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An Erotic Werewolf in London

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An Erotic Werewolf in London is a 2006 American erotic horror film written and directed by William Hellfire [William Apprecino] (Caress of the Vampire 2; Vampire Strangler; Duck! The Carbine High Massacre). It stars Erin Brown [Misty Mundae}, Anoushka, Darian Caine, Julian Wells, Zoe Moonshine, Ruby Larocca, Linda Murray, Jeff Shields, John Link.

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Plot teaser:

Misty and Ruby are a couple who run a lesbian bar in New Jersey when their lives change one night with the arrival of a seductive woman (Anoushka) who bites Misty, thus starting her slow transformation into a werewolf. Anoushka the werewolf returns to her home in London, England where she gives an interview to a young reporter about her life as a werewolf, while back in America, Misty undergoes a slow transformation into a werewolf herself which may lead to danger for Ruby, and any other woman involved…

Review:

This is a dull soft core sex fantasy that combines vague elements of lycanthropy and yawn-inducingly facile supposedly lesbianism frolics. The final few minutes, with a ridiculous werewolf, are livelier yet still lack anything worth investing anyone’s time.

Adrian J Smith

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Choice dialogue:

“Do not put your finger in the pudding.”

IMDb

 



The Premature Burial (short story)

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“The Premature Burial” is a horror short story on the theme of being buried alive, written by Edgar Allan Poe, (1809-1849), and published in 1844 in The Philadelphia Dollar Newspaper. Fear of being buried alive was common in this period and Poe was taking advantage of the public interest. The story has been adapted to film several times.

In “The Premature Burial”, the first-person unnamed narrator describes his struggle with “attacks of the singular disorder which physicians have agreed to term catalepsy,” a condition where he randomly falls into a death-like trance. This leads to his fear of being buried alive (“The true wretchedness,” he says, is “to be buried while alive.”). He emphasizes his fear by mentioning several people who have been buried alive. In the first case, the tragic accident was only discovered much later, when the victim’s crypt was reopened. In others, victims revived and were able to draw attention to themselves in time to be freed from their ghastly prisons.

The narrator reviews these examples in order to provide context for his nearly crippling phobia of being buried alive. As he explains, his condition made him prone to slipping into a trance state of unconsciousness, a disease that grew progressively worse over time. He became obsessed with the idea that he would fall into such a state while away from home, and that his state would be mistaken for death. He extracts promises from his friends that they will not bury him prematurely, refuses to leave his home, and builds an elaborate tomb with equipment allowing him to signal for help in case he should awaken after “death”.

Context:

Fear of burial alive was deeply rooted in Western culture in the nineteenth century, and Poe was taking advantage of the public’s fascination with it.Hundreds of cases were reported in which doctors mistakenly pronounced people dead. In this period, coffins occasionally were equipped with emergency devices to allow the “corpse” to call for help, should he or she turn out to be still living. It was such a strong concern, Victorians even organized a Society for the Prevention of People Being Buried Alive. Belief in the vampire, an animated corpse that remains in its grave by day and emerges to prey on the living at night, has sometimes been attributed to premature burial. Folklorist Paul Barber has argued that the incidence of burial alive has been overestimated, and that the normal effects of decomposition are mistaken for signs of life. The story emphasizes this fascination by having the narrator state that truth can be more terrifying than fiction, then reciting actual cases in order to convince the reader to believe the main story.

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Adaptations:

  • “The Crime of Dr. Crespi” (1935), starring famous silent film director and occasional actor later in “talkies” Erich von Stroheim
  • “”The Premature Burial” (film)”, (1962) is a Roger Corman film starring Ray Milland, Hazel Court, Alan Napier, Heather Angel.

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A novelization of the film was written by Max Hallan Danne in 1962, adapted from Charles Beaumont and Ray Russell’s screenplay and published by Lancer Books in paperback.

  • In 1961 the TV series “”Thriller”” – starring Boris Karloff- featured their own version of “”The Premature Burial””, written by William D. Gordan & Douglas Heyes & guest starring Patricia Medina, Sidney Blackmer & Scott Marlowe. *Gothic soap-opera television series: “Dark Shadows” (1966-1971), incorporated “The Premature Burial” into its narrative along with “The Tell-Tale Heart”“The Cask of Amontillado” and “The Pit and the Pendulum”.

A subsequent movie was made in 2012 based on a revival and re-telling of the saga of the old TV series “Dark Shadows”.

  • The film “Nightmares from the Mind of Poe” (2006) includes “The Premature Burial” along with “The Tell-Tale Heart”“The Cask of Amontillado” and “The Raven”.
  • Jan Švankmajer’s film “Lunacy” (2005) is based on “The Premature Burial” and Poe’s “The System of Doctor Tarr and Professor Fether”.
  • The Fred Olen Ray film ‘Haunting Fear (1991) starring Brinke Stevens is very loosely based on “The Premature Burial”. The onscreen credits actually call the movie “Edgar Allan Poe’s Haunting Fear” despite significant differences with the original 1844 Poe story, including being set in the present day, the main character being female, and ending with her being intentionally put inside a coffin with the purpose of scaring her to death.

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  • ERS Game studio released a PC (personal computer) adventure game based on the story called “Dark Tales: Edgar Allan Poe’s The Premature Burial Collector’s Edition”.

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Art School of Horrors

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They made bad art. And now it’s pissed off’

Art School of Horrors is a 2015 American comedy horror film directed by Thijs Bazelmans from a screenplay by Maria Haras and Matt Yamashita (Sharktopus vs. Pteracuda). It stars Jeffrey Combs (Re-Animator; From BeyondWould You Rather), Matthew Jacobs (co-writer of Paperhouse), Kenny Leu, Mark Haptonstall, Mari Saleh, Sarah Rose Butler, Zach Eulberg.

The film is a New Horizons (Sharktopus) production for Roger Corman‘s company and is scheduled for release on January 14, 2015. 

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IMDb | Facebook


Rick Baker (makeup artist)

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Richard A. “Rick” Baker (born December 8, 1950 in Binghamton, New York) is an American special makeup effects artist known for his creature effects.

As a teen, Baker began creating artificial body parts in his own kitchen. He also appeared briefly in the fan production “The Night Turkey” a one-hour, black-and-white video parody of “The Night Stalker” directed by William Malone (Scared to Death; House on Haunted Hill; Fear.com). Baker’s first notable professional job was as an assistant to Dick Smith on the film The Exorcist. He received the inaugural Academy Award for Best Makeup for his work on An American Werewolf in London. He also created the “werecat” creature Michael Jackson transforms into in the music video Thriller. 

Baker claims his work on Harry and the Hendersons is one of his proudest achievements. On October 3, 2009, he received the Jack Pierce – Lifetime Achievement Award title of the Chiller-Eyegore Awards. He also contributes commentaries to the web series Trailers From Hell for trailers about horror and science fiction films.

Selected Filmography:

Octaman (1971) (Octaman costume; with Doug Beswick)

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The Thing with Two Heads (1972) (special effects)

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Schlock (1973) (makeup artist)

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The Exorcist (1973) (special effects assistant)

It’s Alive (1974) (makeup artist)

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King Kong (1976) (makeup effects, actor)

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Track of the Moon Beast (1976) (makeup artist)

Squirm (1976) (makeup designer)

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The Incredible Melting Man (1977) (special makeup effects)

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The Fury (1978) (special makeup effects)

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An American Werewolf in London (1981) (special makeup effects)

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The Howling (1981) (special makeup effects consultant)

The Funhouse (1981) (special makeup design)

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Videodrome (1983) (special makeup effects designer)

Thriller (1983) (special makeup effects creator, special makeup effects design)

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Greystoke: The Legend of Tarzan, Lord of the Apes (1984) (special makeup effects)

Harry and the Hendersons (1987) (makeup artist, creature designer: Harry)

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Beauty and the Beast (1987–89) (creature designer: Beast)

Werewolf (1987–88) (special makeup effects artist)

Gremlins 2: The New Batch (1990) (special effects supervisor, co-producer)

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Wolf (1994) (special makeup effects)

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Ed Wood (1994) (makeup creator: Bela Lugosi, makeup designer: Bela Lugosi)

Batman Forever (1995) (special makeup designer/creator)

The Frighteners (1996) (special makeup artist: The Judge)

Escape from L.A. (1996) (special makeup effects)

Ghosts (1997) (special makeup effects artist)

Men in Black (1997) (alien makeup effects, special makeup effects artist)

Mighty Joe Young (1998) (special makeup effects)

Planet of the Apes (2001) (makeup artist, special makeup effects designer/creator)

Men in Black II (2002) (alien makeup effects, special makeup effects artist)

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The Ring (2002) (special makeup effects artist)

The Haunted Mansion (2003) (special makeup effects artist)

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Hellboy (2004) (special effects director, special makeup effects artist)

The Ring Two (2005) (special makeup effects artist)

King Kong (2005) (actor)

Cursed (2005) (special makeup effects artist, special makeup effects designer/creator)

X-Men: The Last Stand (2006) (special makeup effects consultant, visual effects consultant)

The Wolfman (2010) (special makeup effects)

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Tron: Legacy (2010) (special makeup effects artist)

Men in Black 3 (2012) (alien makeup effects, special makeup effects artist)

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Maleficent (2014) (special makeup effects artist)

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Wikipedia


Torment

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‘Welcome to the family’

Torment is a 2013 Canadian thriller horror film directed by Jordan Barker. The film had its world premiere on October 11, 2013 at the Screamfest Horror Film Festival. It stars Katharine Isabelle (American Mary; 13 Eerie) as a woman who must try to save her step-son from an insane family. In the U.S., Phase 4 Films will be releasing Torment onto VOD on June 10th.

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Plot teaser:

Sarah (Katharine Isabelle) and Cory (Robin Dunne) have decided to go on vacation, taking Cory’s young son Liam with them. They’re hoping that the vacation will help ease some of the issues that Cory has with Sarah, as he resents that his widowed father remarried. The destination seems idea, a luxurious house in the middle of an idyllic wilderness, but upon their arrival they discover that someone has been living in the house. The local sheriff assures them that the intruders have probably moved on, but this soon proves to be false as Liam goes missing that same night. Sarah and Cory now have to try to fight an insane family for not only Liam, but also their very lives…

Reviews:

” … what Torment lacks in scintillating plot originality it makes up for in solid performances (Robin Dunne and Katherine Isabelle provide strong work, plus Stephen McHattie pops up for a few scenes, and he’s always the man), a professional sheen, and — most importantly — a fast-moving and consistently well-edited narrative that moves forward so expeditiously you’ll barely mind dealing with some familiar stuff. If a home invasion/slasher story can be called “enjoyably old-fashioned,” then this flick certainly qualifies.” Scott Weinberg, FEARnet

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“The atmosphere alone was chilling and through subtle flowing plot twists you have yourself a film that you will not forget anytime soon.” Ross Wilcock, Slasher Studios

The Strangers may also come to mind, but here’s where the film differs greatly from that one – the killers have a motive and explain why they are targeting this guy. It’s not a terrible concept, but unfortunately the villain speaks with a voice not unlike Bane’s fromThe Dark Knight Rises, and thus it’s almost impossible to keep up that level of tension when I keep having the instinct to burst out laughing. I’m sure the thinking was that it would be creepy and unsettling, but it’s just kind of goofy…” Horror Movie a Day

Wikipedia | IMDb | Facebook


The Devil’s Hand

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‘This is the hand of terror!’

The Devil’s Hand is a 1959 (released 1961) American film directed by William J. Hole Jr. (Ghost of Dragstrip Hollow; U.S. footage for Face of Terror) from a screenplay by Jo Heims (Play Misty for Me; You’ll Like My Mother). It was produced by Rex Carlton (The Brain That Wouldn’t Die; Nightmare in Wax; Blood of Dracula’s Castle). The film stars Linda Christian, Robert Alda, Ariadne Welter (The Vampire; The Vampire’s Coffin; The Brainiac), Neil Hamilton, Jeanne Carmen (The Monster of Piedras Blancas; The Naked Monster), Bruno VeSota (The Undead; A Bucket of Blood; Attack of the Giant Leeches).

The film features a delightfully cheesy surf guitar-saxophone-piano theme by Baker Knight. In the U.S., the film was distributed by Crown International Pictures.

Plot teaser:

Rick Turner is engaged to Donna Trent but is having nightmares involving a beautiful blonde woman who appears to be dancing in the sky. One night, he is mysteriously driven to enter a doll shop, and in the next morning he returns to the place with Donna. He finds a doll that resembles his fiancé, but the owner Francis Lamont delivers another doll to him, with the face of the woman of his dreams, Bianca Milan. Rick looks for Bianca and is seduced and convinced by her to join a sect that worships the diabolic “Devil-god of Evil” Gamba, while the health of Donna is threatened by Francis and Bianca. Francis Lamont, the “High Executioner” of the sect, threatens various members of the cult via his voodoo powers, which are also used upon a journalist who infiltrates the sect…

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Reviews:

The Devil’s Hand is talky and has extremely cheap-looking sets but the cast is pretty good (particularly Hamilton and the luscious Christian) and the plot is well-paced and engaging enough to maintain interest.” The Bloody Pit of Horror

“Jo Heims (who would later pen the Clint Eastwood vehicles Play Misty for Me and Dirty Harry) laced the film with some unexpected turns and neat surprises (who’s that cult member with the hidden camera?), and supplied a wrap-up that was quite fiery and frenetic, and which seemed to leave things open for a sequel. Give this a try on a slow night…you may be surprised.” Cinema Monolith

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” … hilariously loopy in an endearing innocent kind of way, but with more than a touch of sleaze to the whole thing. There’s a ton of implied sex, which is kind of surprising for the time … The whole movie is pretty much about a dude cheating on his fiancee, who’s in the hospital for most of the running time with a voodoo induced chest injury. I won’t even get into the misogyny that lurks behind of all this either.” The Dollar Horror Blog

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Buy The Devil’s Hand as part of the Gorehouse Greats 12 film DVD Collection from Amazon.co.ukAmazon.com

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Wikipedia | IMDb | Some images thanks to Collector’s WeeklyThe Bloody Pit of Horror

 

 


X2 (aka X2: X-Men United; X-Men 2)

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X2 (often promoted as X2: X-Men United, or internationally as X-Men 2 and X-Men II) is a 2003 American action/science fiction film, based on the X-Men superhero team appearing in Marvel Comics, distributed by 20th Century Fox. It is the second installament in the X-Men film series. The film was directed by Bryan Singer, written by Michael DoughertyDan Harris, and David Hayter, and features Patrick StewartHugh JackmanIan McKellenFamke JanssenHalle BerryAnna PaquinBrian CoxAlan CummingShawn AshmoreAaron StanfordRebecca Romijn-StamosJames Marsden and Kelly Hu.

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The plot, inspired by the graphic novel God Loves, Man Kills, pits the X-Men and their enemies, the Brotherhood, against the genocidal Colonel William Stryker (Brian Cox). The first cut of X2 was rated R by the Motion Picture Association of America (MPAA), due to more violent scenes concerning Wolverine when Stryker’s army stormed the X-Mansion. A few seconds were cut to secure a PG-13 rating. X2 was released in the United States on May 2, 2003 and became both a critical and financial success, grossing approximately $407 million worldwide.

Plot teaser:

At the White House, the teleporting mutant Nightcrawler tries to assassinate the President of the United States but fails and escapes, leaving a note demanding “mutant freedom now.” At Alkali Lake, X-Men member Wolverine finds nothing left of the military base from the previous movie. He returns to Professor Xavier‘s school for mutants while fellow X-Men Storm and Jean Grey find Nightcrawler with the help of Xavier and the mutant-tracking computer Cerebro.

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Xavier and X-Men member Cyclops visit the mutant Magneto in his plastic prison cell inquiring into the assassination attempt. The Professor discovers that a covert government operative, William Stryker, has been extracting information from Magneto. Stryker and his assistant Yuriko Oyama capture Cyclops and Xavier and raid Xavier’s school. Wolverine, defending it, kills many of Stryker’s men, whileColossusRogueIcemanPyro, and most of the students escape via hidden tunnels. Wolverine confronts Stryker, who fails to shed any light on Wolverine’s past. Iceman helps Wolverine escape, but Stryker’s soldiers succeed in sedating six students and breaking into Cerebro…

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Reviews:

“No other film-maker has better dramatised superpowers in action and yet remembered the human cost of all the trickery. X2 is full of double-edged power fantasies that manage a frisson of awe amid the excitement including a little girl waking from a nightmare who gives out a supersonic yell that immobilises a paramilitary team invading the school, or Magneto extracting iron supplements from his jailer’s blood and using three blobs of metal to effect escape from his prison.” Kim Newman, BFI Sight & Sound

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X2 sees most of the core team reunited for another turn at bat, to generally improved results except for the running time, which is a needless 30 minutes longer than the original’s. New picture is bigger and more ambitious in every respect, from its action and visceral qualities to its themes. What was implicit before concerning the prejudice against mutants has now been made the film’s overriding concern.” Todd McCarthy, Variety

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“Second time X-director Bryan Singer has created an absolute masterpiece. A consummate blending of deep delving character exploration, team oriented action, amazing set pieces, and PERFECTLY done mind blowing, super-powered, special effects that rip the roof off of any previous effects efforts in the genre. What makes this effects magic so wonderful is that it isn’t noticeable as Hollywood trickery. Everything blends together seamlessly.” Joshua Taylor, Cinema Blend

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Wikipedia | IMDb

 

 



The Devil’s Footprints of 1855 (folklore)

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In February 1855, Satan took a stroll through Devon, England. At least that’s what many locals thought at the time, and despite assorted explanations for the series of mysterious footprints left behind, some still cling to that belief.

On the night of either February 8th or 9th, 1855, there was a heavy snowfall, and the people of the Exe Estuary in Est Devon and South Devon apparently awoke to find a series of mysterious, hoof-like marks in the snow. Measuring around four inches long each, the tracks were between eight and sixteen inches apart, mostly single file, and continued for a distance of between 40 and 100 miles, from Exmouth to Topsham, Dawlish and Teignmouth. Nothing interfered with the relentless march of the prints – house, haystacks and frozen rivers were traveled over, the prints appearing on roofs, walls and even up to and then exiting four inch drain pipes. No wonder that people though there was something supernatural about the event, and the cloven hoof shape of the ‘footprints’ suggested that Satan had indeed decided to take a stroll through the snow.

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Actual eye-witness accounts from the time are few and far between, however. The only documents to have been found were published in 1950, after an article in the Transactions of the Devonshire Association asked for  information about the event. This helped unearth a collection of papers belonging to Reverend H. T. Ellacombe, the vicar of Clyst St. George in the 1850s, including letters sent to the vicar from his friends, a letter to The Illustrated London News marked ‘not for publication’ and several tracings of the alleged footprints.

With no hard information from the time available – and of course, no photographic evidence – it is impossible to know exactly what really happened that night. Not that it hasn’t led to assorted theories, none of which seem much more plausible than the idea that they were left by Satan. Doubts as the validity of the story include questions about whether the tracks really did extend as far as is claimed, how accurate the descriptions of them were and if they actually took the relentless route claimed. As eye-witness reports are contradictory, there is no real evidence that the footprints reported were even the same from place to place.

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Researcher Mike Dash, author of The Devil’s Hoofmarks (1994), has claimed that the footprints came from various sources, including hoaxes (though this requires the hoaxers to be aware of the mystery appearing elsewhere and to act quickly), donkeys and ponies and even wood mice, the marks left by these hopping rodents allegedly resembling the marks as described.

Author Geoffrey Household has suggested that an ‘experimental balloon’, released by mistake from Devonport Dockyard, had left the mysterious tracks by trailing two shackles on the end of its mooring ropes. While he claims a local source for this covered up story, others have questioned if a balloon could travel such a distance, so conveniently close to the ground, without being caught in trees or other obstacles.

Other theories include badgers, escaped kangaroos (a theory not helped by the fact that there is no evidence that any escaped kangeroos were at large at the time) and the more plausible ‘mass hysteria’, with people hearing tales of Satan’s stroll and subsequently mistaking ordinary animal tracks for the prints.

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The truth is, we’ll never know quite what happened on that snowy night in Devon. The major unanswered question must surely be: if Satan did walk for a hundred miles through the snow, why?

David Flint, Horrorpedia

 

 


The Undead

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The Undead is a 1957 horror film directed by Roger Corman from a screenplay by Charles B. Griffith – which he originally wrote it in iambic pentameter and says Corman loved at first but then grew cold feet about and asked to be changed. It stars Pamela Duncan, Richard Garland, Allison Hayes, and Val Dufour.

The film was inspired by an interest in supposed reincarnation inspired by the best-selling book The Search for Bridey Murphy by Morey Bernstein was made into a film in 1956. This prompted The She-Creature in 1956. However by the time The Undead was being made, the popularity of reincarnation was starting to dwindle. Therefore Corman decided that they needed to change it up a little and added the time travel elements of Quintis, and a title change.

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The movie was filmed in a converted supermarket, and was completed in only six days. Its original title was The Trance of Diana Love. The bats that the imp and witch continually change into were left over from another Corman movie, It Conquered the World.

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Plot teaser:

A psychic named Quintus Ratcliff (Val Dufour) sends prostitute Diana Love (Pamela Duncan) back in time to find out about her past-life experiences. She goes back as Helene, a woman from the Middle Ages who is to die at dawn under suspicion of being a witch. In an attempt to save Diana and keep all of time from being distorted, Quintis goes back in time to convince Helene to let herself be killed. If she avoids her death, it will change history…

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Reviews:

The Undead is only a horror movie in the loosest sense of the phrase, really more a playful fantasia on the traditional imagery of folk-tale mysticism with its parade of Halloween-party witches, pseudo-Arthurian setting, and pitchfork-wielding devil collecting souls with his ledger book. Incredibly cheap and lacking drive, The Undead nonetheless betrays the antic intelligence of Corman and his regular screenwriting collaborators Charles B. Griffith and Mark Hannah, in a film that feels something like a rough draft for The Twilight Zone, down to the blackly comic twist ending.” This Island Rod

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“Interesting performances include Bruno Ve Sota as the innkeeper Scroop and Mel Welles as Smolkin, a gravedigger channeling a similar graveyard rat from Hamlet. Also Dick Miller turns in a fine cameo as a leper who sells his soul to the Devil. After signing Satan’s book, the crude trident is tattooed on his hand and is always interesting to watch. Monster-maker and Mon-star Paul Blaisdell also appears as a corpse in the hearse driven by Mel Welles. Fifties scream-queen Allison Hayes enjoys a meaty role in The Undead and plays evil and misunderstood in love equally well.” DVD Drive-In

“Minor league horror programmer. A retrogression theme and bosomy dames are used in this … horror subjects as ballyhooed pegs for quickie play dates … the pacing is slow and the thrills at a minimum” Variety

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Wikipedia | IMDb | Image thanks: This Island Rod

 

 


Godzilla (1998 film)

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Godzilla is a 1998 American science fiction monster film directed and co-written by Roland Emmerich (Ghost Chase). It was a reimagining of the popular Japanese film monster of the same name. The screenplay was written by Emmerich and Dean Devlin. The plot of the film revolves around a giant reptilian monster, mutated by nuclear tests in the French Polynesia, who migrates to New York City to nest its young. The cast features Matthew BroderickMaria PitilloHank AzariaKevin Dunn and Jean Reno.

Godzilla earned $379,014,294 in gross revenue before ancillary sales (VHS, DVD, TV, cable and Blu-ray). Despite its initial commercial success upon release, the film was met with a negative reception from critics and fans of the Japanese Godzilla series alike. The negative reception highlighted by critics included the film’s thin plot, acting, and directing while fans of the Japanese Godzilla movies targeted the film’s drastic reinvention of the titular character, which included its radical redesign and departure from the source material.

Plot teaser:

Following a nuclear incident in French Polynesia, a lizard’s nest is irradiated by the fallout of subsequent radiation. Decades later, a Japanese fishing vessel is suddenly attacked by an enormous sea creature in the South Pacific ocean and only one seaman survives. Traumatized, he is questioned by a mysterious Frenchman in a hospital regarding what he saw, to which he replies, “Gojira”. Dr. Niko “Nick” Tatopoulos (Broderick), an NRC scientist, is in the Chernobyl exclusion zone in Ukraine researching the effects of radiation on wildlife, but is suddenly interrupted by the arrival of an official from the U.S. State Department. He is sent to Tahiti and Jamaica, escorted by the military, to observe the wreckage of the recovered Japanese fishing trawler with massive claw marks on it. The Frenchman is also present, observing the scene, and introduces himself as Philippe Roché (Reno), an insurance agent. Aboard a military aircraft, Dr. Tatopoulos identifies skin samples he discovered in the shipwreck as belonging to an unknown species. He dismisses the military’s theory that the creature is a living dinosaur, instead deducing that it is a mutant created by nuclear testing. The large reptilian creature, dubbed as “Godzilla” by the media, travels to New York City leaving a path of destruction in its wake…

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Reviews:

All the supposedly heroic characters wear baseball caps on… backwards. So the MORON alert flashes even before the trite dialogue. That said, the mildly amusing French secret agent element and the finale with the baby Godzillas ripped off from Spielberg is relatively engaging. This was a wasted opportunity with a Godzilla that is presented as just a giant radioactive lizard – no, he has a well-defined character – and vacuous human characters that just annoy the viewer.

Adrian J Smith, Horrorpedia

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“It’s even emphasized by the monster’s revamped design, which bears no resemblance to any Godzilla we know. The thick legs are gone, the back spines are gone, the cruel, humanoid eyes are gone. What it is, in short, is a plain old allosaurus (or whatever paleontologists are calling it these days). Godzilla’s profile was always absolutely unique and unmistakable, but this thing here? I saw pictures of that in dinosaur books when I was a kid. I mean, Christ, he doesn’t even breathe radioactive fire! What the hell’s THAT all about?”

Wikipedia | IMDb

Plot keywords: nuclear explosion Panama Ukraine Chernobyl earthworms worms footprint military redhead ship ocean helicopters rain Jamaica cap backwards plane fishing trawlers lizards radiation french Polynsia New York Coffee Komodo dragon diner television fish fishermen jetty truck mayor yellow cab Iron building manholes crowbar sewer Chrysler Building looting French secret service Scooby-Doo chewing gum Elvis Presley reporter subway Central Park submarine torpedo Madison Square Garden Lincoln Tunnel Jimmy Page Barney


Zombie Creeping Flesh – Peter and the Test Tube Babies (song)

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Zombie Creeping Flesh is a 1983 song by British Oi! punk rock band Peter and the Test Tube Babies. Named after the 1980 Italian film – and video nasty Zombie Creeping Flesh (original title: Inferno dei morti-viventi and released internationally as Hell of the Living Dead), the song was released as a single by Trapper Records from Hove, Sussex. The record sleeve featured an image of actress Auretta Gay apparently being bitten by a Conquistador zombie from a different Italian film, Lucio Fulci’s Zombie Flesh Eaters.

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Even though the film was directed by Bruno Mattei (Rats: Night of Terror; Cruel Jaws; Snuff Trap), the song’s lyrics reference director George A. Romero whose seminal movies Night of the Living Dead (1968) and Dawn of the Dead (1978) spawned the massive zombie sub-genre. Unlike many of the band’s songs, it was quite subdued and something of an epic, clocking in at over four minutes.

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The dead have risen from the graves, movements slow, a vacant gaze
Living human flesh satisfies, no emotions showing in their eyes

Born to die but not to rest, stumblin’ Zombie Creeping Flesh.
Eat the living human prey, numbers rising every day

Takes one bite to be the same, the dead ain’t dead they live again

A thousand cities overwhelmed, survivors now thin on the ground
Amid the carnage and the screams, a camera shooting all the scenes

Zombies, actors and the eggs, strange things happening on the sets
Attacked the actors and film crew, soon Romero was one too

Related: The Cramps | Electric Frankenstein | Nasty – The Young Ones

Cheers to Discogs.com for images and info

 


Hell of the Living Dead (aka Zombie Creeping Flesh; Night of the Zombies)

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– l’inferno dei morti viventi is an Italian zombie film, made in 1980 by prolific hack Bruno Mattei, under his ‘Vincent Dawn’ pseudonym.

As with most of the Italian zombie films of the era, the film was less an imitation of George Romero’s Dawn of the Dead than of Lucio Fulci’s attempt to cash in on that movie. Zombi 2 / Zombie / Zombie Flesh Eaters proved to be a huge box office hit – outstripping Romero’s film in several territories, including the UK where it opened before the retitled Zombies – Dawn of the Dead – and inspired several rip-offs, of which Virus was one of the first.

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The film is a mish-mash of ideas lifted from various popular sources – there is a SWAT team (as in Dawn of the Dead) who are sent for no good reason to Papua New Guinea – i.e. cannibal country – where they are joined by a plucky and sexy journalist (Margit Evelyn Newton) as they try to get past the hordes of flesh eating zombies that have suddenly and inexplicably appeared. Their destination is top secret research facility Hope Center #1, where a chemical accident has caused the dead to return to life and lust after the flesh of the living. This, it turns out, is the result of Operation Sweet Death, a cunning but somewhat flawed plan to end world hunger by turning Third World populations into cannibals.

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Virus began  treatment by José María Cunillés later turned into a full screenplay by Claudio Fragasso and his wife Rossella Drudi. Dara Films in Spain and Beatrice Films in Rome collaborated to option the script, which was ridiculously ambitious in scope if not plot. Mattei was brought on board due to his experience with low budget exploitation, and attempted to bring the project under control. Exteriors were shot in Spain, but proved to be mostly unusable; rather than re-shoot or rewrite, Dara chose to simply dump the footage and carry on with the rest of the movie. Inevitably, this resulted in a somewhat incoherent plot.

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Mattei suggested stock footage from Barbet Schroeder’s 1972 film La Vallée be used, with sets built to match this footage. How successful this matching proves to be is open to debate. Other stock footage – notably of the United Nations – was also included, with close -up shots of a ‘third world leader’ obviously inserted.

The movie has a Goblin score, which might seem impressive if it wasn’t for the fact that all the music was lifted from Dawn of the Dead and Contamination. This caused legal problems that delayed the film’s distribution.

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The film was released – in a version that had cuts to both gore and narrative – into UK cinemas in 1981. Titled Zombie Creeping Flesh, it clearly aimed to cash in on the popularity of Zombie Flesh Eaters, but was not a success. Most people saw the film on video, where it was released in a shortened version and proved moderately popular. In the US, the film slipped out virtually unnoticed, playing as Night of the Zombies. Later DVD editions retitled the film as Hell of the Living Dead, a literal translation of the Italian title.

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The combination of messy narrative, shoddy pacing, poor dialogue, sloppy special effects and Mattei’s usual disinterested direction ensures that Virus is a fairly dreadful film. Yet conversely, it’s oddly entertaining, the sheer awfulness of the film giving it the car-crash fascination of the Good Bad Movie. It’s certainly more fun than most of the other Zombie Flesh Eaters imitators or pseudo sequels, and if you can forget about trying to make sense of the narrative, is amusingly trashy, with enough gore – including a show-stopping scene at the end – and nudity to keep exploitation fans happy.

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David Flint, Horrorpedia

Related: Peter and the Test Tube Babies – Zombie Creeping Flesh | zombies on Horrorpedia

IMDb


Fetish Factory

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‘Survival of the foxiest’

Fetish Factory is a 2014 American comedy horror film written and directed by Staci Layne Wilson for Blanc/Biehn Productions. It stars Jennifer Blanc, Carrie Keagan, Chase Williamson (John Dies At the End), Tristan Risk (American Mary), Diane Ayala Goldner (The Collector), Jenimay Walker (Serpent’s Lullaby), Emma Julia Jacobs (Hitchcock), Jesse Merlin (Re-Animator: The Musical), Ruben Pla (Big Ass Spider), Daniel Quinn (Rubber), Benjamin Easterday (Poseidon Rex), Tom Ayers (Boch) and Stephen Wastell (Malignant).

Official synopsis:

The story centers on pin-up vixens vs. bloodthirsty zombies, and is set in post-apocalyptic Hollywood. Imagine a wickedly saucy by invitation-only stage show and posh private peeps in which your every fantasy can come true, fulfilled by the likes of luscious ladies imitating the sex goddesses of yore: Bettie Page, Jayne Mansfield, and Suzie Wong. Along with classic burlesque strip-teases and curio acts – a ventriloquist, a magician, and a whip-dancer – you are in for the night of your life at the Fetish Factory. That is, until your life is at stake when the apocalypse strikes! Once mild-mannered men become bloodthirsty zombies and it’s up to the girls to defend themselves by any means – even if that means turning their bullet bras, garter belts and spike-heels into deadly weapons…

We are grateful to Cinema Assassin for some of the info above.


It Follows

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It Follows is a 2014 American horror film written and directed by David Robert Mitchell. It stars Maika Monroe, Keir Gilchrist, Daniel Zovatto, Jake Weary,  Olivia Luccardi and Lili Sepe.

The film recently screened at Cannes as part of the Critics Week and has now been picked up for U.S. distribution by Radius.

Reviews:

“Facing the anxieties of their encroaching mortality as their carefree teen years begin to fade away, the teens in “It Follows” realize they’ve been trapped by a frightening inevitability. There’s nothing as inherently terrifying as the steady approach of an evil presence that just keeps on coming. “It Follows” explores the intimate aspects of that fear by suggesting that it will never, ever dissipate.” Eric Kohn, Indiewire 

“Mitchell has achieved something much more experienced directors have tried to do and failed. Not only will it get under your skin, It Follows, like all good horror movies, is really about something else. But let’s talk about that once you’ve seen it…” Phil de Semlyen, Empire

” …remarkably effective for most of its running time, ratcheting up the tension, then stinging the audience periodically with one of those jolts that sends everyone levitating a couple inches above their seats. But the excitement wears off after a point, once the kids realize they don’t really understand what they’re dealing with, resulting in a couple of badly staged set pieces…” Peter Debruge, Variety



Scooby-Doo! Stage Fright

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Scooby-Doo! Stage Fright is the twentieth film in the direct-to-video series of Scooby-Doo films. It was released on August 20, 2013 by Warner Premiere.

Plot teaser:

The Mystery Inc. crew head to Chicago for a talent show, called Talent Star, hosted by Brick Pimiento, where songwriting duo Fred and Daphne are finalists with some high hopes. Upon arrival, they learn that the opera house which the show will be held in is being terrorized by a Phantom, who is intensely lauding one of the finalists to win, Christine, a spoiled girl whose noisy parents are no more polite than her. Fred and Daphne also befriend one of the finalists, Emma Gale, a violinist. Not to be left out, Scooby and Shaggy decide to show Pimiento a juggling act, which they are betting will take the contest by storm. However, after Pimiento states his belief that ‘juggling stinks’, throughout the film, the two continually approach Pimiento and show him numerous terrible impromptu acts, hoping that he lets them onto the show.

Not long after checking in for the talent show, the Phantom appears in the opera house and Fred, Daphne and Velma attempt to catch him using the surveillance cameras, but are unsuccessful due to the Phantom’s ability to seemingly appear in multiple places at once…

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Reviews:

“The plot in Scooby-Doo! Stage Fright is about as unoriginal as you can get. Clearly the story is just a rip-off of the classic The Phantom of the Opera, fused with overtones of American Idol and other reality based music shows. Frankly, I couldn’t have cared less who the Phantom was; no points for guessing if he’s ‘unmasked’ during the final moments of the movie. Although the cover of the Blu-ray makes the film look ghoulish, this will only be scary to wee little ones and those with the weakest of bladder control.” DVD Verdict

“In the end, even with the little twist the writers put on the story, Scooby-Doo! Stage Fright is basically more of the same from the Scooby-line, but that’s not necessarily a bad thing. Between these DTV movies and the television show, the series has sprung new life and found a new audience… ” Movieman’s Guide to the Movies

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“… definitely worth the price of purchase, even if you’re not a fan of the character. It’s loaded with laughs, great music, and everything that makes a Scooby mystery worth checking out.” The Other View

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Buy Scooby-Doo! Stage Fright on Instant VideoDVD | Blu-ray + DVD + Ultraviolet from Amazon.com

Wikipedia | IMDb

 


Capote

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Capote is a 2005 biographical film about Truman Capote, following the events during the writing of Capote’s non-fiction book In Cold Blood about the inexplicable murders of a Kansas family in 1959. The film was based on Gerald Clarke‘s biography Capote and was directed by Bennett Miller. It was released September 30, 2005, to coincide with Truman Capote’s birthday.

Plot teaser:

In Kansas, a family friend discovers the dead bodies of four of the members of the Clutter family. While reading The New York Times, the story of the Clutters rivets writer Truman Capote (Philip Seymour Hoffman), who calls The New Yorker magazine editor William Shawn (Bob Balaban) to tell him that he plans to document the tragedy.

Capote travels to Kansas, inviting childhood friend Nelle Harper Lee (Catherine Keener) to come along. Capote intends to interview those involved with the victims, the Clutter family, with Lee as his go-between and facilitator. Alvin Dewey (Chris Cooper), the Kansas Bureau of Investigation’s lead detective on the case, brushes him off, but Dewey’s wife Marie (Amy Ryan) is a fan of Capote’s writing and persuades Dewey to invite Capote and Lee to their house for dinner. She is starstruck by Capote’s stories of being on movie sets with film stars.

Dewey warms up to Capote and allows him to view the photographs of the victims. The Deweys, Lee, and Capote are having dinner when the murder suspects, Perry Smith (Clifton Collins, Jr.) and Richard “Dick” Hickock (Mark Pellegrino), are caught. Flattery, bribery and a keen insight into the human condition facilitate Capote’s visits to the prison where the accused are being held…

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Reviews:

Utterly compelling, with Hoffman’s chilling depiction of Capote as a cold-blooded writer who cared only when he was required to, yet was somehow so touched by his subject matter he never wrote another novel and died of alcoholism. The 1959 murders, which were seemingly motivated by unfulfilled greed that turned to frustrated mindless killing, are presented briefly and resonantly. American society’s drawn out retribution for the family deaths is another fascinating element — with egotistical Capote an unwilling witness and accomplice. Despite being filmed largely in Canada, the “Kansas” vistas and period atmosphere are stunningly captured. Capote’s focus on the killers as opposed to the victims is a very questionable approach that resonates to this day.

Adrian J Smith, Horrorpedia

Capote is a film of uncommon strength and insight, about a man whose great achievement requires the surrender of his self-respect. Philip Seymour Hoffman’s precise, uncanny performance as Capote doesn’t imitate the author so much as channel him, as a man whose peculiarities mask great intelligence and deep wounds.” Roger Ebert

Wikipedia | IMDb


Hemlock Grove (TV series)

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Hemlock Grove is an American, Netflix Original, horror thriller television series. The show is executive produced by Eli Roth (Cabin Fever; Hostel; The Green Inferno), developed by Brian McGreevy and Lee Shipman. It is based on McGreevy’s novel Hemlock Grove (2012).

The show premiered April 19, 2013, with all thirteen episodes made immediately available for online viewing. On June 19, 2013, Netflix renewed Hemlock Grove for a second season.

Hemlock Grove, Pennsylvania. The town is a mixture of extreme wealth and poverty, as the closing of the town’s steel mill many years earlier caused many to lose their jobs. The town’s main sources of employment are now the Hemlock Acres Hospital and Godfrey Institute for Biomedical Technologies. Run by the powerful Godfrey family, the Institute is rumored to conduct sinister experiments on a daily basis.

 

The town’s rumor mill turns even more twisted when two teenage girls are brutally killed and their bodies left for unsuspecting people to find the next day. Peter Rumancek, a 17-year-old gypsy, is suspected of the crimes by some of the townsfolk; he is also rumored to be a werewolf. While secretly he is a werewolf, he is not the killer, and, along with the heir to the Godfrey estate, Roman, he sets out to solve the mystery…

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Main cast:

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Reviews:

“If the underlying formula is as old as Dark Shadows, there’s still a need for more narrative momentum than the 13-episode series initially delivers. So while one can understand why Netflix would augment its original slate with this mix of talent, “Hemlock Grove” remains a mere niche confection, one likely to play best among those genre fans who can’t see the forest for the trees.” Brian Lowry, Variety

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“Actually, embarrassing is a good way to describe everything about this show. It’s cringeworthy. You can tell that the creators thought they were being edgy, because they threw swear words into every other line and included lots of sex scenes, but it comes off as impossibly juvenile. There’s not a single character that acts like a real person would. They just do things, because the script says so. It’s hard to shake the impression that the whole thing was written by a child, just guessing at how the adult world works.” Sarah Dobbs, Den of Geek!

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Hemlock Grove takes its time with story lines, ensuring that each one has plenty of room to ripen. It carries out every dastardly deed with gusto, but still offers enough moments of levity … And though the sordid world is captivating, I’m still grappling with aspects of the conclusion, which oozes with old-school misogyny that savagely punishes every girl and woman who dares to own her sexuality.” Jessica Shaw, Entertainment Weekly

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Wikipedia | IMDb | Facebook


Kappa (folklore)

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Kappa (河童, “river-child”), alternatively called Kawatarō (川太郎, “river-boy”), Komahiki (“horse puller”), or Kawako (川子, “river-child”), are a yōkai (a class of supernatural monster) found in Japanese folklore, and also a cryptid.

Their name comes from a mixture of the word “kawa” (river) and “wappo”, an inflection of “waraba” (child).  A hair-covered variation of a kappa is called a Hyōsube (ひょうすべ). There are more than eighty other names associated with the kappa in different regions which include Kawappa, Gawappa, Kōgo, Mizushi, Mizuchi, Enkō, Kawaso, Suitengu, and Dangame. Along with the oni and the tengu, they are one of the most well-known yōkai in Japan.

Kappa are similar to Finnish Näkki, Scandinavian/Germanic Näck/Neck, Slavian Vodník and Scottish Kelpie in that all have been used to scare children of dangers lurking in waters.

It has been suggested that the kappa legends are based on the Japanese giant salamander or “hanzaki”, an aggressive salamander which grabs its prey with its powerful jaws.

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Kappa are typically depicted as roughly humanoid in form, and about the size of a child. Their scaly, reptilian skin ranges in colour from green to yellow or blue. Kappa supposedly inhabit the ponds and rivers of Japan and have various features to aid them in this environment, such as webbed hands and feet. They are sometimes said to smell like fish and, as you might imagine, are accomplished swimmers.

The expression kappa-no-kawa-nagare (“a kappa drowning in a river”) conveys the idea that even experts make mistakes. Although their appearance varies from region to region, the most consistent features are a turtle-like shell, a face resembling a monkey, a beak for a mouth, and a plate (sara), which is a flat hairless region on top of their head that is always wet, and which is regarded as the source of their power. This cavity must be full whenever a kappa is away from the water; if it ever dries, the kappa will lose its power, and may even die, according to some legends.

Another notable feature in some stories, is that the kappa’s arms are said to be connected to each other through the torso and able to slide from one side to the other. While they are primarily water creatures, they do on occasion venture onto land. When they do, the plate can be covered with a metal cap for protection. In fact, in some incarnations, kappa will spend spring and summer in the water, and the rest of the year in the mountains as a Yama-no-Kami (山の神, “mountain deity”). Kappa are believed to speak the Japanese language and be curious about Mankind and their ways.

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Kappa are usually seen as mischievous troublemakers or trickster figures. Their pranks range from the relatively innocent, such as loudly breaking wind or looking up women’s kimonos, to the malevolent, such as drowning people and animals, kidnapping children, and raping women. Victims of the latter crime who gave birth to offspring were said to have buried them alive due to their repulsive appearance.

As water monsters, kappa have been frequently blamed for drownings, and are often said to try to lure people to the water and pull them in with their great skill at wrestling.They are sometimes said to take their victims for the purpose of drinking their blood, eating their livers or gaining power by taking their shirikodama (尻子玉), a mythical ball said to contain their soul which is located inside the anus (don’t shoot the messenger!).

Even today, signs warning about kappa appear by bodies of water in some Japanese towns and villages where there have been historical reports of their sightings. Kappa are also said to victimise animals, especially horses and cows; the motif of the kappa trying to drown horses is found all over Japan. In these stories, if a kappa is caught in the act, it can be made to apologise, sometimes in writing. This usually takes place in the stable where the kappa attempted to attack the horse, which is considered the place where the kappa is most vulnerable.

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It was believed that if confronted with a kappa there were a few means of escape: Kappa, for one reason or another, obsess over being polite, so if a person were to gesture a deep bow to a kappa it would more than likely return it. In doing so, the water kept in the lilypad-like bowl on their head would spill out and the kappa would be rendered unable to leave the bowed position until the bowl was refilled with water from the river in which it lived. If a human were to refill it, it was believed the kappa would serve them for all eternity.

A similar weakness of the kappa in some tales are their arms, which can be easily pulled from their body. If their arm is detached, they will perform favours or share knowledge in exchange for its return. Once the kappa is in possession of its arm it can then be reattached. Another method of defeat involves the kappa and their known love of shogi or sumo wrestling. They will sometimes challenge those they encounter to wrestle or other various tests of skill. This tendency is easily used against them just as with the bow, by encouraging them to spill the water from their sara.

They will also accept challenges put to them, such as in the tale of the farmer’s daughter who was promised to a kappa in marriage by her father in return for the creature irrigating his land. She challenged it to submerge several gourds in water and when it failed in its task, it retreated and she was saved from the promised marriage.Kappa have also been driven away using their aversion to variously, iron, sesame, or ginger. It is possible to distract a kappa by offering it their favourite food (more-so even than child flesh) cucumbers – this has even led to  a kind of cucumber-filled sushi roll named for the kappa, the kappamaki. By carving your name and birthdate on a cucumber, they will steer well clear of you.

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In May, 2014, the British ‘newspaper’, The Daily Mail, reported that the remains of a kappa, shot in 1818, were to be put on display in Japan.

Read the ludicrous story here

Daz Lawrence, Horrorpedia

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Ice Cream Man

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Ice Cream Man is a 1995 dark comedy horror film which was produced and directed by Paul Norman, normally a director of adult movies (Edward Penishands; Intercourse with the Vampire), under the pseudonym Norman Apstein. It is Norman’s first and only attempt at mainstream filmmaking. It was written by Sven Davison and David Dobkin (who would later write and direct the films Wedding Crashers and Fred Claus) and makes reference to the Pied Piper legend. It stars Clint Howard (EvilspeakTicks; Bloodrayne: The Third Reich), David Warner (The Omen), David Naughton (An American Werewolf in London), Olivia Hussey, Jan-Michael Vincent, Sandahl Bergman.

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The film, reportedly made on an estimated $2 million budget, disappeared quickly after its release, but in recent years has developed a minor cult following among viewers who see it as an unintentional comedy, and enjoy it for its campy production values. Joe Bob Briggs eventually hosted the movie on TNT when it was shown on MonsterVision and Clint Howard made an appearance discussing the movie with Joe Bob. It was released on DVD in 2004.

Plot teaser:

In a black-and-white prologue, a young boy witnesses the murder of an ice cream man in a small town. Years later, the boy, named Gregory Tutor (Howard), returns to the town to become ice cream man himself. He has spent the intervening years in a mental hospital. He kills some people (and a dog) while doing his duties as ice cream man, leading to suspicion from local kids and the police.

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Reviews:

Clint Howard is clearly having great fun but its a shame to see the likes of David Warner and David Naughton slumming it in this uneven sometimes jokey/sometimes sick attempt to remodel the Pied Piper legend for modern times against the background of yet another ‘family-familiar’ villain who turns out to be a nutter (The Stepfather; The Dentist, et al). The kids deliver good performances, which is ironic as the material is generally so weak. Paul Norman’s direction isn’t too bad either, considering that the mainstay of his career was composed of close-up money shots, but the entire enterprise is really brought down by Richard Lyons (Monster High) agonisingly awful synth score.

Adrian J Smith, Horrorpedia

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“The main problem with Ice Cream Man is it never decides whether it is going to be a true horror film or a campy satire of horror films. Certainly some of the dialogue qualifies as camp, as in the scene where Gregory grabs Tuna from his bicycle, lifts him into the ice cream truck, and dumps him into the freezer with the classic line, “You’re ice cream!” And every time we find something out about Gregory’s past there are all of these nauseating references about how every day should be “happy, happy, happy” as the doctor in the mental hospital performs some absurd procedure. If these scenes were intercut with some of the gross and evil things Gregory ends up doing, you would get more of an emotional impact, but the film never succeeds in building much suspense.” Chuck’s Connection

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“The idea, apparently, was to mix horror and comedy, but in failing to find a dominant one way or the other, the story is haunted by ambiguity and uncertainty.  In the opening act, for example, the film appears to be going for a vibe of dark childhood whimsy.” Lucid Despair

“Our lead bad guy is a great source of the laughs with his gravel voiced delivery and constant hunched over state. He gives a fun, yet psychotic, performance. But Howard is far from the most laugh-inducing aspect of the film. Our group of oblivious kids are something truly special. The quartet refers to themselves as The Rocketeers and they are always hanging out together.” Horror’s Not Dead

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Wikipedia | IMDb

 


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