Coma

<body topmargin=0 leftmargin=0 marginheight=0 marginwidth=0> <table cellpadding=0 cellspacing=0 border=0><tr> <td valign="top" colspan=2 height=125 BGCOLOR="#111111" TEXT="#F7F7FF" bgproperties="fixed" background="043467d1dyxtip.png"> <div> <FONT SIZE="7" COLOR="#FFFFFF" FACE="Book Antiqua" ><B>YikesHorror.com</B></FONT><B>     </B><B>|     </B><FONT SIZE="2" COLOR="#FFFFCC" FACE="Book Antiqua" ><A HREF="index.htm" TARGET="_top" TITLE="YikesHorror.com"><U><B>home</B></U></A></FONT></div> <div> <A HREF="id52.htm" TARGET="_top" TITLE="Horror beginning with C"><U>Horror beginning with C</U></A>   |   <A HREF="id385.htm" TARGET="_top" TITLE="Coma"><U>Coma</U></A>   |   <A HREF="id386.htm" TARGET="_top" TITLE="The Company of Wolves"><U>The Company of Wolves</U></A>   |   <A HREF="id387.htm" TARGET="_top" TITLE="The Confessional"><U>The Confessional</U></A>   |   <A HREF="id388.htm" TARGET="_top" TITLE="Confessions of a Serial Killer"><U>Confessions of a Serial Killer</U></A>   |   <A HREF="id389.htm" TARGET="_top" TITLE="Count Dracula"><U>Count Dracula</U></A>   |   <A HREF="id390.htm" TARGET="_top" TITLE="Count Yorga, Vampire"><U>Count Yorga, Vampire</U></A>   |   <A HREF="id391.htm" TARGET="_top" TITLE="Cujo"><U>Cujo</U></A>   |   <A HREF="id392.htm" TARGET="_top" TITLE="Creepshow"><U>Creepshow</U></A>   |   <A HREF="id393.htm" TARGET="_top" TITLE="Creep Show II"><U>Creep Show II</U></A>   |   <A HREF="id394.htm" TARGET="_top" TITLE="Creepers"><U>Creepers</U></A>   |   <A HREF="id134.htm" TARGET="_top" TITLE="The Cage"><U>The Cage</U></A>   |   <A HREF="id135.htm" TARGET="_top" TITLE="Camerons Closet"><U>Cameron's Closet</U></A>   |   <A HREF="id136.htm" TARGET="_top" TITLE="The Campus Corpse"><U>The Campus Corpse</U></A>   |   <A HREF="id137.htm" TARGET="_top" TITLE="Candyman"><U>Candyman</U></A>   |   <A HREF="id138.htm" TARGET="_top" TITLE="Captain Kronos: Vampire Hunter"><U>Captain Kronos: Vampire Hunter</U></A>   |   <A HREF="id170.htm" TARGET="_top" TITLE="Cardiac Arrest"><U>Cardiac Arrest</U></A>   |   <A HREF="id171.htm" TARGET="_top" TITLE="Carmilla"><U>Carmilla</U></A>   |   <A HREF="id172.htm" TARGET="_top" TITLE="Carnosaur"><U>Carnosaur</U></A>   |   <A HREF="id173.htm" TARGET="_top" TITLE="Carpathian Eagle"><U>Carpathian Eagle</U></A>   |   <A HREF="id174.htm" TARGET="_top" TITLE="The Carpenter"><U>The Carpenter</U></A>   |   <A HREF="id175.htm" TARGET="_top" TITLE="Carrie"><U>Carrie</U></A>   |   <A HREF="id178.htm" TARGET="_top" TITLE="Celia"><U>Celia</U></A>   |   <A HREF="id177.htm" TARGET="_top" TITLE="Cassandra"><U>Cassandra</U></A>   |   <A HREF="id179.htm" TARGET="_top" TITLE="Cat People"><U>Cat People</U></A>   |   <A HREF="id180.htm" TARGET="_top" TITLE="Cast a Deadly Spell"><U>Cast a Deadly Spell</U></A>   |   <A HREF="id181.htm" TARGET="_top" TITLE="Cat in a Cage"><U>Cat in a Cage</U></A>   |   <A HREF="id182.htm" TARGET="_top" TITLE="Cats Eye"><U>Cat's Eye</U></A>   |   <A HREF="id183.htm" TARGET="_top" TITLE="Cellar Dwellar"><U>Cellar Dwellar</U></A>   |   <A HREF="id184.htm" TARGET="_top" TITLE="The Chair"><U>The Chair</U></A>   |   <A HREF="id185.htm" TARGET="_top" TITLE="The Changeling"><U>The Changeling</U></A>   |   <A HREF="id186.htm" TARGET="_top" TITLE="Cheerleader Camp"><U>Cheerleader Camp</U></A>   |   <A HREF="id595.htm" TARGET="_top" TITLE="The Child"><U>The Child</U></A>   |   <A HREF="id187.htm" TARGET="_top" TITLE="Child of Darkness, Child of Light"><U>Child of Darkness, Child of Light</U></A>   |   <A HREF="id188.htm" TARGET="_top" TITLE="Children of the Corn"><U>Children of the Corn</U></A>   |   <A HREF="id367.htm" TARGET="_top" TITLE="Childs Play 2"><U>Child's Play 2</U></A>   |   <A HREF="id368.htm" TARGET="_top" TITLE="Childs Play III"><U>Child's Play III</U></A>   |   <A HREF="id369.htm" TARGET="_top" TITLE="The Chilling"><U>The Chilling</U></A>   |   <A HREF="id370.htm" TARGET="_top" TITLE="Chopping Mall"><U>Chopping Mall</U></A>   |   <A HREF="id189.htm" TARGET="_top" TITLE="Children of the Corn II: The Final Sacri"><U>Children of the Corn II: The Final Sacrifice</U></A>   |   <A HREF="id190.htm" TARGET="_top" TITLE="Children of the Corn Part III: Urban Har"><U>Children of the Corn Part III: Urban Harvest</U></A>   |   <A HREF="id191.htm" TARGET="_top" TITLE="Children of the Full Moon"><U>Children of the Full Moon</U></A>   |   <A HREF="id192.htm" TARGET="_top" TITLE="Children of the Night (1991)"><U>Children of the Night (1991)</U></A>   |   <A HREF="id193.htm" TARGET="_top" TITLE="Children Shouldnt Play With Dead Things"><U>Children Shouldn't Play With Dead Things</U></A>   |   <A HREF="id194.htm" TARGET="_top" TITLE="Childs Play"><U>Child's Play</U></A>   |   <A HREF="id195.htm" TARGET="_top" TITLE="C.H.U.D."><U>C.H.U.D.</U></A>   |   <A HREF="id297.htm" TARGET="_top" TITLE="C.H.U.D. 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Kemper</B></div> <div> <B>Executive Producer.....</B></div> <div> <B>Based on the Novel by Robin Cook</B></div> <div> <B>Special Effects by Joe Day</B></div> <bR> <div> <B>Dramatis Personae</B></div> <div> <B>Dr. Susan Wheeler.Genvieve Bujold (Dead Ringers, Earthquake,Tightrope)</B></div> <div> <B>Dr. Mark Bellows..Michael Douglas (Fatal Attraction, Wall Street)</B></div> <div> <B>Mrs. Emerson......Elizabeth Ashley (Dragnet, Svengali, Vampire's Kiss)</B></div> <div> <B>Dr. George........Rip Torn (Dolly Dearest, A Stranger is Watching)</B></div> <div> <B>Dr. Harris........Richard Widmark (Blackout, To the Devil a Daughter)</B></div> <div> <B>Sean Murphy.......Tom Selleck (Magnum P.I.-TV, Daughters of Satan)</B></div> <div> <B>Nancy Greely......Lois Chiles (Creepshow 2, Moonraker,The Way We Were)</B></div> <div> <B>Comp. Technician..Gary Barton </B></div> <div> <B>Kelly.............Frank Downing</B></div> <div> <B>Chief Resident....Michael MacRae (Dear Detective, Madhouse)</B></div> <div> <B>Pathologist.......Ed Harris</B></div> <bR> <div> <B>Critique: Given the computer printers and lines like "are you married or not?", one can deduce this film was made in the seventies. Don't worry, there isn't a better cast in any of the films we've reviewed; Michael Douglas, Genvieve Bujold, Richard Widmark, Rip Torn with tiny roles by Elizabeth Ashley and then unknowns (dead and eyeless) Tom Selleck and Ed Harris. This film is absolutely seamless. Scenes flow into one another, no standing around and not a gesture is wasted in characterization. As an Agency movie, this one shines due to the moral apostacy of the head agent and the chilling calculation he has made, and the convictions to which it has led. The notion that one group can extend their lives at the expense of those who are sacrificed is a basic horror archetype. Putting that pattern into the setting of the hallowed halls of a blue blood Boston hospital where the rich harvest the organs of the middle classes corresponds to a particularly dark side of a very real class conflict. The abortion surgery which ends in tragedy is an all too mundane and hence all too frightening scene. As the circle closes and Susan doesn't know where to turn or whom to trust, we begin to get an inkling of this conflict and its horrifying consequences. When Susan focuses on an administrator's diploma and realizes with whom she is talking, that circle closes on her. This most suspenseful of horror films features the best actors, slickest direction and tightest script. It epitomizes agency movies in its utter disregard for the rights of the individual to the "higher" goals of the agency. The horror is driven by the helplessness of the protagonist (ala Rosemary's Baby) in the face of a truly believable monster whose philosophical predecessors include, Dr. Frankenstein, Faust, and Hitler. The Andromeda Strain, Jurassic Park, "Rising Sun", this. Very impressive Mr. Crichton. </B></div> <div> <B> </B></div> <div> <B>* Blood * Not Particularly Violent * No Strong Language * Nudity *</B></div> <div> <B>* No Sexual Situations * Not Particularly Gory *</B></div> <bR> <div> <B>Plot Summary: It looks like young and aggressive Mark Bellows is going to be the chief resident at Boston Memorial Hospital. Mark and partner Dr. Susan Wheeler bicker over respect after work at the hospital and Susan showers and leaves in a huff. Meanwhile at the hospital, Susan's friend Nancy is anesthetized prior to a routine abortion. Her blood pressure starts to fall but the operation continues. When the surgeon and anesthetic try to wake her up she doesn't awaken. "Fixed and dilated pupils--it looks like a total squash rot--she's a Gomer." Susan notes that there's an anomaly in the tissue typing. She goes to the lab to check the test, and finds there have been ten cases of coma in young patients in the last year. When it comes out that Susan has been looking into computer records, she is brought up before the director and threatened with dismissal. Soon afterward, another coma victim shows up. Mark seems to think this is just bad luck, a plausible theory given the statistics, while Susan is amazed that she's the only one who seems to care. Dr. George, the chief of anesthesia, has hoarded the operation charts and won't let Susan look at them. He is upset at the implication he's not doing his best to research the problem. Burt, the current chief of residency urges Mark that if he exerts some influence on Susan, it will help his chances for chief of residency. Meanwhile, Susan learns that comatose Nancy has died. As Susan watches Jim perform the autopsy, the pathologist mentions a few ways one could induce a coma if one wanted to, namely, by supplying carbon monoxide instead of oxygen. He tells her of the coma storage facility, the Jefferson Institute. Susan is brought up before the director, Dr. Harris, who warns her she's "on the edge" after her run-in with Dr. George. Dr. George is not to be insulted by virtue of his wife's 100 million fortune and subsequent importance to the hospital. Harris suggests some rest. When her M.G. won't start, she heads off toward the trolley emotionally exhausted and informs Mark that a man followed her and may have disabled her car to this end. She tells Mark about the possibility that carbon monoxide is being pumped into Operating Room 8. They investigate, but everything looks all right. Suzanne calms down, and they go out for a seventies style musical frolic on the beach, dine, and make love at an inn. However, on the way back, Susan decides they should visit the Jefferson Coma Institute in Newton. Susan enters alone and tries to find out what's going on at the very empty institute, but is given the brush-off by the robotic head nurse, who informs her that tours are only on Tuesday. Back at Boston Memorial, she runs into a technician who overheard her talk with Dr. George and claims he knows how "it" was done. They agree to meet that night in the machine room. However, before she can talk to him, he is poured with water by a sinister maintenance man and electrocuted against a grid--an accident. Susan discovers the frying Kelly and, after talking to police of what she saw, notices there's a tube running along the ductwork. She climbs through the works, following the tube to OR8. She is let into anesthesiology by the security guard and searches the files noting which patients were in OR8 and which went to Jefferson Institute, when she is interrupted by some other person outside claiming to be security and attempting to follow her as she flees. Susan gets away, but she is convinced someone is after her. As she leaves, the sinister maintenance man looks after her, following her into the amphitheater where she hides in the seats. She blinds him with a slide projector and fire-extinguishes him down a flight of stairs before he chases her into the anatomy lab, where she dumps two racks of cadavers onto him and escapes. When she gets home and tries to tell Mark about it, he seems altogether too cool, repeating again and again he believes her. Mark calls someone and reports that she is back and that he can handle it. Upon hearing this, she flees and stays in another apartment. When she calls the hospital, the operator attempts to get her current number. She hangs up. Susan returns to the Jefferson Institute to see what's going on there. She finds that they are warehousing patients at fairly minimal cost. As the tour ends, Susan lags behind to investigate. She discovers one of the coma patients (Tom Selleck) being harvested for organs and hears a staff of doctors discussing the prices and travel destinations of the organs. Ashley and her assistant , meanwhile accept bids and inform customers of travel times for organs. Susan is noticed on the security monitors far off the beaten guest path and is hunted until she escapes on the roof of an organ-delivery ambulance. She rushes to Dr. Harris, enduring an uncomfortable elevator ride with a glaring Dr. George, to blow the whole thing wide open. Dr. Harris thanks and congratulates Susan and gives her a drugged drink while she suggests he have Dr. George arrested. As she looks at his diplomas, she realizes that George is George A. Harris. Harris gives a speech  on ethics and the importance of doctors for the ethical decisions of the future. Harris explains to Susan that the drug is causing her appendix symptoms. He organizes the operation, which he insists he perform himself. On the table, she tells Mark to check her white blood cells, but he insists he need an appendectomy. When Harris shouts he wants OR8 and not 7, Mark rushes to investigate the tube story and disconnects the tube. To Harris' surprise, Susan coughs and awakens after the operation and the police lead him away.      </B></div> <bR> <bR> <div> <B>The Company of Wolves</B></div> <bR> <div> <B>1984/Color/95 Min./Vestron Video & ITC Entertainment Palace/Rated R</B></div> <bR> <div> <B>Director.........Neil Jordan (The Crying Game, We're no Angels))</B></div> <div> <B>Screenplay.......Angela Carter & Neil Jordan</B></div> <div> <B>Music............George Fenton</B></div> <div> <B>Producer.........Chris Brown & Stephen Wooley</B></div> <div> <B>Executive Producer.....</B></div> <div> <B>Special Effects Makeup by Christopher Tucker</B></div> <div> <B>Adapted from her own Story by Angela Carter</B></div> <bR> <div> <B>Dramatis Personae</B></div> <div> <B>Granny........Angela Lansbury(Murder She Wrote, Gaslight,Sweeney Todd) Old priest....Graham Crowden (Brittannia Hospital)                     Boy's father..Brian Glover (An American Werewolf in London, Alien 3)</B></div> <div> <B>Young bride...Kathryn Pogson (Overindulgence) </B></div> <div> <B>Young groom...Stephen Rea (The Crying Game, The Doctor and the Devils)</B></div> <div> <B>Mother........Tusse Silberg </B></div> <div> <B>Father........David Warner*</B></div> <div> <B>The Huntsman..Micha Bergese</B></div> <div> <B>Rosaleen......Sarah Patterson</B></div> <div> <B>Amorous Boy...Shane Johnstone</B></div> <bR> <div> <B>WAKEUPYAGODDAMNIDIOTSWHATISTHIS?????????????????????????</B></div> <bR> <div> <B>OK so its a Freudian fantasy fairy tale based on little red riding hood and not really a horror movie. Are we to be delighted just because of the director's reputation, his preoccupation with Freud and his European pedigree? This is an allegory about the fears of a young girl approaching sexual maturity and indeed a broader encoding of reality into Freudian terminology as opposed to decoding of process of psychoanalysis. The wolf as the beast of prey may be male, but the power of the beast is as least latent in females also coming through in the power to manipulate or only in dreams. </B></div> <div> <B>Decent transformation from man to werewolf</B></div> <div> <B>The father of the boy is played by the narrow minded scared man in the tavern scene in "An American Werewolf in London".</B></div> <div> <B>The younger sister harassed by the older sister is prone to nightmares (pretty creepy set decoration) where she is chased through a bizarre landscape by wolves. The grandmother warns the younger daughter of the danger of wolves who are hairy on the inside and tells a tale of a woman who marries a traveling man whose eyebrows are grown together and who is a werewolf. If you are a pseudo-intellectual, add two skulls. </B></div> <bR> <div> <B>* Blood * Not Particularly Violent * No Strong Language * No Nudity * * No Sexual Situations *</B></div> <div> <B></B></div> <div> <B>The Confessional      (Religious/Psycho/Slasher)       6******skulls</B></div> <bR> <div> <B>1975/Color/104 Min./Prism Entertainment & Peter Walker (Heritage) ltd. & Joseph Brenner Associates, Inc./Great Britain/Rated R</B></div> <bR> <div> <B>Director.........Pete Walker (The Flesh and Blood Show, Schizo)</B></div> <div> <B>Screenplay.......David McGillivray</B></div> <div> <B>Music............Stanley Myers</B></div> <div> <B>Producer.........Pete Walker</B></div> <div> <B>Executive Producer....</B></div> <div> <B>From an Original Story by Peter Walker</B></div> <bR> <div> <B>Dramatis Personae</B></div> <div> <B>Fr. Cutler..Anthony Sharp</B></div> <div> <B>Jenny.......Susan Penhaligon (Patrick, The Uncanny)  </B></div> <div> <B>Vanessa.....Stephanie Beacham(And Nowthe Screaming Starts,Nightcomers) Terry.......Norman Eshley </B></div> <div> <B>Miss Bevan..Sheila Keith  </B></div> <div> <B>Fr. Duggan..Mervyn Jones</B></div> <div> <B>(Not        Andrew Sachs (Romance with a Double Bass)</B></div> <div> <B> Available) Bill Kerr (Coca Cola Kid, The Year of Living Dangerously)</B></div> <div> <B>            Hilda Barry</B></div> <div> <B>            Stewart Bevan</B></div> <div> <B>            Julia McCarthy</B></div> <div> <B>            Don Yule</B></div> <div> <B>            Victor Winding</B></div> <div> <B>            Kim Butcher</B></div> <div> <B>            Jack Allen</B></div> <div> <B>            Ivor Salter</B></div> <div> <B>            Jane Wayward</B></div> <bR> <div> <B>Critique: Not a great print. We are certainly intrigued by the events in the beginning. Tension is nicely built up as we wonder whether the priest was responsible for the attack or for the suicide. Nicely put together. This film is in the long tradition of corruption in the church and of the ability of the clergy to stand above reproach. I wonder if we could have been left in the dark a bit more about who the culprit is. Too much stumbling around in the dark.  The cowering Meltram is fairly convincing.  The implied finishing of the job doesn't make it. What will Father Cutler make of Jenny's demise? Apparently they just ran out of film. This one should be a hit for father Porter enthusiasts. By the way, does this guy look like George C. Scott or what?</B></div> <bR> <div> <B>* Blood * Violent * Strong Language * Brief Nudity *     </B></div> <div> <B>* No Sexual Situations *</B></div> <bR> <div> <B>Plot Summary: Valerie Davies arrives home distressed. She frantically searches for her missile and then scribbles something down. When her parents go to see what's wrong, she has leaped to her death below. A young priest, Bernard Cutler, almost runs over a young woman. They recognize each other and go for a cup of coffee. She mentions to him that things aren't going well with her boyfriend. Her boyfriend is in the process of moving on when she goes up to see him. She storms out of the house. She goes to see Father Cutler at the church but he isn't there. As she enters the dark church, the music indicates there's something wrong here. While others are at prayer, Valerie goes to the confession, no longer sure why she had come. The priest gets her to confess. The priest pushes her on how long it had been since she had been intimate with him. She admits she had an abortion. When he tries to get her to say more or to come back the next day she hurries out. She goes out to make a call and he follows her. Father Cutler moves in. She and Cutler get in via a hidden key, but the priest who has been following her sees where the key was hidden. She admits to a friend Bob that she went to confession. She says the priest was a bit weird. She goes out for some cigarettes, leaving Bob in the apartment. Someone goes and picks up the keys from the hiding place. Bob has put on some headphones. Gloved hands are seen coming up the staircase. When Jenny returns the key is gone. The intruder advances on him and Bob is helpless. She arrives to find his face horribly burned by hot water. She follows someone into one of the rooms and sees a cross and runs out to find her mother and Father Cutler. The claim is that the pot had blown up. In spite of the discrepancies of the locked and unlocked door they let the matter go. Father Nolan had called saying that she had left her keys. He has them at the presbyter. But why does father Nolan know to whom the keys belong? She goes to the presbyter where Father Nolan sends out two weeping adolescents. She comes about the keys, but the father wants to talk about her being defiled. She finds that he had taped her admission in the confession all about the abortion and that he is threatening to go to her family about it unless she "follows the path of righteousness" with him. Miss Battison is a dark looking woman who is very interested in this case. Terry the boyfriend has since returned and in spite of her recent claims, she accepts him with open arms. Father Nolan is very against the movement against celibacy in the Catholic church. Father Cutler thinks him behind the times. Mrs. Davies comes about her daughter Valerie. She says she knows that her daughter went to him every night and that she would come home in tears. He tells her that she was pregnant and that's what they were discussing. Terry goes to confront Meltram about Jenny. When Meltram finds out who he is, he disappears leaving Terry alone in the Presbyter. Meltram comes at him with a torch and pretty soon he's dragging out the remains. Mrs. Davies watches as Terry is buried behind the presbyter. Miss Bevison tells Meltram that he should wipe his feet if he's been to the graveyard. He's trailed mud into the house. His senile mother lives in the presbyter and explains that he is feeling urges which he had put aside until now. Jenny reminds him of "her". It appears that Bevison tortures his mother in some way while he's away. Jenny hears something going on down stairs and goes to investigate. She finds that the door has been left open. The next day, Father Cutler goes to see Meltram about the tape. Meltram claims she is lying. Meltram shows Cutler a tape of his notes concerning Jenny. He is convinced that Jenny is confused. Terry visits Robert in the hospital who tries to signal to her who it was. Meltram shows up there as well and attacks her. She gets away, but Meltram is left alone with Bob. When the nurses return, Bob is dead. Meanwhile, Cutler has taken on with Jenny's sister Vanessa. Cutler has decided to leave the church. Mrs. Davies goes to Jenny and they agree to meet. Vanessa tells Jenny that Robert's dead and she gets hysterical. Again no one believes her. A detective drives her around but he too believes father Meltram. Mrs. Davies goes to take confession from Meltram and suddenly she is suffocating. She dies of a heart attack. Father Cutler is suspicious. When Jenny sees Mrs. Davies is dead, she becomes hysterical. Next thing you know Jenny is sedated again. Meltram calls mistaking Vanessa for Jenny. He plays the tape over the phone and Vanessa knows the truth. Foolishly, Vanessa goes herself to get the tape. Meltram appears to be losing his grip muttering about cleansing rain. Vanessa climbs through a window into the presbyter. She cowers as Miss Bevison torments the old woman. Vanessa gets a message from her that says "help me my son is mad'. Just then Meltram comes in. He comes at her with a rosary. Bevison enters and seems at ease with what she finds. She suggests that the old woman be administered her last rites. Meanwhile, Cutler who has grown suspicious digs up Terry. Meltram pulls out the poison Eucharist. Meltram admits that Bevison was the woman who had tempted him before. Father Cutler arrives at the presbyter but it appears he's too late. He finds first the old woman dead and then Vanessa. He finds that Bevison is dead as well. Meltram fools Cutler into thinking that Bevison did all the killing. Meltram keeps smooth talking and Cutler agrees to be involved in the cover up. Meltram calls Jenny to be sure she's home and heads out to finish the job. </B></div> <bR> <bR> <div> <B>Confessions of a Serial Killer</B></div> <div> <B>                                                         WARNING!</B></div> <div> <B>1987/Color/80 Min./New Horizons Home Video & Cedarwood Productions </B></div> <div> <B>& Concorde Pictures/Rated R</B></div> <bR> <div> <B>Director.........Mark Blair </B></div> <div> <B>Screenplay.......Mark Blair</B></div> <div> <B>Music............William Penn</B></div> <div> <B>Producer.........Cecyll Osgood Rexrode</B></div> <div> <B>Executive Producer.....Frank Y. Smith</B></div> <div> <B>Make-up and Special Effects by Estreya Kesler & Greg Stouffer</B></div> <bR> <div> <B>Dramatis Personae</B></div> <div> <B>Daniel Ray Hawkins...Robert A. Burns</B></div> <div> <B>Moon Lewton..........Dennis Hill</B></div> <div> <B>Sheriff Will Gaines..Berkley Garrett</B></div> <div> <B>Molly Lewton.........Sidney Brammer</B></div> <div> <B>Monica Krivics.......Dee Dee Norton</B></div> <div> <B>Dr. Earl Krivics.....Ollie Handley</B></div> <div> <B>Doris Simpson........Demp Toney</B></div> <div> <B>Karen Grimes.........Eleese Lester</B></div> <div> <B>Stranded Motorist....Lainie Ferrante</B></div> <div> <B>Detective Barnes.....Colom Keating</B></div> <div> <B>Girl Hitchhiker......Dayna Blackwell</B></div> <div> <B>Dr. Spivey...........John Browning</B></div> <div> <B>Honkytonk Girl.......Carla Edson</B></div> <div> <B>Body Parts...........Kim Fusch</B></div> <bR> <div> <B>Critique: Not a great print. We are certainly intrigued by the events in the beginning. Tension is nicely built up as we wonder whether the priest was responsible for the attack or for the suicide. Nicely put together. This film is in the long tradition of corruption in the church and of the ability of the clergy to stand above reproach. I wonder if we could have been left in the dark a bit more about who the culprit is. Too much stumbling around in the dark.  The cowering Meltram is fairly convincing.  The implied finishing of the job doesn't make it. What will Father Cutler make of Jenny's demise? Apparently they just ran out of film. This one should be a hit for father Porter enthusiasts. By the way, does this guy look like George C. Scott or what?</B></div> <bR> <div> <B>* Blood * Violent * Strong Language * Brief Nudity *     </B></div> <div> <B>* No Sexual Situations *</B></div> <bR> <div> <B>Plot Summary: "On June 4, 1987 one of the most bizarre and twisted accounts of human atrocity began to unfold." On a lonely road, a female motorist flags down a 30 something man, Daniel Ray Hawkins, who sabotages her car further and offers her a ride to the nearest gas station, which he then drives straight past. Despite her pleas and explanation that she is to marry in three months, he explains that he was hoping maybe something would happen between them, then slashes her throat. After some bad cop, Good cop maneuvers, Daniel Ray, now in the hands of federal investigators, confesses a long (fifty to a hundred women) and brutal killing spree to Sheriff Will Gaines, and comments on his own psychological history. At fifteen he followed a prostitute who took his fancy. When she said he was a creep and wouldn't touch him, Daniel began his killing spree. His hatred of women had begun much earlier. As a child, his vegetable father was wheeled out of the way while his mother had sex with local workers in front of the children. Finally, his father shot himself on one such occasion. On one of his attempts, he already had a murdered visitor in his car but couldn't resist picking up another, which did lead to complications. This victim escaped when she noticed the body in the back seat. The secret to his avoiding capture so long in spite of some women's escaping was that he moved around so much that he couldn't be traced. Daniel Ray mentions a pal, Moon Lewton, who engaged in necrophilia and homosexual relations with him. Daniel Ray recounts his first joint venture with Moon in which he and Moon "help out" Karen Grimes with her air conditioning. After some uncomfortable conversation, she is tied up and has her throat slit as she is raped. When the detective, seeking confirmation that Daniel committed all these murders, asks for proof that hadn't appeared in the newspaper, Danial notes that Moon defecated on the floor afterward, a characteristic move. Daniel Ray doesn't think he can ever change and that killing for him is like breathing for anyone else. The question is whether he is insane in the eyes of the court. It comes out that Daniel Ray has been in jail twice before, and that he's been let go. The next day, the investigators take Daniel Ray to the scene of one of the murders in order to get more substantial proof. He leads them to some bushes where they discover a body under a sheet. Daniel Ray reports that he and Moon robbed a store, shooting the clerk. Later the boys team up with Moon's prostitute sister, Molly. Molly collects a prostitute from the bus station and they drive her to a field where they dropped off the body. Daniel Ray and Molly were married, though he and Molly had a normal relationship. No sex. He and Molly "Help out" Dr. Krivics who has a flat tire. Just as they are about to do him in, a police cruiser drives up and they put off the killing. Molly and Daniel end up at the doctor's house where they are to do odd jobs. Both daughter Monica and the secretary, Doris, are suspicious, but they eventually accept them. While living in the back room of Krivic's garage, they bring a young woman back and get to work on her with a chain saw. When Monica sees the strange car she becomes curious and goes to investigate, but never quite sees what is going on. Doris finds some bloody knives and other indications of the goings on in the back room. Unfortunately, Moon arrives while she's snooping around. Soon Krivics is talking to the police about how Doris has gone missing. Monica is left alone in the house and Daniel Ray fetches a knife, eventuating in a pretty scary final scene.        </B></div> <bR> <bR> <div> <B>Count Dracula                  (Dracula)                5*****skulls</B></div> <bR> <div> <B>1970/Color/ Min./Republic Pictures & Towers of London/    Etablissement Sargon, Vaque, Liechtenstein/Rated PG</B></div> <bR> <div> <B>Director.........Jess Franco (Angel of Death, Oasis of the Zombies)</B></div> <div> <B>Screenplay.......Peter Welbeck</B></div> <div> <B>Music............Bruno Nicolai</B></div> <div> <B>Producer.........Harry Alan Towers</B></div> <div> <B>Executive Producer.....</B></div> <div> <B>Based on the Novel by Bram Stoker</B></div> <bR> <div> <B>Dramatis Personae</B></div> <div> <B>Dracula.........Christopher Lee (Curse III, Star Wars, The Wicker Man)</B></div> <div> <B>Von Helsing.....Herbert Lom (Asylum,Mark of the Devil,Pink Panther1-5)</B></div> <div> <B>Rennfield.......Klaus Kinski (Crawl Space, Schizoid, Venom, Woyzeck)</B></div> <div> <B>Nina............Maria Rohm (Call of the Wild)</B></div> <div> <B>Jonathan Harker.Frederick Williams </B></div> <div> <B>Lucy............Soledad Miranda</B></div> <div> <B>Quincy..........Jack Taylor (Erotikill, Horror of the Zombies)</B></div> <div> <B>Dr. Steward.....Paul Muller(The Devil's Commandment, Nightmare Castle) </B></div> <div> <B>Critique: This film has remarkably good film quality. Though as one might expect, Christopher Lee is not particularly scary or intriguing, still this is probably his best performance to date, with the possible exception of his cameo as an evil robot in "The Avengers". The general acting and film quality more than make up for him. That no one had thought of using Kinski as Rennfield bears witness to how stupid the world is. He was born for the part. Pretty good ecstatic feeding of the vampire on Lucy. The vampirised Lucy is scarier than Dracula. Women vampires generally are. It is a problem that we know this story so well by now. The attack of the stuffed animals, which is new, is not particularly effective. The 1992 film, with its quirky representation of the eighteen nineties and special effects has to get the nod here. Still, this is a competent job, though the last special effect is a real non-starter. Why is it so hard to do a convincing decomposition? While the count lives time and space have little meaning? </B></div> <bR> <div> <B>* Blood * Violent * No Strong Language * No Nudity *</B></div> <div> <B>* No Sexual Situations * Not Particularly Gory *</B></div> <bR> <div> <B>Plot Summary: Transylvania 1897. English lawyer in training Jonathan Harker takes the train to Bistriss for some business with Count Dracula. He is warned away by a stranger on the train. At the Inn in Bistriss, Harker is awakened in the night by a Greta looking in on him who tells him that tomorrow, on St. George's night, all the evils of the world will circle round. Harker is taken in a coach, as the apprehensive townspeople watch. Harker is left on the road, and another coach comes to retrieve him. After a nerve wracking ride, he arrives at the castle. Dracula bids him enter freely, of his own will. Harker seems to take it in stride when neither Dracula nor the candles he is holding cast a reflection in the mirror. Dracula is looking into real estate in London. Harker begins to notice Dracula's strangely sharp teeth. A woman in the courtyard calls out that she wants her baby back. In the night, Harker is almost set upon by vampire women. Dracula bids them take a child instead. Harker awakens with two puncture wounds on his neck. He climbs out onto the battlements and in through the next window. There he finds a stone tomb which he opens to find Dracula within. Harker runs away and leaps out of a window. He awakens in Von Helsing's clinic for the mentally disturbed, looked after by Steward. He raves about being pursued by bats as big as men. When Von Helsing hears that Harker has been raving about Dracula and sees the puncture wounds, he is interested. In the next chamber, the mad, insect eating Rennfield screams and throws his food. Accompanied by Lucy Westerner, Nina Merrick goes to Von Helsing's clinic to visit Harker. Lucy is overcome by the howling of the madmen in the clinic. Von Helsing tells Nina that Harker has suffered a terrible shock. The ladies decide to stay at the clinic. As Lucy lies asleep, something, perhaps a bat, calls to her and she wanders outside, mesmerized. Nina follows Lucy into the night wondering what she could be doing. Lucy goes to the dilapidated building next door where Dracula has taken residence. There, Nina finds Lucy on the ground and Dracula, who had been there a moment before vanishes. The next morning, Lucy is in serious condition, presumably stemming from wounds on her neck and loss of blood. Lucy's fiance, Quincy Morris, is ushered in and without checking for type, (luckily, they seem to match) they set up a transfusion of his blood to her. That night, Lucy is called to the window again and she opens it, allowing the vampire to get through and feed. When she falls to the ground, Quincy rushes up to return her to bed, noticing the window is open. A drawn looking Harker goes to the screaming Rennfield who sits curled in the window. Von Helsing says Rennfield had a daughter who was found with little blood. When the daughter died in Transylvania, Rennfield became mad. Von Helsing is interested in Rennfield and Harker because he is interested in some corresponding legends. Dracula appears at his window and stares at Rennfield across the way who tears the bars from his window and falls quite a few stories, though he is hardly injured. While tending to Lucy, who is near death, Nina hears a sound and is drawn away. Soon Lucy is descended upon again and she welcomes the vampire to her for the last time. Nina barges in on the proceedings and sees the vampire at her throat. Von Helsing is now certain, and reads to the others about the characteristics of vampires, and particular about Count Dracula. A child wanders off alone at dusk and she meets Lucy now reanimated. The child comes to her beckoning and Lucy leads her off. Von Helsing soon reads of a child who was found dead near the church. That night, he brings Quincy and Harker with him to Lucy's grave where they find her body missing. They wait hidden until light when she magically reappears in the coffin, whereupon they drive in the stake and Quincy chaps through her neck with a spade. Quincy, Jonathan and Steward head off with crosses to do in Dracula. As they arrive in Dracula's cellar, where the cases have now vanished, the stuffed animals that are gathered there begin to come alive. Quincy's bullets don't have an effect on this taxodermical menace, and then Dracula appears before them. At the same moment, Nina, who has gone to Rennfield to get information, is attacked by him at the vampire's bidding. When the men show the vampire a cross, Nina is released. Soon, Nina receives a mysterious ticket to the opera. Finding out that she has gone out alone, Quincy and Jonathan rush to her aid. Before they can get there, she is taken by Dracula, and they find her on the floor with the classic puncture wounds. Dracula goes to a ship and pays the captain to bring some cargo and a passenger to Varna. Dracula comes to get the weakened Nina, but Von Helsing fends him off by drawing a cross made from fire. Jonathan and Quincy go after Dracula's harem in his cellar. As Jonathan and Quincy watch, peasants bear a box. This strikes them as suspicious so they drop some boulders on them, killing two of the peasants. Prying open the box, they find Dracula inside and they set the box afire. </B></div> <bR> <bR> <div> <B>Count Yorga, Vampire       (Vampire)             5*****skulls</B></div> <bR> <div> <B>1970/Color/  Min./Thorn EMI/HBO Video & Erica Productions & Orion Pictures & Carolco/</B></div> <bR> <div> <B>Director.........Bob Kelljan</B></div> <div> <B>Screenplay.......Bob Kelljan</B></div> <div> <B>Music............William Marx</B></div> <div> <B>Producer.........Michael MaCready</B></div> <div> <B>Executive Producer</B></div> <div> <B>Special Effects by James Tanenbaum</B></div> <div> <B>Make-up by Mark Rogers & Master Dentalsmith</B></div> <bR> <div> <B>Dramatis Personae</B></div> <div> <B>Yorga............Robert Quarry     </B></div> <div> <B>(Not Available)  Roger Perry</B></div> <div> <B>                 Michael Murphy</B></div> <div> <B>                 Michael MacReady</B></div> <div> <B>                 Donna Anders</B></div> <div> <B>                 Judith Lang</B></div> <div> <B>                 Edward Walsh</B></div> <div> <B>                 Julie Conners</B></div> <div> <B>                 Paul Hansen</B></div> <div> <B>                 Sybil Scotford</B></div> <div> <B>                 Marsha Jordan</B></div> <div> <B>                 Deborah Darnell</B></div> <div> <B>Narration........George MaCready</B></div> <bR> <div> <B>Critique: Count Yorga is a steady yet unremarkable vampire story. In general, the Vampire brides worked great. The vampires descending on professor Hayes is a pretty frightening scene. There is also an astonishing back breaking scene and a couple of real chills in the seance scene. Yorga himself was one of the most elegant and articulate vampires we have seen. But there is no doubt, you've got to search for reasons to watch this film. Check out the pile of ashes in the end with a face drawn in it. By 1970, voice over narrators discussing the legend of the vampire should have gone the way of the Dodo if not the Edsel. One consistent point of interest is the onslaught of 1970's memorabilia. For instance, it's 1970 so they cut away before the lesbian kiss was consummated. James describes himself as a "bug specialist". Try finding one today (he didn't mean entomologist). You'll howl when you see Doctor Jim not just endlessly firing up cigarettes, but waving one in Erica's face. Now, a film without a lesbian kiss is no good and smoking is banned. In this respect, Yorga can be considered a kind of junque archive for the seventies. Sex in a Microbus! Groovy.</B></div> <div> <B>Good line: "Proofs are the stuff of mathematics."  </B></div> <bR> <div> <B>* Blood * Violent * No Strong Language * Sexual Situations * No Nudity * Not Particularly Gory *</B></div> <bR> <div> <B>Plot Summary: Port of Los Angeles. In ancient belief a vampire was a malignant spirit who rose nightly to suck blood from the throats of the living. Hypnotism, cunning, night-sight were advantages. Only a wooden stake or sunlight can kill the living dead. At a seance, Count Yorga, the lover of Donna's dead mother (who died of pernicious anemia) tries to lead his guests to seeing the dead woman, Carl pretends to fall asleep, the group calms down for Donna's sake, and Yorga tries to contact Donna's mother, who soon makes contact. As Yorga demands she show herself Donna collapses screaming. Count Yorga, chided for being a poor dinner guest, admits to a stomach disorder but "may have a snack later". On Feb 17 Donna is to wed nerdman Michael. Count Yorga was Donna's mother's boyfriend for a few weeks before she died, although he didn't attend the daytime funeral. Yorga gets a ride home from two dinner guests. At Yorga's mansion, his hideous domestic Gunther greets him at the gate with a vicious German Shepherd before the party heads for the mansion where Yorga invites Paul and Erica in for drinks which jealous Paul refuses. The VW bus becomes stuck in mud and Erica and Paul struggle to free it. After Paul notes that the mud in which they are stuck wasn't there on the way in they settle in for a night of sex in Paul's cool van candles and all. Paul thinks for a moment that there's someone outside, but decides it's nothing. The night sounds reach a crescendo as Yorga approaches the van. Paul is soon overcome leaving Erica to Yorga. The next day, Erica doesn't remember anything about the night before, but complains of dizziness. Paul only knows that something rapped him on the head. Count Yorga had disappeared by the morning which baffled them as did the fact that Erica had lost quite a bit of blood through some puncture marks on her throat. He tells her to eat plenty of steak to let the blood build up. Paul calls Erica, but her apartment has become a pig sty and Erica has become zombie-like. The trio of friendsy find her eating a live cat and rush her to the hospital where she immediately receives transfusion. During the transfusion, Erica raves about being afraid of something. Yorga, meanwhile, presides over his lesbian mistresses. Yorga says he's from Bulgaria. The doctor, Jim, says that based on the puncture marks and blood tests, Erica was bitten by a vampire. He asks, "can you prove there are no vampires?" Paul and Jim are appropriately skeptical. Jim goes to dig out the folk lore books. There does seem to be some pretty good evidence. Yorga calls to Erica from his castle and then he appears in her room. He seduces her and soon is feasting away. When Paul returns to the room, he finds Erica's gone and goes out alone to Yorga's castle. When Clea tells Jim (Hayes) about a story in the paper of a baby found drained of blood, that about does it for him. Paul arrives with the Minibus again, but soon learns that one shouldn't run off to a vampire's lair without making preparations. Michael, Donna and Dr. Hayes arrive at Yorga's castle. Bruda and Yorga invite them in. The impolite guests try to keep Yorga up until daybreak. Yorga admits that he believes in vampires. James informs Michael that they will have to drive a stake into Yorga. Yorga calls to Donna from his coffin and she arrives at daylight. Michael awakens late and the fearless friends find Donna has gone. She is grabbed by Bluda in the woods and molested. Michael and James arrive after dark. Bluda comes to Yorga, who is a bit chagrined about his activities. James is apprehended breaking in to the castle, but Yorga takes him up to the drawing room to talk about vampires. Soon they agree that this sparring is silly and Yorga shows him the vampirised women in the cellar. James holds Yorga off with a cross and stake. However, the women soon come to his aid and he is overwhelmed. After stumbling over the dying Paul, Michael has a run in with Bluda. Donna gets to have a brief reunion with her vampirised mother until the harried Michael stumbles in to interrupt the proceedings and bring on the climax.</B></div> </td> </tr></table></body>