Series: Horror

In today’s Shocktober Double Feature, we will have to somehow survive obscene phone calls, a psycho killer, pitchfork murders and Tom Savini FX! It’s Black Christmas and The Prowler!

BLACK CHRISTMAS (1975)

Before I sat down to watch Black Christmas for the first time, director Bob Clark had been two for two with me. I had loved his previous two flicks – the zombie gut-muncher Children Shouldn’t Play With Dead Things and his living-dead Vietnam vet horror comedy Deathdream,

In today’s Shocktober Double Feature, we will be startled by a very hungry crocodile, Robert Englund, a ferocious leopard, and yummy Nancy Kwan! It’s Eaten Alive and Night Creature!

EATEN ALIVE (1976)

Tobe Hooper’s debut film, The Texas Chain Saw Massacre (1974), although not nearly as graphically violent as popularly believed, is nevertheless quite a nightmarish experience to sit through. His sophomore effort, 1977’s comparatively unknown Eaten Alive, is almost as nightmarish and ups the gore quotient considerably.

In today’s Shocktober Double Feature we have two curious stories, courtesy of H. P. Lovecraft and Robert Louis Stevenson. It’s Die, Monster, Die! and I, Monster!

DIE, MONSTER, DIE! (1965)

“The Colour Out of Space” has long been one of my favorite H.P. Lovecraft stories, so I was curious to see how this 1965 film adaptation, directed by Daniel Haller, had turned out. Very well indeed, I’m happy to report. In this solid little AIP chiller, Nick Adams, an American, comes to Arkham, England to visit his college girlfriend.

In today’s Shocktober Double Feature, we will deal with strippers, boiling oil, acid, a driller killer and tasty Doritos! It’s The Gore Gore Girls and The Slumber Party Massacre!

THE GORE GORE GIRLS (1972)

Say what you will about cinema’s “Wizard of Gore,” Herschell Gordon Lewis, it must be conceded that from his first films (1963’s trashy Blood Feast and 1964’s crackerbarrel massacre Two Thousand Maniacs) to his last (1972’s The Gore Gore Girls), the man remained faithful to his muse,

In today’s installment of the Shocktober Double Feature, we will encounter a serial knife killer, near nudity, a Parisian blood drainer and Christopher Lee. It’s Violent Midnight and Theatre of Death!

VIOLENT MIDNIGHT (1963)

A film probably better known by its alternate, later title of Psychomania, Violent Midnight proved a very pleasant surprise for me indeed. The film centers around Elliott Freeman, a young, reclusive painter who won’t be a free man much longer if the local police have their way.

In today’s Shocktober Double Feature, we will encounter Amazonian natives, a carnivorous tree, a man-eating houseplant and full-frontal nudity. It’s Womaneater and Please Don’t Eat My Mother!

WOMANEATER (1958)

For those of you wondering whether Pittsburgh-born beauty Marpessa Dawn ever made another film besides 1959’s classic Black Orpheus, here is your answer. She appeared one year earlier, as an Amazonian native at the opening of Charles Saunders’ Womaneater, being sacrificed to a carnivorous tree. That tree is stolen by English scientist George Coulouris,

In today’s Shocktober Double Feature, we will encounter giant insects, prehistoric beasties and a very befuddled caveman! It’s The Black Scorpion and Dinosaurus!

THE BLACK SCORPION (1957)

By the late 1950s, filmmakers must have been running out of insects that they could mutate and transform into giant monsters. Audiences had already been treated to such fare as Them (giant ants), Tarantula (spiders), The Monster From Green Hell (wasps), The Beginning of the End (grasshoppers), The Deadly Mantis (praying mantises),

In today’s Shocktober Double Feature, we encounter mesmerism, murder, insanity, a spooky house and an escaped madman, in two wonderful old silent films! It’s The Bells and The Cat and the Canary!

THE BELLS (1926)

The Bells is a very fine silent movie from 1926 that is not at all creaky and should manage to impress modern-day viewers. As revealed in my beloved Psychotronic Video Guide, this story was, remarkably, filmed no less than four times prior to this 1926 version,

Although I was born a little too late to experience the Golden Age of the cinematic double feature – that is to say, the 1940s and ‘50s – I have been able to enjoy the next-best thing, thanks to where I happen to live. Back in the 1970s and ‘80s, NYC boasted well over a dozen so-called “revival theaters” that showed the classic old movies, usually in double-feature format. Most of those theaters are no more, and the ones that remain today, sadly enough, no longer show two films paired together for a single ticket price. But those wonderful theaters still remain fondly in my memory.