Night of the Blood Beast (1958)

... aka: Creature from Galaxy 27, The
... aka: Monster from Galaxy 27, The

Directed by:
Bernard L. Kowalski

A space pod falls down somewhere in the mountains. On board is astronaut John Corcoran (Michael Emmet), the first man ever to be sent up in a satellite and ejected back to Earth. Unfortunately, the trip back (or possibly something else) has killed him. First on the scene are Dave (Ed Nelson), who helped design the pod, and Donna (Georgianna Carter), a photographer. While they're off surveying the crash pattern, something that hitched a ride on board escapes into the woods. Dr. Alex Wyman (Tyler McVey), his assistant Steve (John Baer) and the dead astronaut's fiancé Dr. Julie Benson (Angela Greene), show up soon after. A quick look at John's body reveals some strange things. John has no heartbeat, no pulse and no respiration, but he also shows no signs of body rigidity or rigor mortis, no skin discoloration and no pupil dilation, plus keeps the same blood pressure rate as a living man. Though technically dead, but he's not showing all of the signs of actually being dead. He seems to be catatonic, or as Dr. Wyman believes, in a hypo-metabolic state of suspended animation. There's only one way to find out for sure, so they take him to their remote research station to find out.

Upon arrival, weird gets even weirder. Anything at the lab that requires power doesn't seem to be working. Their watches, radios, electricity at their facility and modes of transportation all stop because of a strange magnetic interference. When Dave goes to check the satellite tower, he's attacked by something in the shadows the "size of a bear" that bullets have no effect on. Analysis of John's blood reveals he's infected with alien amorphic cell structures not found in human blood. With the nearest town 30 miles away, the group decide to stay inside and wait it out until representatives from Cape Canaveral arrive. That evening, Dr. Wyman is found dead with half of his head missing. Almost immediately afterward John is off the slab and up walking, talking and living again. He has strange lesions on skin, migraines and, when he's put under a fluoroscope, shows signs of being infected with some kind of alien organism. Yep, John's been knocked up by the Blood Beast and his body is being used as a breeding ground.

John receives impulses from the creature, who communicates telepathically with him and insists it is benevolent and means them no harm. It actually wants to blend its species with humans to create an ultimate life form. John demands the scientists at least hear the alien out (headless colleague aside!) and, now that it has consumed Dr. Wyman's brain, it has the ability to communicate with them. The big finale takes place near some caves (shot at the ever-popular Bronson Canyon, of course!).

A very low-key, very low-budget ($68,000) film, this was filmed in just seven days, opens with great animated opening credits, has sincere performances and some thoughtful and imaginative ideas sprinkled throughout (particularly the concept of an extraterrestrial impregnating a man) that keep it watchable. The set-up to how the alien visitor is first introduced is excellent. Actually seeing the alien is another story entirely. The space visitor looks like a mud-covered Big Bird on steroids. This same silly costume was re-used in TEENAGE CAVE MAN (1958) and both times the creature was played by Ross Sturlin. Budget restraints limit this to just three locations; the lab, the woods and the cave. The same meager means ensure this is heavy on talk and low on actual action. This film's title (and poster) will probably rope in the wrong kind of audience. I'm sure many have felt led astray expecting cheap thrills and Blood Beast action and instead getting a non-exploitative (even for its time), nearly bloodless film.

Roger Corman was the executive producer and his brother, Gene Corman, produced and wrote the original story (the script is credited to Martin Varno). It played theatrically on a double bill with SHE-GODS OF SHARK REEF (1958). Kowalski, who was best known as a TV director, also made ATTACK OF THE GIANT LEECHES (1959), BLACK NOON (1971) and SSSSSSS (1973).

★★

Alien Factor, The (1978)

Directed by:
Don Dohler

Ernest D. Farino's opening title sequences always give films like these a professional feel... a feel the rest of the films rarely (if ever) live up to. This is one of those cases. Filmed in 1976 and 1977 on 16mm (with some bits shot on Super 8 in Michigan), this was the starting point for Baltimore-based director Don Dohler, an alien-obsessed fella who had a clear affection for 50s sci-fi flicks but next to no money to make his own films with. But, hey, that never stopped the guy, so good for him. Things begin like many other vintage monster flick begins; with a young couple parked in the woods being attacked in their car by a man-in-a-suit lizard alien thingy. It kills the guy and puts the girl - Mary Jane (Eleanor Herman) - into a deep state of shock. Mustachioed Sheriff Jack Cinder (Tom Griffith), his Deputy Pete (Richard Geiwitz), nosy reporter Edie Martin (Mary Mertens) and others are on the case. They initially think the victim has been killed by a bear or a bobcat, but coroner Dr. Ruth Sherman (Anne Frith) and her nephew Steven (John Waters movie regular George Stover) uncover otherwise during an autopsy when they realize that the victim's body is filled with a toxic poison.

Another couple hanging out near the same area have a similar alien encounter except this time it's a different being... and it's wearing blue jeans! After stumbling upon its spaceship, the woman flees, gets run over by a drunken motorcyclist and is then healed by the more benign alien. So yeah, there are two aliens lurking the woods. Wait, or is that three? Another poor guy gets attacked by some sparkly red lights that cover his body and rapidly age him until he's a decaying corpse. Er, maybe four? In a sequence that lasts about ten grueling minutes, another man visits a bar, watches a band perform an entire song, goes home, reads a book, hears a noise and finally comes face-to-face with a very tall and furry alien thingy wearing platform boots (!) hiding out in his basement, which claws him to death. Four locals armed with shotguns head out into the woods against the sheriff's wishes and end up meeting that lizard monster from the opening sequence again, who kills them all save for one woman who screams. Apparently these creatures hate high-pitched noises.

Eventually, astronomer Benjamin Zachary (Don Leifert) shows up claiming to have spotted a meteorite falling right outside of town a few days earlier. Benjamin behaves strangely and clearly telegraphs early on via hokey dialogue that he's not quite who he claims he is. Accompanied by the town's greedy Mayor Bert Wicker (Richard Dyszel aka Washington D.C. area Creature Features host Count Gore DeVol), who wants to build an entertainment complex and is more concerned with bad press than anything else, Ben goes into the forest, discovers a spaceship and a wounded, dying alien (in a hilarious white fright wig) who communicates telephatically with him. It informs him it was transporting three zoological specimens when its ship crashed there and all the creatures escaped into the woods. Benjamin gets the approval of the mayor to stalk and eliminate these aliens or else they'll have to call the army in to help.

Extremely cheap-looking, amateurishly acted, poorly edited and filled with continuity errors, awful dialogue and cheesy sfx, this isn't going to be everyone's cup of tea. For others, however, it's going to be a fun and charming no budget creature feature. I'm a little in the middle. I can clearly recognize that it's not a 'good' movie. The first half is extremely confusing if you've not seen it before and there are long, dull stretches where people walk around and such, but I do get some genuine enjoyment out of this each time I watch it. There's plenty of alien action and four distinct alien designs; a shellac insectoid "Inferbyce" covered with varnish, a hairy Yeti-esque "Zagatile" (the tall one... which is hilarious and completely awesome), a lizard "Leemoid" (which was designed and stop-motion animated by Farino) and the nice alien being, which isn't really given a name.

Despite what some sources claim, METAMORPHOSIS: THE ALIEN FACTOR (1990) is not a sequel to this, but an unofficial sequel to THE DEADLY SPAWN (1983). Dohler (who also appears in a small role here; along with his kids Greg and Kim) basically remade it as NIGHT BEAST (1982) and wouldn't make the actual sequel; THE ALIEN FACTOR 2: THE ALIEN RAMPAGE (2001), until nearly 25 years later. Most of the cast members - including future director Tony Malanowski (1982's THE CURSE OF THE SCREAMING DEAD) - were the director's friends and family members.

Ernie Farino sculping his 'Leemoid.'

The Retromedia DVD comes with many special features, including a blooper reel, a deleted scene, stills galleries and a commentary track from co-star Stover.

★★

Die Hinrichtung (1976)

... aka: Born for Hell
... aka: ...E la notte si tinse di sangue
... aka: Naked Massacre
... aka: Né pour l'enfer

Directed by:
Denis Héroux

Cain Adamson (Mathieu Carrière) is one of many mentally scarred young Vietnam veterans. He's ended up in Belfast for the time being while waiting for a transfer back to the U.S. but it's certainly no relaxing vacation. Belfast happens to be going through their own violent religious war. Through the clouds of smoke that often fill the streets, Cain wanders around aimlessly and alone. He has no friends, he's running low on cash and he's forced to sleep in a crowded homeless shelter and beg for food. As if suffering the horrors of Vietnam wasn't bad enough, now he has to be careful not to get shot down just walking the streets and barely survives a church bombing. In addition to the war and being laid up in a dangerous place, Cain also has problems on the home front. His wife has cheated on him with one of his best friends; an army buddy. She's also gotten pregnant from the affair. Already rattled from his experiences in Vietnam (where he was discharged for trying to commit suicide) and bad news about his personal life (he has no one to even return home to), he continues to be rattled in his new surroundings. It becomes too much to bear.

When Cain accompanies an over-the-hill hooker back to her home, he forces her to dance while he plays "Oh, Susannah" on the harmonica and then kicks her in the head when she asks is he's gay. It will be a sign of things to come. As he goes to and fro, he frequently passes a nice home where eight young nurses live. One day, while the girls are giving a birthday party for Eileen (Andrée Pelletier), he wanders into the kitchen and meets Amy (SWEET MOVIE star Carole Laure), who he thinks looks like his wayward wife. Amy's sort-of the matriarch of the clan; the one the rest of the girls go to when they need advice. Noticing he's behaving strangely, she offers him food, which he accepts, and even some money, which he refuses because he says he's not a beggar, in hopes he'll leave. It works... for the time being.

Later that same night, Cain sneaks back into the house through a window, where Christine (Christine Boisson) is about to confess her attraction to fellow nurse Jenny (Leonora Fani). He pulls a switchblade on them, has them round up the other six and then takes them all into a bedroom. There, he ties them up, tells them to be quiet and no one will be hurt and insists that all he really wants is enough money to get back to America. The girls willingly offer up their purses, but soon come to the realization that's not all he wants. Before he drags Amy out of the room, she tells the girls to do whatever he asks of them. She won't be back, and neither will any of the other girls who Cain takes out of the room.

Luridly re-titled Naked Massacre for the U.S. release, this was originally called Born for Hell (a tattoo the killer has on his arm). Under whatever title it tries to have it both ways by being exploitative and violent, then shoving an obvious message about "The spirit of uncontrolled violence at loose in the world today" at the end. I certainly don't mind the fact this tries to have a message, especially since that message is illustrated throughout; not only in the nurse slayings (clearly inspired by the 1966 Richard Speck nurse killings [which are directly referenced here]), but also constant images of death, destruction and war on both the Belfast streets and on TV screens. That said, most people aren't going to watch this for any deeper meaning. They're going to watch for the naked massacre. Good news for them that there's both plenty of naked and plenty of massacre.

Cain strangles, stabs and forces the women into various uncomfortable sexual situations. During the film's nastiest sequence, he brings the lesbian and the girl she has a crush on downstairs and tries to force the two to get it on while he watches. When one girl refuses to go down on the other, he shoves her head in her crotch, pulls down her pants and slaps her ass with a belt over and over again before putting the switchblade in her hand and making her stab her friend. Another girl is raped and choked with a belt before being killed and, after watching her friend die, another of the girls goes crazy and kills herself instead of letting Cain do it. These scenes are pretty taut and disturbing.

German-born actor Carrière's performance suffers because of the bland voice actor doing his English-language dubbing. Italian actress Ely Galleani (BABA YAGA) and Debra Berger (the daughter of actor William Berger) play two of the other nurses. It was an international production with Canadian, French, Italian and West German backing (actors from all four of those countries participate) and is currently an easy-to-find public domain title available on many bargain sets.

The Montreal-based director went on to produce THE LITTLE GIRL WHO LIVES DOWN THE LANE (1976), Claude Chabrol's BLOOD RELATIONS (1977), the Oscar-nominated ATLANTIC CITY (1980) and others, and directed the anthology THE UNCANNY (1977).

★★1/2