two thirds of the title is accurate in that iteration.
You may know Jesse V. Johnson as the director of such Scott Adkins films as 
