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BAD SAMARITAN

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BAD SAMARITAN is a superior example of the serial killer thriller genre.

Opening in 2000 theatres in May 2018, the film did not do well in its three week run ( making only $3,435,047 ) . It’s distributor , Electric Entertainment, who produced several television  and theatrical  co productions) has released three motion pictures ,all of which had high profile stars (BLACKWAY starring Anthony Hopkins in 2016; LBJ directed by Rob Reiner and starring Woody Harrelson in the title role in 2017; and now this film) but have not registered a blip on the radar financially.  The real shame is that two of them films(I have not seen BLACKWAY to honestly comment) are superb motion pictures.

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Back to BAD SAMARITAN . Directed by Dean Devlin (INDEPENDENCE DAY) with  true style , and a clever screenplay by actor writer Brandon Boyce ( his skill as a thriller writer were in full view in  his adaptation of Stephen King‘s APT PUPIL ,Columbia,1998), the film, set in present day Portland Oregon ,makes full use of modern technology .

 

Bad-Samaritan-Robert-SheehanAmateur photographer Sean Falco      (Irish  actor Robert Sheehan , who appeared in Devlin‘s noisy but empty  GEOSTORM ,WB/Electric ,2017)  also  works with his best friend Derek (Carlito Olivero , who began in show biz  as a lead singer in a revamped Menudo ) parking cars at an upper class restaurant. This job also allows them to pilfer the homes of those in the eatery, since it is obvious that they are not home, often using the victim’s own cars to drive to and from the burglary! Sean takes mostly items that won’t be noticed ,such as photographing a gift card’s info and number, as  the card itself isn’t needed to purchase items online.

 

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One day a rich self centered Cale Erendreich  (an absolutely terrific David Tennant, making one forget his DR WHO persona for BBC TV from 2005-2010) drives up in a $200,000 Maserati ,and his attitude spurs  Sean to go to Cale’s home and rob it.  However, when he breaks in, he finds a woman bound and gagged (Irish actress Kerry Condon ,from AMC tv‘s BETTER CALL SAUL ,2015-present). He ungags her but she points out that the house is wired to be control and surveilled remotely by Cale from his phone . In a moment, Sean gets fearful and yells I’m sorry to the imprisoned woman ,and flees.

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         Ah, the glamorous life of a film actress. 

Getting the car back to a waiting Cale, a guilt ridden Sean contacts the police, which brings him to the attention of Cale . Cale decides that Sean needs correcting ,and thus begins to systematically destroy everything that the young man cherishes , while the police find Sean’s stories less than credible, especially when they check out Cale’s home and discover nothing. Bad-Samaritan

 

The tale becomes then one where not only must Sean try and save the unknown woman, but he must also try and hang onto his own existence. Bad-Samaritan-movie

 

Interestingly, three of the main leads are from the U.K., with Tennant and Condon  mastering American accents, while Sheehan is allowed to use his natural Irish accent).

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Cinematography by David Connell (who had worked with Devlin on the tv series, THE LIBRARIANS( Electric , 2014-8) is sharp ,and makes marvelous use of cold blues as well as sterile clean white rooms . The music by Joshua LoDuca   ( tv’s ASH VS THE EVIL DEAD  , Renaissance/Starz,2015-18)is quite superb at underlining  and supporting the suspense ,with several well placed stings to accentuate jump moments.

 

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 Is he more creepy dead eyed and emotionless? 

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or more creepy smirking ?

 

91ycMi9TkHL._SX385_The film is definitely worth seeking out, and has been released on DVD and Blu Ray from Sony Home Entertainment.  The Blu Ray is Region A ,and features a running audio commentary by Devlin and Boyce, as well as deleted scenes as well as optional subtitles.

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It can also be rented/ purchased on AMAZON PRIME (available for free viewing to Amazon Prime Subscribers.  https://www.amazon.com/Bad-Samaritan-David-Tennant/dp/B07F1P5L19/ref=tmm_aiv_swatch_0?_encoding=UTF8&qid=&sr=

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Seek out the BAD SAMARITAN, and pray that he does not seek YOU out.

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-HIGHLY RECOMMENDED.

Kevin  G Shinnick

 

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BORIS KARLOFF COLLECTION (VCI)

3D-Boris-Karloff-Collection-500x500

 

BORIS KARLOFF COLLECTION (VCI,2 discs, DVD) Released September 2018. Color.  $14.99

https://www.vcientertainment.com/index.php?route=product/product&product_id=1104

Many years ago, when the late great Boris Karloff passed away in February 2,1969, Jim Warren’s and Forrest J Ackerman’s FAMOUS MONSTERS OF FILMLAND provided two fitting tributes.

One, was issue #56 of FMOF with a beautiful  Basil Gogos cover of Karloff as his most famous role.

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The other was a paperback by FJA called THE FRANKENSCIENCE MONSTER (Ace,1969, a cover not by Gogos but paperback cover artist Verne Tossey.). At the time,before the ability to google, this was the source for any monster news. Many of us though that Karloff’s final film was a classic of modern cinema, Peter Bogdanovich’s   TARGETS  (August 1968,Paramount).

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However, thanks to Uncle Forry , we found out that 80 plus year old Karloff had signed with producer Luis Enrique Vergara and Azteca Films of Mexico (who in turn had a distribution agreement with Columbia Pictures) for a four-picture deal at a salary of $400,000. The actor could have said no to the projects and easily retired, having a comfortable sum saved up over the years. No one could have blamed him, either, as his lungs were barely functional (due to years of smoking as well as damage from pneumonia he contracted in Italy filming BLACK SABBATH,1963,AIP , leaving him dependent on oxygen tanks to aid his breathing) as well as crippling arthritis that made walking difficult.

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Still, as he often said, he wanted to die with his boots on, doing the job he loved if audiences wanted to see him. An example was when he filmed an episode of THE RED SKELTON SHOW (“He Who Steals My Robot Steals Trash” aired September 24,1968, CBS), rather than do the show before the live audience in a wheel chair as rehearsed, he willed himself to walk with the aid of a cane rather than have the people see him so confined.

Thus, the quartet of Mexican horror films were jobs that he readily accepted, feeling fortunate that audiences still wished to see him.

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Difficulties for the productions arose when it was discovered that Karloff’s health would not permit him to film in Mexico, and his sequences were shot in a small studio in Santa Monica, California in April/May 1968, while the rest of the films were completed in Mexico, often with a double for the star.

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The four films were to be made over a 5-week period, so this extra expense of two crews, duplicating sets, and flying up some of the Mexican cast to work with Karloff must have frayed the already low budgets.  Juan Ibáñez directed the Mexican main unit, while cult director Jack Hill (SPIDER BABY,1967, American General) handled the American Karloff unit, as well as contributing to the screenplays.

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Hill it seems was hampered because the producer wanted to use an early form of video playback by tying a primitive video camera to the top of the 35mm Mitchells used to film the movie. Jerry Lewis had pioneered the idea and it is now the common practice, but Hill felt that it slowed down his process.

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With all these problems somehow the four films were filmed and completed. Karloff did not live to see the release of these films, which seemed to have been held back until 1971 for their limited distributions (Cannon also got around to distribute Karloff’s 1967 Spanish lensed CAULDRON OF BLOOD the same year, which got a wider release in the U.S. than the four Mexican thrillers).

 

Over the years, the films have been released on various video labels, including MPI and United American budget label, as well as several of the titles getting a DVD release by Fred Olen Ray’s Retromedia label.

 

VCI has now for the first time put all four films together in an affordable (less than the cost of some single DVD releases) two-disc collection.

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The four titles in the collection are

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(Disc One)

DANCE OF DEATH (aka HOUSE OF EVIL, SERENADA MACABRA)

TORTURE ZONE (edited version of FEAR CHAMBER)

menu_boris_karloff_m02_blu-ray.

(Disc Two)

ALIEN TERROR (filmed as THE INCREDIBLE INVASION, Invasión siniestra)

CULT OF THE DEAD (edited version of ISLE OF THE SNAKE PEOPLE, La muerte vivente)

 

The discs seem to be sourced from the old MPI videos, with the same video generated titles (©1987 by the Parasol Group). The prints of the four movies are a bit dark and sometimes the color is a bit off.  The copy  of TORTURE ZONE seemed in the worst condition, with several visible splices.

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It is a shame that they did not seek out the Retromedia or Elite release of FEAR CHAMBER, as both of those are in the original aspect ratio with sharp picture and color quality, as well as extras such as an audio commentary by Jack Hill and a deleted scene.MPI’s TORTURE ZONE is an edited version of this film ,so all of the nudity Is eliminated .

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Only TORTURE ZONE was set in present day, with the rest set at around the turn of the 20th Century. ALIEN TERROR was supposedly the last one filmed, and the only one NOT starring Julissa, giving actress German actress Christa Linder a chance.

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The 2.0 Dolby Digital sound for the films is clear with no noticeable loss in quality of dialogue or the sound effects.

There are no extras to the discs, but again, to get these four films together at such a low price, one should not expect any special edition treatment.

While we would all like to get the best possible and most complete versions, certain films have limited audiences and the profitability is to say the least, narrow.

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One wonders, for example, if VCI had gone out of their way to get new prints, cleaned up and loaded with extras, would fans shell out $29.95 for each of these films?

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DANCE OF DEATH -this film is perhaps the most traditional horror film, with obvious influences of the Roger Corman Poe films. The film even claims to be based upon a Poe story, though none that I am familiar with.hoise of evil                                                  original Spanish language credit

 

Wealthy toymaker Matthais Morteval (Karloff) summons his family to his mansion to discuss how his estate will be divided. Recent murders in the nearby hills has a macabre touch, wherein the victims have had their eyes removed makes Matthais suspect that a member of his family is the killer.

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Karloff has an ancestral portrait that looks exactly like him (these old families have strong genes), and Karloff gets to play huge pipe organ. Matthais supposedly suffers a fatal heart attack half way into the film, and shortly thereafter, one by one his greedy relations die. Keeping with the Corman Poe- like feel, the film ends with a huge fire, as Matthais, obviously not dead, plays his final concerto as the walls burn around him. It is quite amazing that the octogenarian actor is working so close to such huge plumes of flames, controlled or not  .

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Karloff perhaps passed away before being able to loop dialogue, or the final lines were an afterthought , but they are not his voice.

People who dismiss the Karloff Mexican quartet of films have obviously not seen them, as DANCE OF DEATH was quite entertaining.

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TORTURE ZONE – (which in the original titles also claimed to be Poe inspired, though I would say more Lovecraft, like Karloff’s own DIE, MONSTER DIE! 1965 ,A.I.P. ). This one is a bit of a mess, no two ways about it. Psychedelic zooms & colors, and jump cut edits do not make this film any more interesting, and indeed, show how little sense the plot has.  A living rock is discovered within the depths of the earth. Scientist Karl Mantell (Karloff), who spends much of this film either sitting behind his office desk or behind a lab computer table, discovers that the creature feeds on the blood of young women, particularly those who are frightened. Naturally, our loveable scientist and his staff create a fear chamber to terrorize young women who come seeking employment. The rock (no, no that one) starts to grow tentacles, and only then does Mantell seek to stop it.

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Mantell is supposed to be a kindly scientist, but his actions here are in opposition to that appearance. Still, at least, Karloff gets to survive to the end credits. The topless scenes that are edited out of this print were probably shot later, added to try and keep audience attention. Probably one of Karloff’s worst movies, though, as always, he is worth watching.                                                                              .firrreee

Karloff tries to blow up all prints of FEAR CHAMBER .

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ALIEN TERROR– Another period piece, this one is another science fiction/horror hybrid. In an 1890s European country, Professor John Mayer (Karloff) is working on a new power source, when a lab accident sends a pulse off into space, attracting the attention of an alien spaceship passing by. The alien comes across a Jack the Ripper style killer and takes over his body. More killings continue as the alien tries to get to the professor’s invention and destroy it. Mayer uses his invention to defeat the killer, and later, when the alien hops into his niece, he uses the machine again to drive it from her. Mayer lets the machine destroy itself and, in the process, burns down his home.c3f80e4ebb33139abba0d67198ef960c

 

The final shot of the surviving cast members watching the house burn has an obvious Karloff stand in facing away from the camera with hair that looks like it was streaked with shoe polish.

A confusing picture, as if two different scripts were dropped into a blender, yet it held one’s interest and it tried to be original. As mentioned, this was Karloff’s last work in a motion picture.karloff_at_03_dvd

An alien Spaceship, lit and designed to look like a Dario Argento sequence !

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CULT OF THE DEAD – On the island of Korbai, Carl Van Molder (Karloff) is a major plantation owner. A police captain comes to Korbai to try and bring order when it is discovered that voodoo is rampant. This is a much more entertaining film than Karloff’s earlier film VOODOO ISLAND (1957, U.A.), which was one of the only roles I felt the great actor seemed to walk through.

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In this film, Karloff seems fully invested in the part and brings his great screen presence to each scene.  The voodoo scenes are well staged, though once again at the end of the film, a voice not Karloff’s is used for the line: “I’m dying! “followed by some sputtering coughs. The picture ends with a big explosion as the hero and heroine escape with their lives. This too was an entertaining piece of cinema fluff and does not deserve all the scorn heaped upon it.

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To sum up, two of the films (DANCE OF DEATH and CULT OF THE DEAD) I would say are quite entertaining, a third (ALIEN TERROR) is just odd enough to hold your interest with a feeling of “WTF?” throughout and only one (TORTURE ZONE) is close to a complete disaster. Karloff is always giving his all in each work, and for that alone these are well worth seeing.

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Are the prints the best? No.  However, unless some deep pocket cinema collector seeks out original negatives, gives them a 2 K scan and restores them, and licenses the Elite and Retromedia commentaries, this VCI set will be the best way of getting affordable copies of these final films by the Master of Horror, Boris Karloff.

 

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Recommended for – Karloff completists. Fans of Mexican Horror. Cult films lovers.

 

-Kevin G Shinnick

 

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PATIENT ZERO (2018)

PATIENT ZERO (Vertical Entertainment) R -now playing limited theatrical and available as V.O.D. 87 Min. Rated R. horror/science fiction.
patient-zero-2018

https://www.youtube.com/watch?v=Mn-wBZwQdRA

Imagine if you will Bub from Romero’s DAY OF THE DEAD (1985, U.F.D.) were fully cognizant of his situation, and able to have a full conversation about it (MY DINNER WITH BUB? ). Throw in a bit of 21 DAYS LATER (2002, Fox) and you have a pretty good idea of what to expect from PATIENT ZERO.

Filmed in 2015 by Screen Gems, it sadly sat on a shelf until now. Why? Screen Gems opened the abysmal ULTRAVIOLET (2006) wide, and that was nowhere near as good as PATIENT ZERO.

In 2013, Mike Le’s script for PATIENT ZERO was called “the Most Liked “unmade script of the year in the annual Black List poll. A bidding war between several studios took place, with Screen Gems winning the rights to make a feature of the script. Matt Le had prior only worked on a few reality shows and later some forgotten thrillers like AMNESIAC (2014, XLrator) (get it? forgotten? Amnesiac?) and DARK SUMMER (2015, IFC). The frenzy was no doubt due to Paramount’s mega zombie blockbuster WORLD WAR Z that came out that year.
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Director Stefan Ruzowitzky had directed the German horror thriller AUTOPSY (Sony,2000) and won the 2007 foreign language Oscar for his film THE COUNTERFEITERS (released in the US by Sony)and so there a bit of buzz around his second English language film (his first ,ALL THE QUEENS’S MEN ,2001,Sony,starred Matt LeBlanc & Eddie Izzard ,was a fun little film that came & went).

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Adding to the buzz was the casting of Matt Smith (popular from DOCTOR WHO, portraying the character from 2010-13, with a guest appearance in 2014, BBC) and Natalie Dormer (GAME OF THRONES, appearing from 2012 to 2016 in the HBO series) and Stanley Tucci (Oscar nominated for THE LOVELY BONES ,2009, Dreamworks).

The majority of the film was shot in a massive set at Shepperton Studios that was built to resemble an underground military missle silo built into caverns.

In the near future, a new pandemic has broken out, driving people into a bloodthirsty rage. The world is so caught off guard by how quickly this spreads that a large group of survivors, men, women and children, take refuge in said underground military bunkers. There, they work frantically to try and seek some sort of cure, and if they can, discover Patient Zero, the first of the infected (Odd Doctor Who trivia (Matt Smith’s first full episode as the Doctor, “The Eleventh Hour”, he spent a good bit of time looking for PRISONER zero. Back to the review.).

Morgan (Matt Smith, sporting a Midwestern accent) has been bitten but unlike many, has not turned into one of the rampaging creatures (referred to as “the infected”). Instead, he can communicate with the transformed in their own language (that this is never explored in more detail made me wonder if the film had been drastically cut down) as well as using music to set off the murderous victims of the plague.

153694078162355269 Then one day, they bring in The Professor (Stanley Tucci), who not only is unaffected by the music, but also speaks in a calm clear manner. However, we also feel that underneath his demeanor is this seething rage, waiting to get out, and tear out the throats of all around.

The scenes between Smith and Tucci work wonderfully well, as if in a zombie film version of the Clarice /Hannibal Lector scenes from SILENCE OF THE LAMB (1991, Orion).

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Scientist Dr Rose (Natalie Dormer) is trying to get Morgan to hurry up while trying to placate Col. Knox (Clive Standen, star of the recent NBC Universal series TAKEN (2017-18) based upon Luc Bresson’s films) whose attitude is shoot them all let god sort it out.

Morgan also wants to find a cure, not only for himself but also his wife Janet (model /actress Agyness Deyn). Can they before the bunker is overrun by the ever increasing infected? Plus, watch out for those damn raging rats!!!

I don’t understand the general dismissal of this film. The cast is good, and the production values are decent.

The accent that Matt Smith uses is a bit jarring, and since most of the cast is British, why didn’t they just set the story in the U.K.?

Also, as I mentioned, there are a lot of very interesting ideas brought up but then never fully developed in the finish film, making me feel that there was some drastic editing to the movie.

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However, once Stanley Tucci shows up, PATIENT ZERO hums along quite nicely, with the exchanges between Morgan and The Professor holding our attention. The idea that the disease is merely releasing the rage contained in all of us is a good one and adds a bit of brains to the usual zombie fare.

I don’t think you will be disappointed if you watch this film without comparing it to films like DAWN OF THE DEAD (1978, UFD). It is a nice variation to the apocalyptic zombie film, with some novel additions.

I do hope that a Blu Ray with commentary track is in its future, as I would love to hear about the behind the scenes of PATIENT ZERO.

Currently, director Ruzowitzky is working on The Last Voyage of the Demeter, which is based on Bram Stoker‘s Dracula . I look forward to his new additions to genre films.

Check out PATIENT ZERO.
Kevin G Shinnick

ZOMBIES
Apocalypse
Matt Smith
Natalie Dormer
Stanley Tucci

Climax

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THE SONG OF SOLOMON (2018) MVD Blu Ray

             THE SONG OF SOLOMON (Released August 14,2018). MVD BLU RAY $24.95

https://www.amazon.com/Song-Solomon-Blu-ray-Gene-Palubicki/dp/B07CSLNHXM

(also available separately on DVD ($21.95) a Limited Edition (Blu-Ray/DVD of the film, and a CD soundtrack,3 discs) $39.98.)

Region A/1 NTSC. English. 1 disc .NR. 86 mins. Color. Unearthed Films. Dolby Digital 2.0. 1.85:1/16:9
The disc reviewed was the single Blu Ray disc.

When a film’s cover blurb has a quote: ‘In this critic’s opinion better than THE EXORCIST” (Spencer Evatt, House of Tortured Souls), you set expectations for something spectacular. Sadly, the film falls far short of the 1973 W.B. masterpiece. On its own, however, it is not a movie to be lightly dismissed.


T.S.O.S. is considered part of the American Guinea Pig series (begun in 2014 by Unearthed Films). The American Guinea Pig films are basically just gore effects and not much more. Wisely, they chose not to put the American Guinea Pig imprimatur on the cover, as it would perhaps limit its audience.

That said, gore fans will have a field day with a series of superior practical effects (no cgi snapping bones here, its on set splatter).


Indeed, the film is technically one of the better indie horror films that I have seen, with super sharp photography and cinematography, music and as mentioned in makeup trickery.

Where the film fails, and it is a problem that haunts a lot of indie films, is in the acting and pacing. Most of the cast either say their lines with an indifference that means they could as well just be going over their grocery list rather than a possession leading to many mutilations and murders, or with a stilted seriousness of trying too hard.

 

Writer/producer /director Stephen Biro is the founder / President of Unearthed Films. Besides his own work, unearthed has released several obscure Asian films, as well as an upcoming October 2018 release of the sadly neglected H.P. Lovecraft THE UNNAMEABLE (1988). Biro is also an author, who written several books about God and The Devil, as well screenplays for others.

 

T.S.O.S. opens with Mary’s father (one of the film’s make-up artists) having a screaming fit at his daughter, ending with him taking a knife, slitting his own throat, and then, reaching into the wound and pulling out his own tongue (sometimes referred to as a “Columbian necktie”, due to it being an act of mutilation done by drug cartels).

 

 

Mary (very busy actress /director Jessica Cameron; TRUTH OR DARE, Small Town Girl Productions,2013) is possessed by a demon and the Church sends in several exorcists to try and drive the Demon from the young woman.

The priests and their associates suffer several terrifying deaths (tearing out one’s own eyes, another pulls out his own tongue- this film doesn’t like tongues!) as the demon grows stronger with each attempt at driving it out.

However, we also begin to wonder is the Church trying to drive the Demon out, or bring about the return of the Anti-Christ?

There are a lot of interesting ideas in the film, but the performers, as I mentioned, for the most part, let the film down. A stronger cast would have made this a much more powerful film.


T.S.O.S. was produced in part due to a very successful Indiegogo campaign (over $52,000 raised, or 1497% of original goal), so there are a lot of fans who wish to see more of Biro’s work.

Those fans will be pleased at the 100 % all practical effects within the film, as well as appearances by people like Jim Van Bebber (THE MANSON FAMILY, Dark Sky,2005) as Father Blake getting a gory comeuppance.

The rituals of exorcism seem to try for a level of authenticity not seen in most films that deal with the subject, so kudos to the people going the extra mile.

The Blu Ray is superb transfer of the HD 4K cinematography by Chris Hilleke (ABC’s OF DEATH, Magnet Releasing 2012). The sharpness and color put many a larger budget film to shame. The Dolby 2.0 sound is good, with a nice mix of dialogue and music. Some of the sound effects needed a bit more punch to them, and some of the dialogue seems a bit echoey, due to shooting in real locales, but that is no fault of the transfer.

The music, by the way, includes some by Gene Palubicki from the group Angel Corpse, who portrayed Father Corbin in movie. The score works well with the picture, and one can see why they added a CD soundtrack to the limited special edition.

Extras on the disc include:

-A commentary track by director Biro and star Jessica Cameron. Their passion and pride for the final product comes through on the running commentary, as well as a mutual admiration for each other.

-A second commentary track has director Biro this time with effects whizzes Marcus Koch and Jerami Cruise.

-On camera Interview with actress Jessica Cameron
-Interview with writer/director Stephen Biro
-Interview with SPFX artist Marcus Koch
-Interview with DOP Chris Hilleke
-Interview with actor Gene Palluvicki
-Interview with actor David McMahon

-A behind the scenes documentary on how the practical effects were done. This goes from the planning stages, planning where the real person will bend and where the fake limbs for breaking bones will be added, the molding and life masks of the lead actress, on set touch ups, as well as the construction of the special bed used in the movie. One nearly gags watching the poor performers forcing fake intestines and things into their mouths to pull them out as the cameras roll. Who says show business is all glamor?

-An Outtake reel- scenes with clap boards and prepping of sequences as well as bloopers.

-Photo Gallery.

Overall, one of the more interesting variants on the exorcism horror genre, let down by the performances.

Still, for fans of grue, you will not be disappointed.

-Kevin G Shinnick

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IS IT REALLY HORROR?

 

Universal, it seems ,has not, as previously reported, killed off their DARK UNIVERSE franchise idea. According to Screenrant (https://screenrant.com/dark-universe-monster-movies/ ) producer Holly Goline is still connected to the concept.

Holly Goline had begun as an assistant to actress /director/producer Angelina Jolie ,has worked on films in various capacities until becoming a producer on IN THE LAND OF MILK & HONEY (Sony,2011 ).

So, like the classic monsters of old, there seems to be a spark left in the idea of reviving the collective creatures.

The thing is-should they?? I mean ,are they actually horror films anymore?

The change began with Universal‘s THE MUMMY (1999). Director /writer Stephen Sommers had come to audiences and critical attention with his film DEEP RISING (Hollywood/Disney,1998). That film began as a high seas action adventure story ,with hijackers out to rob a luxury liner, only to end up fighting for their lives against an unleashed monster.

A well written well directed story,with a great cast led by Treat Williams, Famke Janssen, and Kevin J. O’Connor,superb set pieces as well as scares and laughs galore, the film failed to make back it’s estimated $45,000 budget (U.S. box office $11,000) but it did well on home video and cable television .

It was enough to impress Universal  so that they hired him to remake THE MUMMY for a new audience. Columbia Pictures had shown in 1992 that an A budget and all star cast could give prestige and financial rewards with their version of BRAM STOKER’S DRACULA . Though uneven in tone (along with some miscasting and overacting ),the movie was a stylish treat that had both scares and a romance that worked in combination . The film made double its production cost in the United States alone, which made Hollywood take notice.

Columbia tried to have lightening strike twice and revive another classic creature with style , and two years later unleashed MARY SHELLEY’S FRANKENSTEIN . Once again an all star cast was gathered to retell the famous tale, but to this day critics and fans are divided upon this production, and the movie only made back half of it’s production budget for it’s American release . It eventually made a profit overseas and with the home video market .

Universal was undeterred ,and realizing that they had their own original creations that were known and marketable, they decided it was time to make their own monster epic.

With a high budget ( $80 million) , THE MUMMY film clicked with both audiences and critics alike , and made $155,247,825 in the U.S. alone upon its original release, and was a strong seller on video .

But it was the beginning of the slide away from being a pure horror film.

The film had a few jump scares but it was more along the line of a thrill ride , Indiana Jones style. The wonderful pairing of Brendan Fraser and Rachel Weisz gave us a couple we could cheer on as they went through some exciting adventures set during 1925 (three years after Tutankhamen’s grave was discovered,starting the mania in Egyptian artifacts).  Add to that a wonderful supporting cast including John Hannah and Kevin J O’Connor as comic companions , Odeth Fehr as Ardeth Bay and Arnold Vosloo as the immortal Imhotep  (Bay and Imhotep are the names used by Karloff  in the Universal 1932 THE MUMMY ),and one had a real crowd pleaser.

It resulted in THE MUMMY RETURNS (2001),an animated series that ran for 26 episodes between 2001 & 2003  , THE SCORPION KING(2002) (the last two films truly launching the movie career of Dwayne “The Rock” Johnson,with THE SCORPION KING  being a standalone prequel set in the distant past )  and finally THE MUMMY: TOMB OF THE DRAGON EMPEROR (2008).

Each film moved further and further away from horror into more fantasy tinged adventure stories.

Looking at low budget films from the 70s,80s and 90s, I think that the original HALLOWEEN(Compass,1978) and FRIDAY THE 13TH (Paramount ,1980) were a better template for what a mummy movie could have been.   Both figured silent figures who appear invincible and once they decide that you are their target they will not stop until they have killed you, usually in some horrible fashion.  Like  the slower moving Mummy of the Universal classics , MIchael Myers and Jason both strode purposefully ,never running , to overtake their victims , What these films lacked in gloss they more than made up for in suspense and scares ,something that the Mummy series lost more and more as the series went on.

Stephen Sommers only directed the first two Mummy  films (though keeping his hand involved in all of them),prepping instead for an even bigger film . Sommers formed his own production company in 2004 with plans of making an Homeric retelling of the beloved villains.

The result was VAN HELSING (Universal,2004) ,a loud  bloated everything but the kitchen sink major misfire. With a more than generous $160 million production budget (as well as an initially big publicity push ) ,the film was critical disaster, and made only $120 million domestically, luckily for the studio making a profit thanks to overseas box office ( worldwide cume : $300,257,475 ), which was also the start of studios looking for overseas markets to make their movies get out of the red.

 

The film seemed determined to start at 11 (to reference THIS IS SPINAL TAP,Embassy 1984   https://www.youtube.com/watch?v=4xgx4k83zzc ) and build in shrieking volume.  Almost everyone screams their lines (with poor Shuler Hensley ,who had worked with star Hugh Jackman on Broadway in OKLAHOMA!,being the one directed the most to bellow everything      https://www.youtube.com/watch?v=Rev5Z6Dg91A ). The story is a ghoulish goulash has Gabriel Van Helsing (Hugh Jackman ) as a bounty hunter of monsters for the Roman Catholic church.

He takes on a CGI Mr Hyde and then high tales it to Transylvania ,meets up with fellow monster hunter Anna Valerious (Kate Beckinsdale) and goes after the Frankenstein Monster, the insane Igor (Sommers‘  talisman ,actor Kevin J. O’Connor ),a werewolf who is Anna’s brother (Will Kemp) and Dracula (Richard Roxburgh, who was more frightening in his more  semi -comic role for MOULIN ROUGE (Fox,2001))and his undead brides want to hatch a cavern-full of gigantic Alien -like eggs , which are in fact vampires awaiting to be born(Vampires lay eggs??) .

 

Universal was so sure that they had another hit series on their hands , they kept the sets built in Prague for the film up, which meant they had to keep paying for the land  rental use while they remained.  Upon the movie’s release, however, they decided that a sequel didn’t seem like a financially sound idea.  They also scrapped a planned Transylvania land for the  Universal Studios Theme Parks ,as well as a planned Transylvania tv series.

The film failed to work as either an adventure or a horror film, but became a CGI riddled massive video game that seemed to be designed by a ten year old with A.D.D .(a charge which ,to be fair , now seems to describe the majority of theatrical releases lately).

 

Ten years later, Universal wanted to re- reboot their monsters into the summer blockbuster market . DRACULA UNTOLD (Universal, 2014) was the result.  The film basically goes back to the Vlade Tepes legend ,though instead of a annointed sociopathic Prince with a fetish for driving stakes up the hindquarters of his enemies (which included practically everyone), he is transformed into a fierce warrior,loving husband,father and nobleman  (Luke Evans )who makes a deal with The Master Vampire (Charles Dance ) for his aid in getting his son back from the Turks who have abducted the boy and about a thousand other youngsters.   What he gets ,however, slowly transforms him .

The film is indeed epic in it’s look and design, and handsomely mounted .There is also some very clever sound design and editing which gives the audience a bit of a jump once and awhile.  However, as it was planned for a summer market, the film was PG-13 rated, and the scares toned down for a larger target family audience.  Done on a $70 million budget , the film only made $56,280,355 domestic , $160,843,925 internationally for a final  worldwide tally of  $217,124,280 . The film also underwent some reshoots when Universal felt that this film needed to be tied into its just announced idea of their Dark Universe plans.

The Dark Universe franchise was to be Universal‘s answer to the many superhero films whose main power was siphoning the cash out of a willing public . Not having a superhero of their own (did they forget about DARKMAN (1990)?),they looked to the properties which they did have ,and rather than reviving Francis The Talking Mule (which would literally be beating a long dead horse) they turned instead to their creature creations . https://www.youtube.com/watch?v=lfxLdBDr1ww

There had been some talk of Dracula turning up in  a future Dark Universe film only to have executives change their mind again, wanting the Dracula in the series to be different from the one portrayed in DRACULA UNTOLD .Talk about too many mad doctors spoiling the creations!

The “official” first release for the Universal Dark Universe turned out to be –THE MUMMY (2017)!  A re-boot of the reboot (a re-reboot?)of the character again.

                                                             The MUMMY 2017 vs THE MUMMY 1999 -sand bites!

 

With a  $125 million budget  (and an advertising budget said to be at least equal to that),THE MUMMY was slammed by critics and fans, taking in only  $80,227,895 domestically, but being saved by countries where Tom Cruise still opens strong ,taking in a final total  $409,231,607 . The film is considered to have been a failure,due to various costs attached to the project, with as much as a $95 million dollar final loss .

So, Universal decided it was time to quickly kill the DARK UNIVERSE.  Alex Kurtzman and Chris Morgan, who were in charge , left to pursue other projects. By November, 2017 , the idea was considered dead. Only, as I stated in the beginning,rumors of it’s demise have been greatly exaggerated.    

Is it possible to do a proper horror film on a big budget ? The answer is yes.  The thing is to convince fans to come out and see them.

A perfect example is the 2010 THE WOLFMAN . https://www.youtube.com/watch?v=ZabAU7ySbmE . That movie was a glossy remake of the 1941 classic .  So why didn’t fans like it? A common complaint was that they had seen the story before (but if it had varied from the original ,fans would be crying it varied so much it should not be called THE WOLFMAN ). That the story wasn’t strong ( a bit of tightening perhaps could have been used, but it followed the template fairly closely ).  That it wasnt gory enough, that it used CGI,etc.  Even professional viewers seem to contradict their own opinion . The Huffington Post review said it had cardboard characters, and yet just a few lines down :  “the film spends an obscene amount of time on a twisted father/son dynamic, and not enough time with actual werewolf terror.”  So which is it?

The film certainly looked lavish ,and the make up by the great Rick Baker and Dave Elsey won a Best Make-up Oscar.

 

So where did it go wrong? Benicio de Toro, an avowed fan of the original ,was cast in the lead in 2006 . Andrew Kevin Walker,who wrote Tim Burton‘s love letter to Hammer style horror ,SLEEPY HOLLOW (Fox,1999) ,did the screenplay.

Rick Baker , of course, adhered as much as possible to the classic Jack Pierce creation.

Director Mark Romanek was attached to the film on February 8, 2007. Romanek directed powerful music videos like Johnny Cash’s “Hurt “ video in 2003 as well as the disturbing  thriller ONE HOUR PHOTO (Fox Searchlight 2002).  The budget was set at a  reasonable (for such a big production) $85 million.  After working on the project for a year, Romanek left the project ,using the “creative differences” comment.

Several directors were interviewed including Brett Ratner (no!) ,Martin Campbell (MASK OF ZORRO, Columbia,1998),James Mangold (the  stylish 3:1O TO YUMA remake, Lionsgate, 2007),Joe Johnston (the sadly neglected THE ROCKETEER ,Disney,1991),Frank Darabont (great choice ,a screenwriter of classic horror remakes,as well as directing  some of the best Stephen King cinematic adaptations) and Bill Condon ( another superlative choice . A longtime classic horror fan, he made the James Whale biopic GODS & MONSTERS (Lionsgate ,1998) .

Almost a year to the date that Romanek had first signed on, Joe Johnston took over  to direct on February 3,2008.   Work on the film continued while Johnston brought screenwriter David Self .This was not a good sign to horror fans ,as Self wrote the awful adaptation of THE HAUNTING (Dreamworks,1999) .   Still , changing directors early on and bringing in new writers is not unusual.

 

 Not the 1999 THE HAUNTING ! Gahhh!

 

A month later, filming began in England from March to June ,2008 . Having had only 3 weeks to develop the film,Johnston decided that CGI would help patch over any cracks in the project. Rick Baker expressed his disappointment to that fact, and the increasing use of CGI was the main reason the make up effects ace decided to retire in 2015.

 

The studio began to meddle around with the film ,trying to make a classic period piece and make it a more action packed movie.  Composer Danny Elfman had written his score and left to work on other projects ,and other composers were brought in to bridge the gaps due to retakes and studio demanded edits. The movie ended up losing nearly a half hour of footage ,mostly character scenes.  The Blue Ray restores some of these scenes, and it indeed improves the film.

 

The tinkering went on longer and longer, so the opening date moved from late 2008 to several dates in 2009, only to finally open in February 2010.

 

 

The original 1941  was a modest $170,000 budgeted film that ran 70 minutes.  The newer version ran 102  minutes (though the director’s cut on BLU RAY runs 119 minutes ). The 2010 version  final budget (before advertising costs , ended up totaling $150 million.  Mixed reviews and poor word of mouth had the film fail to recoup even it’s production budget ,taking in only $139 million world wide.

However, I think this film needs to be re-evaluated.  It is a much better film than it’s original reviews led one to believe. It was also a decent remake of the classic film, and it had one thing that several of the other remakes have had, some decent scares. With the idea of the DARK UNIVERSE project, this film was considered a stand alone one-off.

Look also at Del Toro’s beautiful ghost story CRIMSON PEAK (Universal, 2015),not part of the Dark Universe . A feast for the eye with lavish costumes and set designs ,and some actual scares, the film only grossed about $74 million worldwide  on a $55 million budget .  Why did this film not do better?  It was a visual feast for the eye, but it failed to find the audience it deserved. Is it horror fans really now just want more gore and less style?? INSIDIOUS 3(Blumhouse/Focus), released the same year, made over ten times it’s production cost ($11 million).

Perhaps the people now in charge of nursing Universal‘s DARK UNIVERSE concept will reconsider what  made the originals classics and will consider reducing the slam bam action and return to horror.  The original plans were that the “Universe” would be linked by Prodigium, a secret society dedicated to hunting supernatural threats, run by none other than Doctor Henry Jekyll (Russell Crowe).  https://www.youtube.com/watch?v=TCowxWN2c_Q      I am sure that concept is now deader than a vampire staked in sunlight while lying in holy water as rose thorns are floating through it atop a garlic garnish.

Projects that were cancelled due to the failure of THE MUMMY were

THE INVISIBLE MAN to star Johnny Depp.

The cancelling of Bill Condon‘s BRIDE OF FRANKENSTEIN project was perhaps the biggest disappointment of the announced remake.

THE WOLFMAN .

DRACULA

a VAN HELSING reboot –Tom Cruise was once announced for the role, but I guess he decided upon THE MUMMY instead).

THE PHANTOM OF THE OPERA

THE HUNCHBACK OF NOTRE DAME

THE CREATURE FROM THE BLACK LAGOON – this poor creature has been bandied about for decades, with names like John Landis and Guillermo del Toro attached at different times. Guillermo del Toro got tired  of waiting and made his own version ,called THE SHAPE OF WATER ( Fox Searchlight,2017).   One should note that this wonderful film ,even with Oscar wins, only took in  $194,742,801 worldwide,with almost $64 million coming from the U.S.

Perhaps Universal should study that film,as well as on films like GET OUT (Blumhouse/Universal,2017)  and figure on moderate budget films that deliver on the scares.

I think they could also learn from the old Hammer Studio model of designing films to make use of sets ,etc ,while developing their own stock company of stars .

-Kevin G Shinnick

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THE MIMIC (2017) ( update -CONTEST NOW ENDED-6.3.2018)Enter for a chance to win a blu ray copy from Well Go USA

UPDATE- this contest is now concluded. Thank you for all the entries. The winner is being contacted and their prize is being mailed to them- Thank you to everyone who played. – Keep following us for future contests and articles.-Kevin

Well Go USA (http://www.wellgousa.com/) is offering one lucky SCARLET reader a chance to win a blu ray disc of their new release ,                                                                                                         

  THE MIMIC .

Enter for a chance to win a copy of THE MIMIC Blu Ray .Contest ends June 1,2018.

Enter for a chance to win a copy of THE MIMIC Blu Ray .Contest ends                          June 1,2018.

CONTEST NOW OVER-

Screenanarchy.com posted : “…Huh Jung directs what is is probably the best commercial Korean horror film in years.”

To Enter , send an email to

SCARLETTHEFILMMAG@yahoo.com

with the heading ” MIMIC CONTEST”

and in the body of the letter, tell us what you think the scariest movie involving a child was and why.
Also include your name and an address .

ONE winner will be drawn at random from all entries on June 2,2018 . The winner will be emailed a notification of their win. Contest ends June 1,2018.

THE MIMIC (Well Go USA),releasing on DVD as well as BLU RAY ON  June 12,2018  is a South Korean horror film directed by Huh Jung (HIDE & SEEK).

 

Based upon the legend of the ‘Tiger Of Mt. Jang”,in the film
a family gets involved with a mysterious creature known as “Jangsanbum.” This creature can imitate a human’s voice and entices children to eat them.

 

The Mimic stars Yum Jung-Ah (Tell Me Something), Park Hyuk-Kwon (A Taxi Driver), Shin Rin-Ah (Ode To My Father), Heo Jin (The Wailing), Kil Hae-Yeon (Missing) and Lee Yool (Hello Murderer).

100 mins. Color . Korean with optional English subtitles. REGION A.

TRAILER
https://youtu.be/d6p-XXamvAU

If you want to order your copy now for purchase (either Blu Ray or DVD )instead of playing the contest  , please go to https://www.amazon.com/Mimic-Blu-ray-Park-Hyeok-kwon/dp/B07CBH6GQT/ref=sr_1_2?ie=UTF8&qid=1527085404&sr=8-2&keywords=the+mimic+blu+ray&dpID=51CtvJK1VgL&preST=_SY300_QL70_&dpSrc=srch

Big thank you to WELLGOUSA.

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Looking for reviewers , writers, contributors (all sadly unpaid ,but a chance to get your work seen).  Contact Kevin at scarletthefilmmag@yahoo.com

CONTEST IS NOW OVER. Thank you to all who entered. The winner is being contacted and the prize is being sent to them shortly. Keep following us for future contests and articles. -Kevin 6.3.2018

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THE BLOODTHIRSTY TRILOGY (Arrow Blu Ray) THE VAMPIRE DOLL; LAKE OF DRACULA; EVIL OF DRACULA

BLOODTHIRSTY TRILOGY (THE VAMPIRE DOLL; LAKE OF DRACULA; and EVIL OF DRACULA; Toho, 1970-4)

Arrow Blu Ray set release .2 disc set. Color. Japanese with subtitles.

U.S. Release $49.99 s.r.p. https://www.amazon.com/Bloodthirsty-Trilogy-Vampire-Dracula-Special/dp/B07B12HN97

U.K. Release £ 29.99 s.r.p. https://www.amazon.co.uk/Bloodthirsty-Trilogy-Blu-ray-Kayo-Matsuo/dp/B079VCZJC3/ref=sr_1_1?s=dvd&ie=UTF8&qid=1525722582&sr=1-1&keywords=bloodthirsty+trilogy

In the 1960s and early 1970s, vampire films were quite popular, Thanks to Hammer Films, Dracula and his many off-shoots invaded movie theatres and television sets internationally. Many countries made their own variations and even rip offs of the British horror studio’s output.

One country where fantasy films and horror were enjoyed by a wide audience was Japan.
Japanese theatre had a long history of popular ghost stories. Oddly, Japan seems to lack any legends of vampire folklore, the closest being the Yōkai, a malevolent spirit.

Yotsuya Kaidan (四谷怪談 Ghost Story of Yotsuya), written in 1825, was a kabuki ghost story revenge play. So far it has  been adapted for films at least 30 times.

One year after the cinema camera was introduced in the country, local filmmakers made Bake Jizo (Jizo the Spook / 化け地蔵) and Shinin no sosei (Resurrection of a Corpse),1898 ,both films currently presumed lost.

The first film adaptation of Yotsuya Kaidan was made in 1912, and it was filmed some 18 times between 1913 and 1937. All but the 1936 and 1937 films were silent adaptations.

In 1933, a three-reel silent comedy Wasei Kingu Kongu (和製キング・コング, literally  Japanese King Kong) was made, also now sadly missing for modern viewers. Japan made silent films well into the mid-1930s. In 1938, Kong returned for another silent Japanese film, this time released in two parts, King Kong Appears in Edo (江戸に現れたキングコング Edo ni Arawareta Kingu Kongu) .This film ,like so many Japanese films made before the 1950s, is also lost.

From the early to mid-1940s, most of Japanese cinema was turned to the propaganda for the war effort. Still, future great artists like Akira Kurasawa began their careers during this period.

In the 1950s, Japanese films began to get a wider release worldwide. Kurasawa’s brilliant RASHOMON (Toho,1950) won international praise and awards. Ugetsu, Tales of Ugetsu or Ugetsu Monogatari (雨月物語) was a 1953 ghost story from Daiei Studios that won great acclaim.

1954 ,The same year that people were introduced to Seven Samurai (七人の侍 Shichinin no Samurai,Toho), the same studio released a film that would spawn sequels, remakes ,rip-offs ,and introduced the world to Kaiju (giant monster )cinema, Godzilla (ゴジラ Gojira). Both films nearly bankrupted the studio but luckily the international box office rewarded the daring producers . Another supernatural film, The Invisible Avenger (透明人間 Tōmei ningen, literally Invisible Man), loosely based upon the H.G. Wells classic, was released by Toho that same year, but never was given international release.

Between all the monsters stomping all of Tokyo, supernatural tales continued to be popular. Nobuo Nakagawa directed a series of horror films, including The Ghosts of Kasane Swamp (Shintoho Films. 1957), The Mansion of the Ghost Cat (亡霊怪猫屋敷Bōrei kaibyō yashiki, Shintoho, 1958) and The Ghost of Yotsuya (Tokaido Yotsuya kaidan (東海道四谷怪談), another telling of the famous ghost story, Shintoho 1959), and Jigoku (Jigoku (地獄, “Hell”, Shintoho ,1960).

The 1960s continued to have more supernatural tales ,alternating between the giant monsters, and supernatural thrillers, including an interesting hybrid ,GOKE BODY SNATCHER FROM HELL (吸血鬼ゴケミドロ Kyuketsuki Gokemidoro ,which translates to Vampire Gokemidoro, Shochiku,1968).This hybrid vampire /ufo film has an alien invasion using bloodsuckers ,and has a rather bleak ending.

Finally, Toho, one of the oldest of the big four Japanese Film companies, saw the profits Hammer was making on their relatively modest budget horror films, and decided to take a chance on their own three vampire films.

All these films were directed by Michio Yamamoto ( 1933- 2004 ) . Yamamoto began as an assistant director to the great Kurasawa on THRONE OF BLOOD (Kumonosu-jô), the director’s take on the tragedy of Macbeth. He continued as an A.D. until 1969, when Toho let him direct Yaju no fukkatsu , a gangster crime drama.

He was given directorial control on the Hammer influenced but modern setting vampire films that the studio produced between 1970-4. Between films, he directed for Nippon tv some dramas, ending his career in 1976 directing episodes of a tv action drama.

First was The Vampire Doll (幽霊屋敷の恐怖 血を吸う人形 Chi o suu ningyo, Toho,1970, color ,71minutes). THE VAMPIRE DOLL was released in a subtitled form in NY and LA as THE NIGHT OF THE VAMPIRE. THE VAMPIRE DOLL as also been known as BLOODSUCKING DOLL, THE GHOST MANSION’S HORROR: A BLOODSUCKING DOLL, FEAR OF THE GHOST HOUSE: BLOODSUCKING DOLL, and when released on VHS by Paramount, THE LEGACY OF DRACULA.

The film shows that the director and writer Hiroshi Nagano (who doesn’t seem to have any other fantasy credits and worked mostly on television) and Ei Ogawa (who wrote all three vampire films, as well as SPACE AMOEBA (Gezora, Ganime, Kamēba: Kessen! Nankai no Daikaijū  (ゲゾラ・ガニメ・カメーバ 決戦! 南海の大怪獣ba: , , translated as “Gezora, Ganimes, and Kamoebas: Decisive Battle! Giant Monsters of the South Seas ”, Toho, 1970) seemed have studied THE OLD DARK HOUSE (Universal,1932), PSYCHO (Paramount ,1960), and CITY OF THE DEAD(Vulcan,1960), as well as Hammer’s vampire films.

Kazuhiko goes to an isolated house during a rainstorm to reunite with his fiancé, Yuko. Interestingly, the house and cab are depicted via model work.

Upon arriving, the young man is greeted by Genzo, the silent servant, as well as Yuko’s mother, Shido. Kazuhiko is told by Yuko’s mother that the young woman died during a landslide just a few weeks prior. Due to the storm, he must spend the evening, wherein he is awakened by the cry of a woman. It does not end well for him.

We cut to Kazuhiko’s sister Keiko and her boyfriend Hiroshi ,who are concerned that he hasn’t returned or even contacted
them to let them know how he is. They go to the same remote home and are greeted by Shido and Genzo. What they uncover leads to more deaths as the family curse is uncovered.

The film is a mix of Gothic horror (old dark house, stormy night) and Japanese Ghost Story. While the killer is called a vampire, they never spout fangs, instead using a very deadly blade to dispatch their victims. Still, the film is full of atmosphere, and at a brisk 71 minutes, it really moves.

Composer Ricchiro Manabe wrote the scores for all three Toho vampire films. Besides composing for the vampire trilogy, Manabe also wrote the scores for GODZILLA VS HEDORAH (ゴジラ対ヘドラ Gojira tai Hedora, Toho,1971) better known as GODZILLA VS THE SMOG MONSTER; and GODZILLA VS MEGALON ( ゴジラ対メガロ Gojira tai Megaro, Toho,1973).

His scores for this first film is harpsicord, piano, and organ, mixed in with discordant sounds to create a feeling of unease. It also includes some traditional Kokiriko (basically a pair of sticks struck together rhythmically) electric keyboard and flute. At one point it goes a little muzak, but overall, it is quite spare but effective. At times, it reminded me of some of the music from tv’s DARK SHADOWS (ABC TV 1966-1971) https://www.youtube.com/watch?v=J5Kh9z-mExk .

The cinematography by Kazutami Hara is effective, with nicely composed shots that help the mood of the piece. He would skip the next film in the series, only to return for the final entry.

The film must have done well, as the studio made another vampire film the following year with the same director, screenwriter (Ei Ogawa) and composer.

Lake of Dracula (呪いの館 血を吸う眼 Noroi no yakata-Chi o su me, Toho, 1971, also known as also known as Japula, Dracula’s Lust for Blood, The Bloodthirsty Eyes and Lake of Death). After it’s Japanese release, it was given a limited subtitled release in the U.S., followed up by a television dubbed version from UPA under the title LAKE OF DRACULA.

A young girl, Akiko, looking for her lost dog, wanders into a house, where she finds a dead woman and a vampire. We jump ahead years later, where Akiko is now a young woman. She thinks what happened to her was only a dream, until the vampire turns up again, and her dog once again goes missing, only now her sister Natsuko also disappears.

She is attacked by a friend who has been vampirized and brought to the original vampire. Just before he can bite her, two men interrupt the monsters, and they run away.

More near fatal events happen, wherein they discover that the original vampire chasing them is a descendent of Dracula himself!

This film is a more traditional vampire film, with an ancestor of the King of all Vampires playing heavily into the story. The vampire here has a ghastly pale complexion and yellow eyes. The final staking is effective (I understand that this was cut from some tv prints, making a very frustrating viewing for late night tv addicts). Certain points in the film made me think of BRIDES OF DRACULA (Hammer/Universal,1960).


The Hammer influence is strong in the design of the vampire’s mansion , which has a very European look, or at least strong Bernard Robinson construction (kudos to production designer Shigekazu Ikuno, who had worked on the horror film MATANGO, Toho ,1963). The film overall has a feel of a larger budget than its predecessor.

The camerawork by Rokurô Nishigaki is quite good, and it is a shame he didn’t do more genre work.

Three years later, the final film of the series was EVIL OF DRACULA ( 血を吸う薔薇 , literally The Bloodthirsty Rose, Toho,1974). The original cameraman returned to join the other original director, writer and composer.

 

Once again, BRIDES OF DRACULA seem to have had some influence on the plot, along with LUST FOR A VAMPIRE (Hammer, 1971).

Shiraki, a new teacher at the Seimei School for Girls, finds out that he is to become the new Director. The principal has just suffered the death of his wife. That night, Shiraki, who is staying in the principal’s home, is attacked. He wakes up in his own bed, and at first assumes it was all a dream.

However, he goes down into the cellar and finds that the ghastly woman who attacked him the night prior is the occupant of a coffin, namely the principal’s late wife.


Later, one of the female students is attacked and left with two bite marks upon one of her breasts. The school Doctor Shimimura, who also collects local legends, feels that the violence and strange things going on are the result of a vampire.

The origin of this Dracula is quite original, to say the least. If you have seen Martin Scorsese’s SILENCE(Paramount,2016), you will be aware of the 17th Century attempt at bringing Christianity from Europe to Japan. Well, here, Dracula comes into being as a pious man who renounces his faith due to the tortures of the missionaries, and thus is cursed with vampirism! 

This film is a bit more violent and some semi nudity to spice up the proceedings. Once again, the team has done a great job of mixing Western culture with a Japanese spin.

These films were released sparsely in the U.S. in subtitled prints in limited release, as well as dubbed versions, somewhat edited for television by UPA.

Paramount Home Video released the films in the edited dubbed versions on VHS, but they have long been out of print. The prints were rather flat and the copies suffered from pan and scan .

Finally, ARROW FILMS has once again graced us with an amazing presentation of an unjustly obscure film, or in this case, three.  

First off, they have gone to the original film elements for a   1080p High Definition Blu Ray release. The color and image quality are amazingly sharp and clear, with no noticeable speckling or blemishes. Though supposedly low budget, the artisans and artists at Toho bring a professionalism and pride to their work.

The Mono sound is now in a clean uncompressed 1.0 PCM Audio.  The previous VHS release was on certain videos released in the LP (long play) speed, rather than the SP (Standard Play). This softened the picture image as well as flattened the sound.

Though not mixed in any fake stereo, the music and sound effects mix are clear.

The prints used are in the original Japanese, so you can hear the performances of the actors, with very easy to read new English language subtitles.

 

Kim Newman (film historian, as well as author of the delightful ANNO DRACULA book series) provides a nice little video appraisal of the trilogy on disc one.

• Reversible sleeve featuring original and newly commissioned artwork by Matt Griffin (which also graces the discs), while on the flip side are some of the original Japanese theatrical posters.

FIRST PRESSING ONLY: Collector’s booklet featuring new writing on the film by Japanese film expert Jasper Sharp (Historical Dictionary of Japanese Cinema; Scarecrow Press ,2011), illustrated with some beautiful photos from the movies.

Disc One consists THE VAMPIRE DOLL and Kim Newman’s video comments.
Disc Two consists of LAKE OF DRACULA and EVIL OF DRACULA.

The only thing that I could have suggested was perhaps adding alternate audio track of the English dubs from UPA , but perhaps they were too prohibitively expensive to license .

Once again, Arrow Films has given us another must have Blu Ray Collection.

HIGHLY RECOMMENDED.

Kevin G Shinnick

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