Series: Horror

The Snow Devils directed by Antonio Margheriti (aka Anthony Dawson)

During the 1960s, the Italians proceeded to make impressive strides in their historic cinematic output. The old-master auteurs such as Fellini, Antonioni, De Sica, Visconti and Pasolini continued to put out quality product (to put it mildly, in the case of the first two), while up-and-comers such as Mario Bava and Sergio Leone helped to jump-start the nascent genres of Italian Gothic horror, the giallo film, and the so-called “spaghetti Western.” The Italian comedies continued to flourish, as did the country’s truly one-of-a-kind “sword and sandal”

Ben directed by Phil Karlson

In light of the fact that the 1971 film Willard was such a box office smash, bringing in almost $10 million (pretty big money in those days), I suppose it was practically inevitable that a sequel was soon put into production. And sure enough, in June ’72, almost a year to the day after Willard had had its premiere, that sequel, Ben, did indeed arrive. Featuring all new characters, with the exception of its titular rodent star, the film yet picks up mere moments after the conclusion of the first,

Billy the Kid Versus Dracula directed by William Beaudine

New York City-born director William Beaudine didn’t acquire the nickname “One Shot” for nothing. Working at a furious and efficient pace, Beaudine managed to helm no fewer than 178 films, starting in the 1920s and extending all the way to 1966. In his final year as a filmmaker, Beaudine brought all his vast experience to bear and managed to come up with two entertainments that have been flabbergasting audiences for over half a century now. The two films — Jesse James Meets Frankenstein’s Daughter and Billy the Kid Versus Dracula — served as a perfectly well-matched double feature,

A Place Of One’s One directed by Bernard Knowles

In October 1945, the horror anthology film Dead of Night was released in England, and to this day, almost 75 years later, it remains one of the scariest pictures ever to come out of that country. But Dead of Night was hardly the first shuddery cinematic exercise to be released there that year. Some five months earlier, in May ’45, a smaller and admittedly less frightening cinematic offering had been released to the public, and that film was A Place of One’s Own,

Willard directed by Daniel Mann

Here in NYC, the subway workers of the MTA who labor in the tunnels have a nickname for the rats that they frequently encounter: “track bunnies.” It’s a cute name that masks the fact that for most New Yorkers, the Rattus rattus is an animal that they feel should ONLY be seen down in the subway tracks, from the safe perspective of the subway platform. The sight of one of those grisly rodents anywhere else is guaranteed to engender disgust and an atavistic terror. And perhaps it was with this very knowledge that the producers of the 1971 film Willard felt confident that they would have a surefire hit on their hands,

Dead Men Walk directed by Sam Newfield

As I have written elsewhere, the history of the 1940s horror film can practically be summarized with two words: Universal and Lewton. But while Universal Studios was busily churning out its remarkable run of Frankenstein, Dracula, Wolf Man and Invisible Man films during that decade, and producer Val Lewton over at RKO was turning out some of the most artfully done horror films of all time (such as Cat People and I Walked With a Zombie), some of the other, lesser studios in Hollywood were coming out with their own shuddery fare,

The Power directed by Byron Haskin

Between the two of them, director Byron Haskin and producer/director George Pal had previously been responsible for such marvelous sci-fi/fantasy films as From the Earth to the Moon, Robinson Crusoe on Mars, Destination Moon, When Worlds Collide, The War of the Worlds, The Time Machine and The 7 Faces of Dr. Lao; working as a team, they had put together the highly regarded Conquest of Space AND The Naked Jungle.