Gorgon Video Magazine (1989)

... aka: Gorgon Video Magazine: Volume 1
... aka: Stuart S. Shapiro's Gorgon Video Magazine

Directed by:
John O. Francis Jr.
Joe Horne
Modi
Charles Schneider
Stuart S. Shapiro
Tom Stern
Patricia Wadsley
Alex Winter

Remember Gorgon Video? During the VHS era of the 80s and early 90s, they were primarily known as the studio who released the notorious FACE OF DEATH series to home video. But that's not all they did. They also released other genre films from around the world (including such titles as BAY OF BLOOD and SLAUGHTER HOTEL) and even made this home video magazine featuring what was hot back in 1989. Michael Berryman (dressed in his HILLS HAVE EYES garb) makes a bunch of hilariously bizarre facial expressions as our very enthusiastic, expressive host and introduces each segment in front of movie clips. We also get occasional animated segments from John O. Francis Jr. and Joe Horne thrown in. The first segment is about "the crown prince of horror" Wes Craven. The interview is conducted around the set of SHOCKER (1989). Craven talks about creative freedom, what's great about working on horror films, dealing with censorship and what turned this former "church-goer" and "working class kid from Cleveland, Ohio" into a horror filmmaker. Clips from 90-thousand-budgeted hit LAST HOUSE ON THE LEFT (1972) and THE HILLS HAVE EYES (1977), which apparently failed theatrically because many theaters refused to show it, are shown. Craven also states that his TV movie debut CHILLER (1985) failed when it was knocked down to a 11 pm time slot because of a championship basketball game and says that the only film that he submitted to the MPA that was passed uncut was THE SERPENT AND THE RAINBOW (1988).

.......................................Why can't this guy host The Oscars?

.....................Undoubtedly horror's most mild-mannered director - Wes Craven.

The talented guys from KNB (Robert Kurtzman, Greg Nicotero and Howard Berger) are next. They discuss getting their starts in special effects, what's appealing about horror and how most of their fx work was cut from the R-rated version of INTRUDER (1988). We also get a look behind-the-scenes at KNB Fx Facility and see some of the effects they designed for such films as CREEPSHOW 2 (1987) and THE HORROR SHOW (1989).

.............Linnea Quigley took her parents to the premiere of Hollywood Chainsaw Hookers.

"Queen of the B's" Linnea Quigley is up next to talk about her career (and what her parents think of her career). Here we get some nice clips from HOLLYWOOD CHAINSAW HOOKERS (1987), SORORITY BABES IN THE SLIMEBALL BOWL-O-RAMA (1987), NIGHT OF THE DEMONS (1988) and LINNEA QUIGLEY'S HORROR WORKOUT (1989). Following her is a segment on Troma's Lloyd Kaufman. He discusses the start of the studio (their first release was SUGAR COOKIES) and problems with censorship (a recurring theme here). According to him, horror filmmakers are unfairly singled out by the rating's board and Troma is treated worse than most studios. We also get clips from Troma releases THE TOXIC AVENGER (1984), THE TOXIC AVENGER, PART II (1988) and EVIL CLUTCH (1988).

....................The MPAA's favorite whipping boy, Lloyd Kaufman, in the early days.

Gore Gazette's Rick Sullivan then gets his own review segment. The verdict? BAD TASTE (1987), VICIOUS (1988) and HENRY: PORTRAIT OF A SERIAL KILLER (1986) all get 4 skulls on the "gore barometer" and poor CAMERON'S CLOSET (1987) gets... just 1. Getting burnt out on all the clips yet? Well they even throw in a weird/bloody performance art segment featuring a female singer (Lia Niskanen) performing a song in French ("Sans Amour") and then ripping her head open.

Clips from A BUCKET OF BLOOD (1959) and ATTACK OF THE GIANT LEECHES (1959) are shown during a dedication to drive-in movies, which turns out to basically be a plug for the Sinister Cinema catalogue. In a segment co-directed by Alex Winter (of Bill and Ted's Excellent Adventure fame), shock rockers GWAR ("They make Alice Cooper look like Sesame Street!") are profiled. We also meet an embarrassing group of "GWAR Slaves;" a bunch of drugged out weirdos who do things like get dismembered and puke on stage and use irritating phrases like "gigantic genitaliatica" and "necrophlic butt sex." Next up are previews for DEATH SPA (1987), GIRLFRIEND FROM HELL (1989) and JUDGEMENT DAY (1989). Finally we get a flurry of VHS covers of the movies we've just seen, along with their distributors.

....................................Wonder how this would look on a resume?

Unlike some other documentaries and video mags from back in the day, this is informative, well made, entertaining, very much still worth watching and a nice trip down memory lane to a much simpler time with a much smaller community of actors, directors, producers, writers and fx guys slogging away in an oft-maligned subgenre. It's also nice to note that Berryman, Craven, Kaufman, Quigley and KNB all still enjoy success in the genre over 20 years after this was made.

GORGON VIDEO MAGAZINE: VOLUME 2 was also made the same year and was never officially released to video stores, though a few screener copies were released. Gorgon also made IMPACT VIDEO MAGAZINE (1989), which covered art, music, news and political satire and was hosted by Winter. Included there were music acts Public Enemy, Jane's Addiction and Butthole Surfers, more animation from Joe Horne, underground painter and co-founder of Zap Comix Robert Williams, comedian Bill Hicks, Village Voice columnist Michael Musto, some performance art (including a recycling of the "Sans Amour" act seen here) and the short BAMBI MEETS GODZILLA. It was hosted by Alex Winter.

★★★

Stranger Left No Card, The (1952)

Directed by:
Wendy Toye


Alan Badel (who narrates) stars as a peculiar, bearded, presumably mute man with bushy eyebrows and baggy patchwork clothes who shows up one sunny day in a small town. Merrily twirling his umbrella as he prances through the streets wowing the children with showers of confetti and magic tricks, the man manages to turn the heads of everyone he encounters and charms all of the townspeople in just a week's time. But the strange, unknown vagrant (who is jokingly referred to as Napoleon after signing Napoleon Bonaparte on a hotel register) is actually up to something much more sinister, which involves a wealthy and corrupt banker named Mr. Lathan (Cameron Hall).

A very well-done b/w short written by Sidney Carroll; this manages to alternate between amusing and eerie and packs more mystery and intrigue into its 23-minute run-time than most feature length films. It's nicely photographed, has a deceptively whimsical music score from Muir Mathieson, is a great showcase for silken-voiced British stage actor Badel (who claimed to do films only when he needed money) and concludes with a clever open ending. Director Toye and Badel would re-team for the even-better short 'In the Picture' (contained in the 1955 anthology THREE CASES OF MURDER) a few years later. Toye would also remake The Stranger for the TV series Tales of the Unexpected. That version starred Derek Jacobi and was also the debut of a very young Jennifer Connelly. Stranger won the Best Fictional Short Film at the Cannes Film Festival and played several times on 50's TV on the program Omnibus.

Never officially available on either VHS or DVD, this film is available for view on YouTube (see below) and is highly recommended.

★★★1/2

Eugenie... the Story of Her Journey Into Perversion (1970)

... aka: De Sade 70... aka: Eugenie
... aka: Marquis de Sade
... aka: Marquis de Sade - Eugenie
... aka: Marquis de Sade's 'Philosophy in the Boudoir'
... aka: Philosophy in the Boudoir
... aka: Story of Her Journey Into Perversion, The

Directed by:
Jesus Franco

Madame Marianne Saint Ange (Maria Rohm) seduces Monsieur de Mistival (Paul Muller) and gets him to agree to let her take his impressionable, sheltered 15-year-old daughter Eugenie (played by 19-year-old Marie Liljedahl) away to her tropical island mansion (only accessible via boat) for the weekend. She promises no harm will become of his virginal little girl in the process. Upon arriving, Eugenie is showered with attention, fancy wardrobe, ocean-front dinners, wine and smoke by her libertine hostess, who also enjoys bathing and rubbing lotion on her guest in various states of undress. Eugenie is also introduced to Marianne's step-brother (and lover) Mirvel (Jack Taylor), who immediately falls in love with the naive young beauty, a black handyman named Augustin ("Kablan" / Anney Kablan) and reclusive, mute maid Therese (Uta Dahlberg). Seems harmless - and typical - late 60s/early 70s soft-focus soft-core fluff, right? Not so fast, sucker. This is actually an adaptation of the Marquis de Sade's controversial, oft-banned and (some say) socio-political 1795 book La Philosophie dans le boudoir ("Philosophy in the Bedroom"). There's sadism galore, druggings, rapings, beatings, nightmares, murders and a strange cult dressed in Victorian era garb and headed over by Christopher Lee as Dolmance. Said cult seems to want to get their hands on a human heart for some kind of ceremony.

Though he has received his fair share of criticism over the years - some of it earned and some of it by yours truly - director Jess Franco deserves much credit for what he delivers here. Not many filmmakers actually had the nerve to film de Sade during this era, not many filmmakers actually had the nerve to film erotica involving such then-taboo subjects as incest, lesbianism, interracial relations and S&M and not many directors could do it with an actual budget, actual actors and attention paid to both location and art direction. Furthermore, not many directors could do it all with an intoxicating signature style. Visually-speaking, this is a very interesting piece of work for both the director and cinematographer Manuel Merino, especially in regard to camera focus. Yes, this film does go out of focus to blur quite often. Image being out of focus is often regarded as an elementary technical error, but done intentionally in this context it's an interesting and creative technique that manages to up the dreamy allure and dark sensuality of the film considerably.

Acting-wise, the film makes a particularly fine showcase for Rohm, who previously had played the title role in Franco's murder-mystery VENUS IN FURS (1968). Rohm, who was married to writer and producer "Peter Welbeck" (Harry Alan Towers) and sometimes got sidelined in these productions, gets a wicked, manipulative role to sink her teeth into and makes the most of it. Liljedahl, who'd just made a name for herself in the international erotic hit INGA (1968), is just adequate but at least looks the part of a teenager. Both actresses spend much of their screen time nude. Euro-horror staples Taylor (the male lead in Franco's FEMALE VAMPIRE) and Muller (the male lead in Franco's EUGENIE DE SADE) don't quite get the showcase the ladies do here but are fine nonetheless. Maria Luisa Ponte (billed as "Inga Swenson" and horribly dubbed) has just one scene as Eugenie's overbearing mother but would go on to win many prestigious European film awards later in her career. Colette Giacobine (star of Franco's Nightmares Come at Night), Herbert Fux (from Franco's Jack the Ripper, Love Letters of a Portuguese Nun and others) and Franco himself also appear in small roles.

The part played by Lee was originally offered to George Sanders, who turned it down either for personal reasons or illness (the stories vary), and then to Wolfgang Preiss, who turned it down because of his wife's passing. Lee would later claim he had no idea this was soft-porn until he actually saw the movie (it premiered with an X rating). According to him, his scenes were shot, and then edited in with the sex scenes later on. Though he claimed to be dissatisfied with the end result, he'd still go on to act in several other Franco films, including 1970's THE BLOODY JUDGE, 1988's Dark Mission and 1989's Fall of the Eagles. His imposing presence here during the cult scenes is definitely a plus either way.

It was filmed in Barcelona, Spain and also boasts an evocative Bruno Nicolai score. The DVD was released in America through Blue Underground.

★★★

Sugar Hill (1974)

... aka: Voodoo Girl
... aka: Zombies of Sugar Hill, The

Directed by:
Paul Maslansky

Little-known Marki Bey (whose most high profile part would end up being a six episode stint on the TV series Starsky and Hutch) stars as Diana Hill, an attractive nightclub performer at the voodoo-themed "Club Haiti." Her fiancé Langston (Larry D. Johnson), whose pet name for his girl is Sugar cause she's sweet (... until push comes to shove, at least!), is being pressured by mafioso Morgan (COUNT YORGA star Robert Quarry) to sell his club. Refusing to cave in to their attempts at blackmail, Langston ends up getting beat to death right outside the club by Morgan's thugs. What's a newly widowed foxy lady in a blaxploitation flick to do? Get revenge, of course. Diana/Sugar ventures deep into the swamp to meet up with elderly, white-haired voodoo queen Mama Maitresse (Zara Cully), who in turn calls up ghostly zombie master Baron Samedi (Don Pedro Colley), who in turn calls up a horde of zombie former slaves. Diana and the Baron then lure each of the gangsters to their doom, allowing the living dead to do the dirty work.

Though formulaic, fairly predictable and possibly too tame for some viewers, I found this to be a very entertaining, fun and solidly-made entry in the blaxploitation horror subgenre; at least on par with the much more famous BLACULA (1971). It's well-paced, well-written, nicely photographed, humorous and performed with gusto by the cast. Bey gives a strong, animated, authoratative performance in the lead role and gets a few bad-ass one-liners as she dispatches her prey, and crazy-eyed Colley's wonderfully enthusiastic, over-the-top turn as the zombie master is a standout. Horror star Quarry is just fine as the heavy, though the role is less showy than some of the others. There's also fine work from Cully, Betty Anne Rees (who acted alongside Quarry in DEATHMASTER a few years earlier) as a nasty, racist gangster's moll and Charles P. Robinson as the sole black member of Quarry's thugs (Uncle Tom if you will). The cast also includes Richard Lawson (from SCREAM BLACULA SCREAM and POLTERGEIST) as a detective.

Exploitation fans should be forewarned that the film contains no sex or nudity and it is light on blood and gore, though it's often crude (language-wise) and sufficiently violent (...a man is fed to hungry pigs, another has his throat cut, there's a quicksand drowning, etc.) The dusty, cobweb-covered zombies are pretty interesting-looking, particularly their large silver eyes, which look pretty ominous when caught in the light. There's even a catchy theme song ("Supernatural Voodoo Woman" by The Originals).

Samuel Z. Arkoff was the executive producer and it was released theatrically through AIP. The VHS title was THE ZOMBIES OF SUGAR HILL. A good quality print crops up occasionally on TV and can be seen via Netflix, though from what I've heard, the DVD being sold on amazon is a terrible print.

★★★

Dreamaniac (1986)

Directed by:
David DeCoteau

As a teenager, David DeCoteau was already working professionally in the movie business. He began as a production assistant on ESCAPE FROM NEW YORK and the Corman production GALAXY OF TERROR (both 1981), worked on craft service for such films as Ken Russell's CRIMES OF PASSION (1984) and also did some sound editing under the alias "Richard Chasen." Somewhere in between he got involved in the adult film industry (using the name "David McCabe") and would have over a dozen (mostly-all-male) X-rated features under his belt before the age of 25. The gory supernatural slasher DREAMANIAC (1986) - backed by Charles Band and released through his company Empire Pictures - was DeCoteau's first foray into 'legitimate' films as a director. He produced the film and probably also wrote it using the name "Helen Robinson." It possesses all of the earmarks of a low-budget slasher film from a first time director from this era, including terrible dialogue, God awful acting, inept direction, sloppy continuity errors, cringe-inducing attempts at humor and a bare minimum of both plot and location change. The budget was just 60,000 dollars, it was shot-on-video and though technically abysmal all the way around, it's fairly entertaining because it's gory (far gorier than the other films I've seen from the director) and the 80s sensibilities are occasionally amusing.

The film opens as Adam (Thomas Bern) has a nightmare about walking down a red-lit hallway naked and encountering an evil (and naked) woman in a blood-filled bath. As it turns out, our young hero has been toying around with black magic and has somehow managed to summon up a seductive succubus named Lily (Sylvia Summers). Let me take a brief time out to comment on Adam. Considering the fact he's supposedly a Satanist metal musician, Adam is hilariously wholesome, clean-cut and mild-mannered. He's even decked out in glasses and a ... Def Leppard t-shirt. Adam has a "punk" girlfriend named Pat (Kim McKamy) who has a preppy, sorority-hopeful sister named Jodi (Lauren Peterson). For some reason Adam agrees to let Jodi host a party at his house for her snotty sorority sisters - including the extremely unpleasant and slutty Francis (Cynthia Crass), who has her sights set on Jodi's boyfriend Brad (Brad Laughlin). Pat makes hash brownies for the occasion. The guests show up. Then the succubus shows up. And then the guests start getting killed by the succubus. Some of the victims return to life as zombies to try to kill the others. The end.

One of the only distinctive things about DREAMANIAC is the amount of homoeroticism and male flesh on display. There are more male asses, shirtless guys and guys in briefs than in any other 80s slasher film I can think of. During an electrocution scene, the camera placement isa even at crotch level on a guy gyrating in his tighty-whities. Admittedly, it's pretty funny seeing the obviously gay cast trying to play it straight. I wouldn't be one bit surprised if most of these guys were transplants from DeCoteau's gay porn past and their acting is about on that level. Strangely enough, the only verifiable porn connection of the cast is with lead actress McKamy. After appearing in this, EVIL LAUGH (1986), LUNCH MEAT (1986) and DeCoteau's follow-up CREEPOZOIDS (1987), she'd become popular adult star Ashley Gere. McKamy/Gere is easily the most watchable of the actors on display here and thankfully she's given the most to do at the end as well. The rest of the cast is amateurish and/or insufferable (those valley girls about take the cake).

Originally released by Wizard on VHS in a large-side display case proclaiming it "Too gory for the silver screen!" The film did well enough to prompt more Band/DeCoteau efforts, including the cult classic SORORITY BABES IN THE SLIMEBALL BOWL-O-RAMA (1987), the fun sci-fi comedy DR. ALIEN (1989), the above average sequel PUPPET MASTER III: TOULON'S REVENGE (1991) and many others.

★1/2

Initiation of Sarah, The (1978)

Directed by:
Robert Day

Brian De Palma's CARRIE was released in 1976 to excellent reviews, just as impressive box office returns and even award recognition (a rarity for a genre film). Over the next couple of years, several 'misfit strikes back' horror films were made to cash in, including this made-for-TV movie; a thinly-disguised rip-off of the aforementioned classic that debuted on ABC. It's reasonably entertaining and benefits from a good cast, though it's not without a few glaring missteps along the way that we'll be getting to here in a bit. Kay Lenz stars as Sarah Goodwin; a shy, demure, plainly-dressed and misunderstood girl who doesn't quite fit in with her adoptive family. Her cold, social climber mother (Kathryn Grant) wants Sarah and her bubbly, outgoing sister Patty (Morgan Brittany) - who will both be attending Waltham College as freshmen - to pledge the most popular sorority house on campus. Unfortunately, Sarah learns a lesson in snobbery as the target sorority (Alphu Nu Omega) shuns her in favor of her sister. The only sorority actually interested in accepting Sarah as one of their own are the Phi Epsilon Delta, a sisterhood of cast-offs and misfits, headed over by reclusive house mother Erica Hunter (Shelley Winters), who takes up a peculiar and sudden interest in our troubled heroine.

As if being flatly rejected and separated from her sister isn't bad enough for Sarah, she also becomes the prime target for humiliation by the popular sorority who turned their noses up at her. Blonde megabitch Jennifer Lawrence (Morgan Fairchild) seems to make it her mission to treat Sarah as horribly as possible. She mocks the PED's (calling them "Pigs, elephants and dogs"), forbids Patty from seeing or talking to her sister, tries to ruin Sarah's budding relationship with a teaching assistant (Tony Bill) and then organizes a very cruel prank against her. Little does she know but Sarah is harboring some powerful psychic/telepathic abilities which reach their pitch whenever she's angry. Eventually, Mrs. Hunter encourages Sarah to use her powers against the rival sorority and things end in a fiery black magic ceremony.

The school setting, bullied outcast with telepathic powers, evil blonde bitch and weird religious fanatic mother figure are just the tip of the iceberg for the CARRIE parallels. This one goes a step further by blatantly ripping off the famous prom scene by having poor Sarah get all prettied up in a nice white dress only to get pummeled with mud / rotten vegetables and then do an entranced, wide-eyed stare from underneath the muck. The pacing is also a problem as the first hour is incredibly slow-moving and the last fifteen minutes are a rushed, confused mess. There are numerous plotholes as well. It's mentioned that Sarah's birth parents were involved in the sorority rivalry many years earlier, and even a suggestion that Winters' character is actually Sarah's actual birth mother, but the story threads are curiously dropped altogether. Furthermore, the Winters character seriously lacks motivation for what goes down at the finale and the film does a sudden, jarring switcheroo on the primary antagonist that makes the 'revenge' portion anti-climactic and unsatisfying.

Under the circumstances, most of the cast does a good job. Though the try to downplay her looks via frumpy wardrobe and a flat hairstyle, it's difficult (if not impossible) to make Lenz unattractive to the point of her eliciting unwarranted cruel treatment from the sorority snobs as seen here. Still, as per her usual, the actress does a credible job inhabiting her role and elicits an admirable amount of sympathy for her. Winters alternates between likably eccentric and over-the-top, blowsy camp (and is watchable in either mode) and Fairchild is positively perfect in her part. Playing an extremely timid, possibly lesbian music student at the unpopular sorority, Tisa Farrow (who'd later sleepwalk through her roles in the Italian gore-fests THE GRIM REAPER and ZOMBIE) gives a surprisingly good performance. Also on hand are Robert Hays (of AIRPLANE! fame) as Fairchild's boyfriend, Talia Balsam (daughter of Martin), Elizabeth Stack (daughter of Robert) and Deborah Ryan (KISS MEETS THE PHANTOM OF THE PARK). Michael Talbott, who has a small role here, also appeared in CARRIE. Interestingly, his character in both films is named "Freddie."

British director Day, whose career lasted from the mid-50s until the early 90s, also directed the genre films CORRIDORS OF BLOOD, THE HAUNTED STRANGLER (both 1958 and both starring Boris Karloff), FIRST MAN INTO SPACE (1959) and the TV movies RITUAL OF EVIL (1970) and (the excellent) MURDER BY NATURAL CAUSES (1979). The original (hrmmm...) story was co-written by Tom Holland.

The film has been released multiple times on both DVD and VHS, and is quite easy to find. It was remade in 2006 (also for TV) by Stuart Gilliard. That version featured Fairchild again, this time cast as Sarah's mother.

★★

Mad Ron's Prevues from Hell (1987)

... aka: Prevues from Hell

Directed by:
Jim Monaco

This 83-minute trailer compilation, originally distributed on VHS by Off the Wall Video and now available on DVD through Virgil Films, features loads of cult, gore and exploitation trailers plus dumb "comic" framing scenes that were shot-on-video in a Landsdowne, Pennsylvania theater. Your host is a bespeckled, not-very-animated ventriloquist named Nick Pawlow, whose sidekick "Happy Goldsplatt" at least has an excuse for not being very animated since he's a handheld zombie dummy. The two trade lame wisecracks (Pawlow himself was one of the four credited writers) while the movie theater slowly begins to fill up with zombies patrons. The zombie scenes are a bit more amusing than our hosts. The make-up is very decent and some of the gags (such as a zombie popping out an eyeball and eating it, zombies using a severed arm to drizzle blood on their popcorn, a man getting his eyeballs blown out, etc.) are fun. By the way, "Mad Ron" (played by co-writer, co-producer Ron Roccia) is a zombie who is chained to a movie projector and doesn't really have much to do.

But the trailers themselves are what you came for and this one has some pretty great ones. You get a little bit of everything here, from mainstream releases to exploitation staples to popular cult classics, American and otherwise. Some are very brief, while others last several minutes. Some contain nudity and gore and all of them are from the 60s and 70s, aside from the also-shot-in-Pennsylvania TOXIC ZOMBIES (1980). On of the most memorable is for Orgy of the Living Dead (re-titled 60's Eurohorrors FANGS OF THE LIVING DEAD, KILL BABY KILL and THE MURDER CLINIC), which features a man supposedly driven crazy after sitting through the triple feature. A double-feature of I DISMEMBER MAMA and THE BLOOD SPATTERED BRIDE (both 1972) uses a similar sensationalized angle. Several recycle the "It's only a movie!" campaign from THE LAST HOUSE ON THE LEFT (1972). A trailer for the shockumentary AFRICA BLOOD AND GUTS (1966) features real animals and humans being killed. A somewhat out of place trailer for WILDCAT WOMEN (a 3-D release) provides a shot of straight-up sexploitation. Fangoria Magazine is also plugged several times.

Also included are trailers for COLOR ME BLOOD RED (1964), THE THRILL KILLERS (1964; under the title The Maniacs Are Loose), TWO-THOUSAND MANIACS! (1964), THE DIABOLICAL DR. Z (1965), THE GHASTLY ONES (1967), NIGHT OF THE BLOODY APES (1968), NIGHT OF THE LIVING DEAD (1968), THE WIZARD OF GORE (1968), I DRINK YOUR BLOOD (1970), BLOOD AND LACE (1971), THE CORPSE GRINDERS (1971), THE DEVIL'S NIGHTMARE (1971), LADY FRANKENSTEIN (1971), CHILDREN SHOULDN'T PLAY WITH DEAD THINGS (1972), LOVE ME DEADLY (1972), SISTERS (1972), TALES FROM THE CRYPT (1972), THREE ON A MEATHOOK (1972), TORSO (1973), DERANGED (1974), THE TEXAS CHAINSAW MASSACRE (1974), DEEP RED (1975), GOD TOLD ME TO (1976) and many more.

★★1/2