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Reviews
Freddy vs. Jason (2003)
Lives up to mediocre expectations
Robert Englund's final performance as Freddy Krueger and Ken Kirzinger's only lead performance as Jason Voorhees (although he apparently doubled for Kane Hodder in Friday the 13th Part VIII: Jason Takes Manhattan). England is reliable as ever and Kirzinger is okay. With very few exceptions the other performances are pretty mediocre (it says a lot that Kelly Rowland doesn't stand out as the worst). Lochlyn Munro's always entertaining but unfortunately he's wasted in a small role. Monica Keena looks distractingly like Brittany Murphy. I'm sure that just about every young female cast member here got the same boob job. Seriously, it looks like they got a bulk-order discount. But whilst it's dumb it's entertainingly dumb. 7/10.
Mean Girls (2004)
One of THE great film comedies of ANY age!
This film is hailed as a classic, but I hadn't seen it since watching it with my son and daughter when it first came out and wasn't sure how I'd find it after all this time. I needn't have worried - I found myself laughing out loud within the first 60 seconds! The whole cast are spot-on, but special mention has to be made of Lindsay Lohan, Rachel McAdams, Lacey Chabert, Amanda Seyfried, and Lizzy Caplan. They're the heart of the film, and they all had me in stitches at various times. But as good as the performances are, the film would be nothing without Tina Fey's razor-sharp script.
Now, a word of warning to some of today's delicate 'modern' audience members... The girls insult each other a whole host of names that would give the pearl-clutchers at IMDb palpitations if I typed them here. And guess what? IT'S FUNNY! Yep, there actually WAS a time when people didn't need to be told if it was okay to laugh at something! I haven't seen the 2024 MG movie but I've heard that the story has well and truly had its teeth pulled. Well, no worries. We'll always have this one. Wonderful. 9/10.
The Six Million Dollar Man: The Bionic Criminal (1975)
The Return of the Seven Million Dollar Man
Direct sequel to the season 2 episode The Seven Million Dollar Man. Monte Markham returns as Barney Hiller (the surname changed from 'Miller' due to the launch of the Barney Miller cop sitcom between the two episodes), a racing driver given four bionic limbs following a near fatal crash on the track. After having his bionics detuned to normal human strength levels at the conclusion of his previous appearance, Barney is 'reactivated' as part of a controlled experiment. Despite still being somewhat hot-headed, he seems to have a better grip on things this time around. However, when he mistakenly believes he's killed a man, he agrees to take part in criminal acts in order to provide for the man's 'widow'. This leads to an inevitable confrontation with Steve.
There are a lot of 'filler' flashbacks to the earlier episode, and even the fresh material feels drawn out; the story contained here could have been told in about 30 minutes. There's also very little delving into the psychological problems that could accompany becoming bionic. However, the action is well-staged, it's great seeing Lee Majors and Monte Markham play off each other, and we also get the return of the beautiful Maggie Sullivan (who sadly died in 2020, at the age of just 71) as Carla Peterson.
Whilst nowhere near as deep as the previous episode, it's still well-done bionic fun. 8/10.
The Night House (2020)
Interesting idea
I am a die-hard horror fan, but so called 'elevated horror' tends to leave me cold - and this did just that. The concept (once all is revealed) is surprisingly original, the performances - especially those of Rebecca Hall and Sarah Goldberg - are all very good, and it's nicely shot. For the first 45 minutes or so I was gripped; but as things started to take a different turn it lost me and that strong sense of tension started to fade. Slow-burn ghost stories are my favourite horrors, but this just didn't do it for me. My gut feeling is that fans of Hereditary may well be fans of this too. 5/10.
Disappearance (2002)
Massive waste of a great premise
I agree with a lot of other reviewers here. The premise is a great one. The set-up really grips you. The old mining town/ghost town is a great location. The performances range from good to okay. And the whole thing has a really creepy atmosphere. But after an hour and 20 minutes of eagerly awaiting the big reveal of what's going on... nothing. It gives no answers whatsoever. As one character says, it could be ghosts, it could be aliens, it could be mutated humans from nuclear testing years ago. Okay... but it doesn't even TRY to actually give you an answer. It's as though they forgot to write an ending. Maddeningly frustrating. Also, have to say that once Hamlin & Co arrive at the ghost town they make just about every textbook dumb decision that there is in horror movies. It's laughable! Still, it was nice to see Harry Hamlin and Susan Dey reunite from L. A. Law. With a good ending this would have been an easy 8/10. As it is it gets 6/10 because what was good was SO good, but honestly the last 10 minutes barely scrape a 3.
Cold Case: Stand Up and Holler (2007)
Death of a Cheerleader
One of the very best Cold Case episodes. Rush and the team reinvestigate the death 10 years before of high school cheerleader Rainey Karlsen, who was found dead on the school football field with drugs and alcohol in her system. What follows is a tale of peer pressure and the devastating effect it can have on even the closest of relationships. It's superbly written and directed, and the regular cast are as good as ever. Of the guest stars, Whitney Able as Rainey, Aviva Baumann as lifelong best friend Celeste Church, AnnaLynne McCord as Becca Abrams (snarky head of the cheersquad), and Jonathon Trent as Joe Vives-Alvarez (high school geek and loner, whom Rainey comes to see as more than that) all stand out. The truth when it comes and the victim's final scene are heartbreaking. 10/10.
The Great Escaper (2023)
Touching tale of old school grit
Fantastic swansong for Michael Caine (who insists this is his final film) and Glenda Jackson (who died three months before the film was released). The true story of British World War II Royal Navy veteran Bernard Jordan, who in 2014 left his nursing home early one morning (without telling staff) and made his own way over to the D-Day commemorations in France.
The two leads have never been better, whilst John Standing gives excellent support as Arthur, a fellow veteran who Bernie teams up with. Although there is plenty of pathos in Bernie (Caine) and his wife Rene (Jackson) coming to terms with the approaching ends of their lives, there are some heartwarming scenes and even the occasional touch of humour. Director Oliver Parker (perhaps best known for comedy - St Trinian's, Johnny English, Dad's Army) does a fine job with this touching story. 8/10.
The Cabinet of Caligari (1962)
Not really a horror
Despite it's title and loose connection with the German silent horror film The Cabinet of Dr. Caligari (1920), this is more of a psychological thriller/mystery. The lovely (and sadly recently departed) Glynis Johns plays a woman, Jane, whose car gets a flat tyre and who seeks assistance at a sinister looking mansion (will these people never learn?!). There she meets the owner, a man who goes by the name of Caligari. He offers to have his staff attend her car, fix it if possible, and if it's not possible to put her up for the night. Of course, when the staff attend they find the problem is more than just a flat tyre; there's also a problem with the steering. Initially grateful of the offer to stay the night, Jane becomes worried the next day when Caligari won't let her leave.
Glynis Johns is great as usual, making the most of that wonderfully breathy, husky voice. Co-star Dan O'Herlihy is just as good, and the supporting cast are solid. It's intriguing rather than gripping, and you might guess both twists, but it's an enjoyable ride getting there. 6.5/10.
The Six Million Dollar Man: The Seven Million Dollar Man (1974)
My all-time favourite episode
I watched The Six Million Dollar Man first time around, and was 13 when this episode first aired. I was glued to the show every week, but this episode has stayed with me more than any other. Having just watched it for the first time in nearly fifty years, it's almost exactly as I remembered it (always loved that arm-wrestling scene). Lee Majors was the perfect choice for Steve Austin, conveying a fine balance of physicality and humility - but Monte Markham was apparently an early candidate for the role. He wouldn't have been right as Steve, but he is perfectly cast as Barney Miller, the Seven Million Dollar Man. Markham, always enjoyable to watch, is entirely convincing as a man becoming increasingly unhinged (full marks to him too for clearly doing ALL the action himself). Special mention to the stunning Maggie Sullivan as nurse Carla Peterson (sadly, she died in 2020, at the age of just 71).
Despite featuring a battle between two bionic men, this is one of those earlier episodes that delved into the psychology of someone having to come to terms with being not entirely human and possessing physical abilities beyond those of any other person on Earth. It's an absolute cracker. 9/10.
The Haunting (1963)
A perfect haunted house movie
Having recently watched Mike Flanagan's Netflix mini-series The Haunting of Hill House, I decided to revisit this again. For me it is the gold standard for haunted house movies. It epitomises the 'less is more' approach that (I believe) is so important in selling a ghost story. Nothing is so frightening as our own worst imaginings. And whilst I like Flanagan's version, he has a tendency to show too much. I enjoy seeing creepy ghosts as much as anyone (I love The Ring, The Grudge, The Woman in Black, Flanagan's own The Haunting of Bly Manor), but something should be held back - at least in the early stages. Let our minds fill in the blanks. Director Robert Wise does that here - and then some. You don't see any ghosts. Not one. But you know they're there. You can feel them. The atmosphere is filled with more dread and threat than any other film I've seen (only Jaws comes close). The tension and fear are almost smothering. Direction, acting, writing, photography, lighting, set design, and - especially - sound, are all perfect. I cannot fault this film. It has never been anything other than a 10/10 for me.
Ouija: Origin of Evil (2016)
A definite improvement on the first film
Mike Flanagan takes over the directing reins for this prequel to the disappointing (but profitable) 2014 movie, Ouija, and plays a little loose with the continuity - although I don't think anyone will lose much sleep over that. We're presented with Flanagan's trademark damaged family, here coming to terms with the loss of a much loved husband and father. The widow - assisted by her two young daughters - makes a small living providing fake 'psychic readings' and seances for the gullible and/or recently bereaved. However, the decision to incorporate a Ouija board into the act soon unleashes horrors which none of them could have imagined.
Flanagan always nails his casting. Leads Elizabeth Reaser (as Alice, the mum), Annalise Basso (as Lina, the elder daughter), Lulu Wilson (as Doris, the younger daughter), and Henry Thomas (as Father Hogan) are all perfect. And whilst the script takes some big leaps here and there, the story is solid. A minus is that Flanagan has a tendency to show too much of his ghosts, removing some of the creepiness (he does the same in his Netflix show The Haunting of Hill House); less is, as they say, more. The score (by regular collaborators The Newton Brothers) is effectively eerie. The third act doesn't quite live up to the first two - perhaps hampered by a need to connect to the first film - but overall it's enjoyable. 7/10.
The Haunting of Hill House (2018)
Great in parts
Director Mike Flanagan presents a different take on Shirley Jackson's classic ghost story, The Haunting of Hill House. Bold, given that Robert Wise's 1963 movie adaptation is pretty much the gold standard for all haunted house movies. Flanagan removes the 'psychic researchers' plot, instead telling the story of a family who move into the rundown property with the intent to 'flip' it for profit, but who soon realise they aren't alone.
Flanagan loves his horror set against backgrounds of family angst, and he does the same here, focusing on relationships as much on the supernatural. In that respect it succeeds - so much so that some excellent writing and actors' performances make this at times a truly uncomfortable watch, almost as though we are intruding in some way. However, the supernatural elements don't always land. Flanagan's revised history for the house, its past occupants, and its ghosts is interesting, but some aspects that cry out for (and seem headed towards) expansion just get forgotten. Some time-jumps and alternate perspectives on events are distractingly confusing (even when they are ultimately cleverly resolved). Flanagan also has a tendency at times to show too much; when it comes to ghosts less is more. Showing them too clearly - however well-done the make-up and effects - removes some of the creeping fear; nothing is as terrifying as the horrors we conjure in our own minds, so leave something to the imagination. The ending is also a letdown - feeling like a bizarre slap in the face. All of these are things that Flanagan remedied in his follow-up series, The Haunting of Bly Manor. However, this does share one fault with Bly Manor; it could comfortably lose the equivalent of one episode's runtime. Nevertheless, despite the shortfalls, some inspired writing, superb photography, and faultless performances from the cast get this an 8/10.
The Haunting of Bly Manor (2020)
Flanagan does it again
Acclaimed horror director Mike Flanagan sets his sights on Henry James' The Turn of the Screw as the follow-up to his 2018 adaptation of Shirley Jackson's The Haunting of Hill House. As before, this takes the classic story and runs with it. There's a lot of new material - and 99% of it lands very well, giving a solid expansion to the story. I was sceptical of Flanagan's intent to delve into the backstories of 'Peter Quint' and 'Miss Jessel', but the tale he came up with absolutely works.
Flanagan's Bly is far more haunted than James', giving us several spectres that range from sympathetic to downright fearsome. The cast (some of whom return from The Haunting of Hill House) are superb, but Oliver Jackson-Cohen, Victoria Pedretti, and child actors Amelie Bea Smith and Benjamin Evan Ainsworth all deserve special mention. There are times it drags (at nine episodes, it feels as though overall it could shed close to the equivalent of one episode's runtime), but what works succeeds SO well, both as ghost story AND tragic love story. And whilst the whole series delivers, episodes five and eight contain some of the finest television drama I've seen. A very deserving 9/10.
Justice League Dark: Apokolips War (2020)
It ends where it began
The 16th - and final - installment of the DC Animated Movie Universe (DCAMU). Earth's heroes prepare for what they hope will be their final battle against the New God, Darkseid. At stake, the planet Earth and all life on it. For the Justice League, the Justice League Dark, the Teen Titans, and the Suicide Squad, an uncomfortable realisation dawns; there is only one way to win this. Kill - or be killed.
Pre-empting a full-scale invasion of Earth, the Justice League launch a direct attack on Darkseid's home world of Apokolips. It ends badly. Very badly. Two years later, the few remaining heroes consider one final attempt at salvation. But they are under no illusions this time as to the costs.
This ending of the DCAMU brings things full-circle, in DC's Infinity War/Endgame; but this isn't Marvel. DC's animated movies have always leaned towards the dark side (no pun intended), but this is a whole new level. If you've ever thought 'They won't show THAT', the chances are they do. This can be a hard watch. But the symmetry it gives the DCAMU is perfect. The regular voice cast return, led by Jason O'Mara as Batman, Jerry O'Connell as Superman, Rosario Dawson as Wonder Woman, Tony Todd as Darkseid, and - stealing the show - Matt Ryan as John Constantine. The story's good, the performances are excellent, and the stakes are like nothing seen in DC animation before.
It's a fine farewell to a great saga (thank you to everyone involved across all 16 films).
8.5/10.
Mr. Brooks (2007)
Pretty good - but had the potential to be better
Psychological thriller starring Kevin Costner (as mild-mannered businessman/loving husband and father by day, serial killer by night) and William Hurt (as the manifestation of Costner's dark side). Demi Moore plays the cop investigating the killings. Costner and Hurt are great, Moore is solid, and Marg Helgenberger and Danielle Panabaker (as Costner's wife and daughter) provide good support. It's an interesting idea, but one diluted by sub-plots that either don't tie in to the main storyline, or when they do, they feel like they've been forced together. It's as though this started out as two completely separate scripts that someone combined into one as an afterthought. There's a good score by Ramin Djawadi (best known for Game of Thrones).
Apparently intended as the start of a trilogy, but poor box office and mixed reviews scuppered that. 6.5/10.
Next of Kin (1982)
Looks good, well-acted, but story and scares are lacking
Little known Australian horror/thriller. After her mother's death, Linda inherits her country estate, the mansion house of which houses a retirement/care home for the elderly. Soon after she moves in Linda becomes aware of mysterious sounds in the hallways at night, and catches glimpses of strange figures from the corner of her eye in the house and grounds. After one of the residents drowns in the bath Linda finds her late mother's diaries and reads that there have been several bathtub drownings over the years. Her mother was also convinced there was a 'presence' in the house. As Linda tries to investigate exactly what is going on she begins to feel she is in increasing danger.
The film was highly praised at the time for its photography, and its creative shots along the labyrinthine hallways of the mansion have been favourably compared to Kubrick's The Shining. It's very atmospheric. The performances are good (Jacki Kerin as Linda, John Jarratt (later to find fame as star of the Wolf Creek films) as Linda's boyfriend, and Alex Scott (well-known UK TV character actor) as the physician for the care home). Unfortunately the story is pretty underwhelming and doesn't really deliver on the scare-front (outside of a couple of eerie shots - including one reminiscent of Salem's Lot (1979) infamous window scene).
Worth a look, but it's not one I'll watch again. 6/10.
Shock Docs: The Curse of Robert the Doll (2022)
Impossible to take seriously
The story of Robert the Doll is a fairly well-known one, at least to enthusiasts of the mysterious, the unexplained, and the allegedly supernatural. Dolls said to be haunted/possessed/cursed are very much en vogue (see 'Annabelle' in James Wan's big screen 'The Conjuring Universe'). This drawn out documentary (one hour 21 minutes, which could have easily been reduced to 45 minutes) succeeds so far as telling a chronological history of events is concerned; but the many reconstructions of allegedly paranormal occurrences are poor, with no real attempt at atmosphere. And the modern-day interviewees 'living in fear' because they in some way 'disrespected' Robert are cringe-inducing, as they embarrassingly read aloud their written letters of apology to 'him' (seriously). These people don't come across as gullible so much as self-deluded; they clearly *want* to believe, and enjoy the attention (I'm betting they're all very active on social media). As a non-believer I often find claims of otherworldly encounters fascinating, and love hearing theories that could account for what people think they've experienced; but this documentary really is for the 'angels and crystals' brigade, those who cast 'protection spells' before they go ghost hunting with EMF meters and night-vision cameras. 5/10.
Insidious: The Red Door (2023)
Serviceable direct sequel to 1 & 2
Not a bad directorial debut for Patrick Wilson. He doesn't quite have James Wan's eye for the creepy but he gets good performances from his actors. The story is okay, although it leans a little too heavily on 'family drama' for me (I mean, this isn't The Shining or Hereditary). The pacing feels off; the first two thirds are a little slow, whilst the final third/finale feels rushed, giving an impression that stuff had to be sacrificed for the sake of runtime. The realm of 'the Further' seems to have had its budget slashed and doesn't look anywhere near as expansive as it did in the first two movies. However, the effects are well done, the family dynamic is believable, and it's nice to see so many returning faces - even if some are barely more than cameos. Insidious and Insidious Ch 2 are both 8/10 movies for me. This one doesn't come near them, but it's a reasonable conclusion(?) to the Lambert family story. I will say that Ghost's cover of Shakespear's Sister's Stay (with Patrick Wilson on guest vocals!) over the end credits rocks. Overall, 6.5/10.
An Unknown Compelling Force (2021)
Absorbing investigation into a tragic mystery
Fascinating documentary film about the facts (as far as they are known) and theories surrounding the notorious Dyatlov Pass incident (the unexplained violent deaths of a nine-strong Russian hiking team - all students - in the remote Ural mountains in 1959). It includes detailed assessments by modern-day forensic and medical experts (both Russian and American) of the incident scene, the statements and case notes of the original investigators, the hikers own diaries and notebooks written during their trip, the developed film from the hikers own cameras, and the original autopsy findings/photographs. We'll probably never know the cause of their bizarre behaviour on their final night and their horrendous deaths soon afterwards - but whatever happened was clearly catastrophic. 9/10.
The Nun II (2023)
Better than the first
This second entry in 'The Nun' corner of the Conjuring Universe sees Michael Chaves take over the directing reins. Taissa Farmiga returns as Sister Irene, now (after the events of the first film) serving in a convent in Italy. She enjoys a peaceful life, when she is suddenly informed that the demon Valak appears to have returned, causing several deaths across Europe. Due to her experiences four years previously (The Nun ~ 2018) Irene is assigned to investigate.
Farmiga is excellent as Sister Irene. Storm Reid is fine (although completely superfluous) as her helper, Sister Debra. Jonas Bloquet returns as Maurice, again doing a great job of the conflicting aspects of the character, whilst Bonnie Aarons is back as The Demon Nun/Valak (hard to imagine anybody else in that role now). The main cast is rounded out by franchise newcomers Anna Popplewell and Katelyn Rose Downey (definitely one to watch for the future).
The gothic architecture and religious imagery provide some creepy locations, whilst photography and lighting create a strong sense of foreboding. The opening kill is a great one, there are some nice scares, and an all-action finale. The film could use a few more deaths, and the Nun/Valak could do with more screentime, but it's an enjoyable improvement on the first one. 7/10.
A Haunting in Venice (2023)
This haunting mystery is anything but 'cosy crime'
Kenneth Branagh's third outing as Hercule Poirot takes an original Agatha Christie story (Hallowe'en Party) and mixes-in some James Wan-ish horror to give a mystery best watched with the lights on.
A now-retired Poirot is asked by his friend Ariadne Oliver (Tina Fey) to attend a seance at the palazzo of a retired opera singer (Kelly Reilly), said to be haunted by the ghosts of children left to die when the plague swept through the city during the palazzo's days as an orphanage. Ariadne wants Poirot to help expose the medium (Michelle Yeoh) as a fake. Poirot soon spots chicanery, but events suddenly take a turn towards the seemingly real supernatural. Have the dead returned to take murderous revenge on the living? Or is a more human agency at work? What follows is a journey through accusations, alibis, red herrings... and ghosts. Who's guilty? What's real - and what isn't? The answers may not be as cut-and-dried as you'd expect.
Although Branagh is a talented actor, he generally misses the mark for me. But here he's excellent, as Poirot struggles to get to grips with what he knows cannot exist. Tina Fey, whilst not someone I would cast as Ariadne, does a good job. Michelle Yeoh convinces as the medium. Kelly Reilly is okay as the former opera singer. The rest of the featured cast (Jamie Dornan, Kyle Allen, Riccardo Scamarcio, Camille Cottin, and young Jude Hill) are all very good. Branagh's direction is tight, and he handles the supernatural aspects well (I'd like to see him tackle an out and out ghost story - something along the lines of The Woman in Black). The film was largely shot on location, and the cinematography makes the most of the Venice scenery. The minus for me is that either the mystery distracts from the ghost story, or the ghost story distracts from the mystery; they don't quite fit together. It feels like two unrelated stories spliced together (which it basically is). Nevertheless, there's plenty to enjoy - and Branagh has an eye for the creepy. 7/10.
Jack's Back (1988)
An okay time filler
James Spader stars as twin brothers, one of whom is trying to clear the other who he believes has been framed for a series of Los Angeles murders exactly mimicking those of Jack the Ripper (can't give any more detail - it would spoil the first half-hour). It's very '80s', both in look and soundtrack; but it's stylish and the performances are good - especially Spader, and Robert Picardo as a consultant psychologist assisting the police. Nice to see Chris Mulkey (Twin Peaks) as one of the investigating detectives. Cynthia Gibb is sadly underwhelming as a work colleague of one 'Spader', and love interest of the other. Producer Cassian Elwes cameos as a pimp (and looks like he's having fun). Not bad (although it does have the feel of a TV movie). 6/10.
Saturday the 14th (1981)
Awful
Abysmal horror-'comedy'. Real-life husband and wife Richard Benjamin and Paula Prentiss play a couple who move their family into a rundown mansion, left to the husband by his recently deceased uncle. Turns out that somewhere in the house is the Book of Evil, which ends up releasing several monsters into the 'real world'. To save the world a way has to be found to return the creatures to the book. Richard Benjamin is normally entertaining, but everything about the way he looks and sounds here (he's almost sleepwalking) says he'd rather be somewhere else. Paula Prentiss seems at least to be trying to have fun. Jeffrey Tambor in an early film appearance as a vampire looks embarrassed. Character actor Severn Darden hams it up as Van Helsing. The title misleads - the movie doesn't satirise 'slashers' (Friday the 13th came out just the year before), but focuses on the classic Universal-type monsters - and the humour is pretty non-existent. The very cute Kari Michaelsen as the daughter gets this a 3/10. Truly dreadful.
Lemora: A Child's Tale of the Supernatural (1973)
AKA The Legendary Curse of Lemora, and Lemora, Lady Dracula
Eerie vampire tale set in the American south during Prohibition. Lila, 14, is a devout member of her town Baptist church, and a singing sensation with the voice and looks of an angel. Her father, however, is a local gangster, who goes on the run after killing his wife (Lila's mother) and her lover. Taken in and raised by the town pastor, Lila receives a mysterious letter one day calling her to a town called Asteroth, where her father is ill and asking to see her before he dies. As she makes the long bus journey the driver tells her of a mystery illness afflicting the people of Asteroth. Passing through woodland the bus is attacked by humanoid creatures and the driver is killed. Lila is rescued by a tall, dark, imposing woman, who takes her to an isolated house. However, the grateful girl soon realises that her rescuer - Lemora - has an interest in her beyond the purely altruistic.
There's a dreamlike quality to this reminiscent of Night of the Hunter, Carnival of Souls, and even the later Company of Wolves. It received a largely negative reception (perceived as anti-Christian, an implied lesbian attraction between Lemora and the underage Lila), but later gained a cult following and is now highly regarded. Lesley Taplin (billed as Lesley Gilb) is a creepy, commanding, and subtly predatory Lemora, whilst Cheryl Smith is entirely credible as young Lila (the actress was actually 17), with a real air of innocence (ironically, Cheryl soon became better known as Rainbeaux Smith, and focused on exploitation films such as Caged Heat, Video Vixens, and The Swinging Cheerleaders (as well as some alleged pornography); she also started drugs, eventually dying from a two-decade heroin addiction at the age of 47). It's not exactly action-packed, but it is one of those films that stays with you. 7/10.
The House of Seven Corpses (1974)
Entertaining (but confusing)
A director making a horror movie based on seven mysterious deaths in the history of the well-to-do Beal family decides to film in the actual mansion where the deaths occurred. The family were allegedly involved in the black arts, and the film crew discover several occult reference books in the house. The director decides that to make his film more authentic he'll replace the incantations in his script with actual incantations from one of the books. It won't come as a surprise that this isn't a great idea; as one particular incantation is being recited, two decaying hands emerge through the earth of the Beal family graveyard in the mansion grounds...
It's low budget, but it does have the always great John Ireland as the film's director, as well as John Carradine as the mansion caretaker, whilst former 1950's noir and sci-fi glamour girl Faith Domergue plays a faded star now reduced to B movies. There are several meta touches, including some of the 'cast' of the film-within-the-film doubling as crew - as some cast-members of The House of Seven Corpses did for real. The dialogue takes some nice snipes at actors' egos and unreliability, and the film business in general (I'm sure there are more in-jokes that only those in 'the biz' would get). The lead performances are good, the location (actually the Utah Governor's Mansion in Salt Lake City) is great, and the movie does a good job of building atmosphere. The downside is that 1) other than an opening credits montage, we have to wait an hour before the first kill (not counting a cat!), and 2) the admittedly creepy ending is nevertheless confusing as hell (I see online I'm not the only one who thinks so!). But it is an entertaining watch. 6/10.