Month: October 2022

We all love our pets, right? And we all love nature and all the many creatures that God in His wisdom has placed alongside us, right? Well, possibly, but surely not all the time! For today’s Shocktober column, I would like to shine a light on five times the fauna that we share planet Earth with were not so easy to get along with. From beetles and bears to spiders and dogs and worms, these five instances of Nature gone amok will surely prove perfect fare for this creepiest of all holiday seasons: 

BUG (1975)

Viewers who may be having some insect problems in their own abode may feel a bit better about their domestic situation when they see what the residents of a small California desert town have to contend with,

When the average film buff thinks of British horror, odds are that he or she will automatically zoom in on Hammer, the studio that, from 1957 until the early ‘70s, dominated the English fright market in a very big way. But, of course, Hammer was hardly the only game in town. In today’s Shocktober column, I would like to focus on a half dozen very fine British horror films that were not a product of Hammer Studios, but all of which might provide for some shivery entertainment value during this scariest of holiday seasons:

THE FLESH AND THE FIENDS (1959)

The notorious exploits of 19th century cadaver peddlers Burke &

Started by businessman William Hinds in 1934, Hammer Studios in England would eventually carve out for itself a reputation among movie buffs as one of the finest purveyors of horror fare in cinema history. The studio’s first film was the obscure comedy entitled The Public Life of Henry the Ninth, in 1935, and it would not be until 1953, with Four Sided Triangle (the lack of a hyphen in the film’s title is annoying), that the studio would begin to produce the sci-fi and horror films for which it would soon become best known.

Six (Nongiallo) Italian Horrors

As you may have discerned from some of my previous Shocktober columns, I really do love the Italian film genre known as the giallo, featuring as it does stylish murder mysteries, gorgeous location shooting, catchy theme music, and, more often than not, violent and grisly set pieces. But as most horror buffs have long been aware, the giallo film was not the only kind of horror product that the Italians gave to the world, by a long shot. From Gothically inflected period horrors of the 1960s to blood-soaked supernatural shockers of the ‘70s,

Featuring masked and black-gloved serial killers wielding straight-edged blades, violent and stylized mayhem, byzantine plotting, and, more often than not, gorgeous theme melodies, the Italian film genre known as the giallo was kick-started by the great cinematographer/director Mario Bava in 1963, with his remarkable black-and-white film The Girl Who Knew Too Much. But the genre would really come into its own in the 1970s, when Italy came out with a raft of large-budgeted wonders that really took the world by storm. I have already written here of such marvelous gialli as those starring “The Queen of Giallo,” Edwige Fenech;

Born Bela Ferenc Dezso Blasko in 1882 in Lugos, a town that was then part of Austria-Hungary but that today lies in Romania, Bela Lugosi (he would go on to take his famous last name from the town of his birth) is today regarded as one of the true titans of cinematic terror. A veteran of the National Theatre of Hungary, Lugosi, over the course of some four dozen horror films for Universal and various Poverty Row studios, has managed, over the decades since his passing in 1956, to remain one of the true cinematic greats in the arena of horror.

When you think of the horror film, certain decades automatically spring to mind in connection with specific events. The 1930s were surely dominated by Universal, with that studio’s Frankenstein, Dracula, and Invisible Man fare. The ‘40s were also dominated by Universal, with RKO producer Val Lewton also beginning to make his mark with a classic series of highly atmospheric wringers. The ‘60s saw the horror film taking a quantum leap forward into modernity, with sure fare as Psycho and Night of the Living Dead breaking down all kinds of taboos; the Italians and Mexicans stunning audiences with a series of Gothically inflected shockers;