Our favorite films: Doug Gibson, Rob Craig and Steve D. Stones

Hi Cult Film Fans! We at Plan9Crunch are nerding out a little as summer gets into swing. This week we'll be at Monster Bash, by the way. Anyway, myself, Doug Gibson, acclaimed cult films author Rob Craig, and artist and co-blogger, Steve D. Stones, have named our all-time favorite films, for now. Read on and see how many films you agree should be on the list. And check out the films you've never seen. Believe it or not these films are accessible!

DOUG GIBSON’S FAVORITE FILMS

 

My favorite 3

Night of the Hunter (1950s)

Dracula (1930s)

The Black Cat (1930s)

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Silent

The Cabinet of Dr Caligari

Nosferatu 

Haxan

The Golem

Three's a Crowd (Harry Langdon)

The General ( Keaton)

The 1930s

The Bride of Frankenstein 

The Old Dark House 

The Dark Horse (Guy Kibbee)

Mr. Smith Goes to Washington 

You Can't Take It With You

Peach O'Reno (Wheeler and Woolsey)

Duck Soup

The Raven 

1940s

Devil Bat

The Corpse Vanishes

Detour

The Grapes of Wrath 

Stranger of the Swamp

Abbott and Costello Meet Frankenstein 

The Time of Their Lives

1950s

Plan 9 From Outer Space

Bride of the Monster 

Night of the Ghouls

Shane

 

1960s

Wait Until Dark

The Haunting

Spider Baby

The Human Duplicators

The Sadist

The Thrill Killers

Support Your Local Sheriff

Night of the Living Dead 

1970s

Fat City

Rocky

The Godfather Part 2

Torture Dungeon

Halloween 

Dog Day Afternoon 

Meatballs 

The Outlaw Josey Wales

The Legend of Hell House 

1980s

Tootsie 

Planes Trains and Automobiles 

Indiana Jones and the Last Crusade

Crocodile Dundee

They Live

1990s

Can't think of a great film

2000 on

Return of the King

The Others

Sinners

The Grand Budapest Hotel

Mr. Jones

Nosferatu

 

 

ROB CRAIG’S FAVORITE FILMS

 

Top “50” Horror/Sci-Fi Movies 1953-1984

The Angry Red Planet (1960)

The Asphyx (1972)

The Astounding She Monster (1958)

The Atomic Brain (1964)

Attack of the Mushroom People (1965)

The Baby (1973)

Bloodthirsty Butchers (1970)

The Brain that Wouldn't Die (1962)

Brides of Blood (1968)

The Brood (1979)

A Candle for the Devil (1973)

Carnival of Souls (1962)

The Children (1980)

Creation of the Humanoids (1962)

The Crawling Eye (1958)

The Creeping Terror (1964)

The Cremators (1972)

Day the World Ended (1956)

Death Race 2000 (1975)

Demon Witch Child (1974)

Destroy All Monsters (1970)

Dungeon of Harrow (ca 1964)

Evil Brain From Outer Space (1965)

Eyeball (1975)

Face of the Screaming Werewolf (1965)

Fantastic Planet (1973)

First Spaceship on Venus (1962)

Frozen Scream (1975)

Godzilla vs the Smog Monster (1972)

The Ghastly Ones (1968)

Halloween III: Season of the Witch (1982)

The Horror of Party Beach (1964)

Horror of the Blood Monsters (1970)

The Human Duplicators (1964)

The Incredible 2-Headed Transplant (1971)

Invasion of the Blood Farmers (1972)

It Conquered The World (1956)

“It's Alive!” (1969)

Journey to the Center of Time (1967)

Killers from Space (1954)

The Killer Shrews (1959)

The Lathe of Heaven (1980)

The Little Shop of Horrors (1961)

The Lost Continent (1968)

Manos, the Hands of Fate (1966)

The Manster (1962)

The Man With Two Heads (1972)

Mars Needs Women (1967)

Monster Zero (1970)

The Mutations (1973)

Night of the Bloody Apes (1974)

Night of the Ghouls (ca 1960)

Night of the Living Dead (1968)

1984 (1984)

Not of This Earth (1957)

Parts: The Clonus Horror (1979)

Phase IV (1974)

Pieces (1982)

Plan Nine from Outer Space (1959)

Planet of the Vampires (1965)

The Pyx (1973)

Robot Monster (1953)

Shriek of the Mutilated (1974)

The Terror (1963)

Terror From the Year 5000 (1958)

The Texas Chainsaw Massacre (1974)

Torture Dungeon (1970)

The Undead (1957)

Vampire's Night Orgy (1975)

Videodrome (1983)

Voyage the the Planet of Prehistoric Women (1967)

Warning From Space (1964)

War of the Gargantuas (1970)

When Dinosaurs Ruled the Earth (1970)

The Wild World of Batwoman (1966)

The Wizard of Mars (1965)

Womaneater (1960)

Z.P.G.: Zero Population Growth (1971)

 

STEVE D. STONES’ FAVORITE FILMS

 

1). The Cabinet of Dr. Caligari (1919). 2). Dawn of The Dead (1978). 3). Carnival of Souls (1962). 4). Things To Come (1936). 5). The Crawling Eye (aka The Trollenberg Terror) (1958). 6). The Beast of Yucca Flats (1961). 7). Plan 9 From Outer Space (1958). 8). Torture Dungeon (1970). 9). Star Wars - Episode IV - A New Hope (1977). 10). Nosferatu (1922). 11). Killers From Space (1954). 12). Night of The Living Dead (1968). 13). Faster Pussycat, Kill, Kill (1965). 14). A Bucket of Blood (1959). 15). Black Sunday (1960). 16. Rubin & Ed (1991). 17). Creepshow (1982). 18). Forbidden Planet (1956). 19). The Day The Earth Stood Still (1951). 20). The Thing (From Another World) 1951. 21). Godzilla vs. Megalon (1974). 22). Raiders of The Lost Ark (1981). 23). Die Hard (1988). 24). Predator (1987). 25). Dracula (1931). 26). Two Thousand Maniacs (1964). 27). The Phantom of The Opera (1925). 28). For A Few Dollars More (1967) 29). Pink Flamingos (1972). 30). Multiple Maniacs (1970). 31). Once Upon A Time In The West (1968). 32). Jaws (1975). 33). Dirty Harry (1971). 34). Children Shouldn't Play With Dead Things (1972). 35). The Screaming Skull (1958). 36). Jackie Brown (1997). 37). Hellraiser (1987). 38). Time Bandits (1981). 39). Blade Runner (1981). 40). The Hideous Sun Demon (1959). 41). Curse of The Swamp Creature (1968). 42). The Corpse Grinders (1972). 43). Where Eagles Dare (1968). 44). Shock Waves (1977). 45). The Road Warrior (1981). 46). Murder Mansion (1972). 47). Suspira (1977). 48). Star Wars - Episode V - The Empire Strikes Back (1980). 49). The Good, The Bad & The Ugly (1968). 50). Quatermass II: Enemy From Space (1956).   

Curse of the Swamp Creature – One of Larry Buchanan's Best Films

 

The films of Texas filmmaker Larry Buchanan have really grown on me over the years. I place Buchanan in the top five of my favorite cult film directors. After reading author Rob Craig's excellent book – The Films of Larry Buchanan: A Critical Examination (McFarland 2007), I have an even greater respect for Buchanan's films. Craig gives the reader great insight into the mind and films of Buchanan. Buchanan directed six made for television films for American International Television under the Azalea company title. One of these Azalea films is the 1968 science fiction thriller – Curse of The Swamp Creature, starring John Agar.

In Curse of the Swamp Creature, oil surveyor Driscoll West (Bill Thurman) arrives at the Fly-N-Fish Motel and sits down at the bar for a drink. A beautiful raven-haired woman named Brenda Simmons (Shirley McLine) sits down at the bar next to West and begins to flirt with him. Simmons pumps West for information about oil surveying in the local area, but West refuses to answer her questions and decides to go back to his hotel room.

West returns to his motel room to find young Ritchie (Cal Duggan) going through his personal belongings in the motel room. The two men fight, punching and wrestling each other to the ground. Ritchie stabs West in the stomach with a knife, killing him. The motel manager named Frenchie (Roger Ready) and Simmons enter the room and plot how to get rid of West's body. They decide to put West's body through a swamp-cutting machine.

Before West's death, he was scheduled to meet with geologist Barry Rogers (John Agar) at the hotel for a trip to survey the local swamp. Simmons comes up with the idea that when Rogers arrives, she will simply tell him that West could not attend the meeting and that she is West's wife sent to fill in for him. Rogers arrives at the Fly-N-Fish motel and is greatly puzzled by Simmons' news that West will not be joining them. Nevertheless, Rogers, Simmons and a swamp guide named Rabbit embark on a trip through the local swamp the next morning.

Meanwhile, Dr. Simon Trent (Jeff Alexander) is conducting bizarre experiments at a nearby swamp plantation not far from the Fly-N-Fish Motel. A scaly hand of a monster similar to the Gill Man in Creature From The Black Lagoon (1954) emerges from a vat of mist in Trent's laboratory. He yells at the creature to “Breathe! Breathe! Live!” Unfortunately the creature dies, and Trent wraps him up in a white blanket and throws him to the alligators who happen to dwell in his backyard pool.

Dr. Trent tells his assistants, Valjean and Tracker, that he expects them to keep close eyes on the plantation and not to allow any intruders near the plantation so that no one will interfere with his work. Local natives suspect that Trent is conducting evil experiments on the natives. Both Valjean and Tracker appear to be incompetent at their jobs because the natives have come near the plantation many times looking for lost family members. Trent tells them that he will not tolerate any more incompetence if they continue to allow natives near the plantation.

Rogers, Simmons, Ritchie and Rabbit eventually arrive near Dr. Trent's plantation. Instead of hiding from the group, Dr. Trent orders Tracker to bring them to the plantation mansion so he can offer them hospitality. The group meets in Trent's home and he discusses with them some of his experiments and research. Trent's wife Pat (Francine York) is excited to meet the group because she has not seen other people in over a year. The group is offered to stay the night at Trent's home. Trent keeps Pat locked up in a room and secluded from the rest of the world.

Tracker is persuaded by Pat to release her from her locked room. She wanders into her husband's laboratory and finds Dr. Trent's assistant – Tom (Enrique Touceda III – billed as “Anthony Huston”) floating in the lab tank with wiring attached all over his body. She flees the room, screaming and hysterical. Dr. Trent catches her and tries to assure her that Tom is not dead, and that Tom volunteered for the experiment. Mrs. Trent of course does not believe him. Tom questioned Trent's work, so he was drugged and placed in the tank for experimentation. Trent later wraps Tom up in a white sheet and dumps him into the alligator pool. Another failed experiment. The alligators feast on Tom's body.

After his failed experiment with Tom's body, Dr. Trent uses Brenda Simmon's body as his next experiment. She quickly evolves into a masculine looking green monster with bulging eyes. Dr. Trent orders the creature to kill the natives that have come to his home to confront him. The Simmons creature disobeys Trent and instead picks up Trent and throws him into the pool of alligators. Simmons then offers herself as a sacrifice by plunging off the dive board of the pool into the alligators.

One very strange aspect of this film is when Dr. Trent places his assistant Tom in the vat for experimentation. After placing Tom in the vat, he never fully evolves into a creature. Even after the camera shows him in a number of scenes in the vat, he remains in human form unchanged. However, when Dr. Trent places Brenda Simmons' body into the vat, she immediately evolves into a green masculine creature. It's as if experimenting on a woman achieves immediate results in contrast to experimenting on a male subject. Why is this? The viewer is left puzzled by this (at least I was).

At the time actor John Agar was cast in Curse of The Swamp Creature, he was battling a lifetime of alcoholism, which negatively impacted his acting career and ended his earlier marriage to actress Shirley Temple. Agar spent the decade of the 1960s being cast in a number of low-budget features, including another Buchanan Azalea TV film – Zontar – The Thing From Venus (1967), and Night Fright (1967), Journey To The Seventh Planet (1962), Women of The Prehistoric Planet (1966), and many others.

As mentioned at the beginning of this writing, Buchanan made a total of six made-for-TV films for American International Television under the Azalea company title. The five other Azalea films are: Zontar – The Thing From Venus (1967), Mars Needs Women (1968), The Eye Creatures (1965), In The Year 2889 (1969) and Creature of Destruction (1967). Stay tuned for other articles on Plan 9 Crunch about these Buchanan films produced by Azalea. Happy viewing.

- Steve D. Stones

'Cozzilla!' the cool Godzilla film Toho frowns on; and another short review

 

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Welcome to Plan9Crunch. Today we are sharing two short reviews; films we may explore in greater detail later. The first, see poster above, is "Cozzilla," or Godzilla 1977. It's an Italian version from direcor Luigi Cozzi. Toho is not thrilled with it but it's a lot of fun, and was a success in Italy.

Plan9Crunch friend, author Rob Craig, sent us a DVD of this film, from DVD-R Party. It uses "Godzilla: King of the Monsters," as its template (although one scene from "Godzilla Raids Again" is included). Cozzi added color to appeal to Italian audiences. According to Craig, this was done by having translucent gel laid over film frames. Cozzi edited out some scenes and inserted World War II newsreel footage. Also, electronic music was provided by Fabio Frizzi, who later composed Zombi 2, added Craig.

I love this film version of Godzilla. I've seen it three times. It has the same psychedelic appeal of "Godzilla Versus the Smog Monster." The inclusion of the newsreel footage, which of course includes civilian casualties of war, is extremely sobering. It adds a higher amount of depth to the film. Godzilla seems an even greater killing machine. This increases the emotional punch of Dr. Serizawa's self sacrifice at the end.

You can catch "Cozzilla" on the Internet Archive, or order a DVD copy at DVD-R Party.

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Our second review is of a pre-code Warren William drama called "Bedside," from 1934 (see poster above). Warren made a fortune playing likable cads in these early sound films. He is a major-league cad in this film, worse than usual, but still likeable, darn it!

Warren outdoes himself in being a charlatan, swindler and heartbreaker. He's an X-Ray technician whom a nurse (Jean Muir) loves. She loans him money to finish med school (he needs one more year). Warren loses all the money gambling and lies -- from afar -- to her. Warren eventually buys (extorts) a medical degree from a disgraced doctor. He goes to the big city and through his charm achieves fame and riches as a doctor (with the help of PR man (Allen Jenkins). But another doctor (Donald Meek) does all the work.

Invariably, Warren is forced to do a real operation, one that will affect Muir's life. I'll stop there. This is a pretty creative tale. Warren's "doctor" character reminds me of Burt Lancaster's creation of "man of God" preacher Elmer Gantry. This film pops up occasionally on Turner Classic Movies.

We hope you enjoy these films.Stay tuned to our Plan9Crunch YouTube page where will discuss the 2025 horror film "Sinners." It will likely air in early September.

-- Reviews by Doug Gibson

'Monstrosity' is gutter auteur Andy Milligan's take on Frankenstein

 

Essay and review by Doug Gibson

Rob Craig’s book on Andy Milligan, Gutter Auteur: The Films of Andy Milligan, is aptly named. Milligan, who died nearly 35 years ago, made films designed for 42^nd Street. The sleazier the “Deuce” got, it didn’t matter; a Milligan film would provide well for its audience.

Jimmy McDonough, who penned the superb biography, “The Ghastly One: The Sex-Gore Netherworld of Filmmaker Andy Milligan,” recounts Milligan’s early career, when there might have been an opportunity for him to break through bohemia and into a mainstream career. In the ‘60s, he wrote, acted and directed plays in such iconic locations as Caffe Cino and La MaMa Experimental Theater. A short film he directed in 1965,”Vapors,” is well regarded as an early gay-themed film. It played art houses on both coasts.

But McDonough also chronicles a horrific familial life Milligan endured, and it likely affected his career, as he feuded with producers and distributors, and could be tyrannical, even cruel, when directing. After making some late-feature adult drama films that are unfortunately lost (some attracted better than average reviews and box office) Milligan settled down into grindhouse horror direction. William Mishkin was his money man. Milligan would get $20,000 or so, spend half of it making a film, and presumably pay himself with the excess.

A dress-maker who ran a shop for a while, Milligan made garish period pieces. He made versions of horror films, including “Torture Dungeon,” (Richard the Third), “Blood,” (House of Dracula), “The Body Beneath,” (Dracula), “The Rats are Coming. The Werewolves are Here,” (The Wolf Man/Willard), “The Man with Two Heads,” (Dr. Jekyll and Mr. Hyde), “Nightbirds,” (The Servant) and “Bloodthirsty Butchers,” (Sweeney Todd).

Drawing on his dysfunctional life, he made psychological, violent films that assailed marriage (The Ghastly Ones,” religion, “Guru the Mad Monk,” and family life, “Seeds.” He even made a poignant, downbeat porno/adult film, “Fleshpot on 42^nd Street,” that is a commentary on life where his films were often shown.

Occasionally Milligan would attempt to move from Mishkin to other producers. He even made films in England. But most films were with Mishkin.

For a long while, Milligan lived in Staten Island, and some films were shot at his home. He eventually bought and lived in a Staten Island hotel where he shot a couple of films. He then moved to Manhattan and ran an off-Broadway theater, The Troupe, for several years.

Perhaps feeling his age, and disgusted with the decay of Manhattan, Milligan moved to Los Angeles in the mid ‘80s. He resumed much of his past life, opening an ill-fated dress shop, started a Troupe West playhouse which lasted a few years, and made some movies. Milligan, a gay man, also settled into a relationship with a younger man, a sometimes hustler, named Wayne Keeton.

Milligan made three films in Los Angeles: “The Weirdo,” an interesting remake of a lost film that involved a bullied young man in a dysfunctional family. He also directed (for hire) a film, a comedy horror titled “Surgikill.’

In between Milligan kind of reunited with the Mishkin family to direct “Monstrosity.” Lew Mishkin, William’s son, provided the money. Andy and Lew hated each other, but the VHS boom probably motivated the ulta-low-budget film, which is Milligan’s take on the Frankenstein monster, with a little bit of the Golem thrown in.

None of Milligan’s ‘80s films made any money. The video boom was over. “The Weirdo” perhaps had a tiny VHS release, and later a Blu-Ray. “Surgikill” sat on the shelf for decades. ‘Monstrosity” economically fared no better. It may have had a small Europe VHS release. It finally found a DVD home early in the 21^st century and a Blu-Ray release in 2018.

Yet “Monstrosity” is my favorite Milligan LA film, and I feel comfortable saying it’s the most cultish of his last films. It’s dreadfully cheap, with typical Milligan gore (a couple steps below Herschell Gordon Lewis). The first 25 minutes – despite interesting film-noirish shots of sleazy ‘80s Los Angeles – is torture porn.

Stereotypical punks kill and maim random people on the streets. They rape and badly injure a young woman. While in what’s supposed to be a hospital room – but looks like a bedroom – one of the killers, pretending to be an orderly, savagely kills her, removing her intestines (again poor special effects). Her grieving boyfriend, along with a couple buddies, decide to create a Golem-like monster to get revenge. In an outdoor shed, they do just that and name the creation “Frankie.” Get it?

Readers may be wondering why I keep watching. But once Frankie arrives – played by frequent Milligan actor Hal Borske – “Monstrosity” turns into something special, the unique work, indeed, of a gutter auteur. As Craig writes in “Gutter Auteur …,” “… “Monstrosity” is an amazing, baffling and at times extraordinary film, equal parts social satire, slapstick farce and light fantasy, awash in the overall sheen of the horror-comedy mythos. … “Monstrosity” is Andy Milligan’s “Frankenstein,’ a conceit stated overtly by one of the characters, and vividly illustrated via the film’s main plot points.”

Borske's Frankie captures the spirit of Mary Shelley’s creation. He’s a monstrous innocent, initially trusting in his creators but learning the downbeat, dysfunctional lesson that most of the world hates him, and his creators only want to control him.

It’s not an irony, but merely obvious, that Borske’s Frankie, despite his deadly violence, is the most humane character in “Monstrosity.” And Milligan throws in a love interest, a dim-witted, oft-abused but gentle drug addict named Jamie Lee, played by Carrie Anita. It’s a marvelous performance by an actress I doubt was in another film.

Milligan never did love better than in this film as the relationship between a monster and a street girl seems natural. In wacky fashion, the pair are married by a guardian angel. During intimacy blood, rather than semen, shoots from other parts of Frankie’s body.

The cruel murder of Jamie Lee by Frankie’s creators leads to a revenge-filled bloody climax.

The final scene of “Monstrosity” is a cult gem. Author Craig accurately tags it as “allegorical.” Frankie sits on a public bench chatting away with a “bag lady’ named Agnes. They converse about life and the things they’ve learned through existence. Frankie is mellow, a bit downbeat but also optimistic, prepared to use his brain to be the best man he can be. What I like most in this final scene is that Frankie seems to have blended in with life on the street. His contemporaries aren’t alarmed by his conventionally grotesque appearance.

The camera moves up into an epilogue where Milligan shouts “Cut, that’s a wrap! Then cast and crew members join Frankie and Agnes on the street. It’s another cultish touch that probably wouldn’t have been included had the film received an initial release.

After “Monstrosity” there was the for-hire “Surgikill.” Milligan’s boyfriend Keeton died of AIDS. Soon afterwards Milligan was diagnosed with AIDS. The Troupe West playhouse closed and Milligan died in 1991. Author McDonough, who worked on the crew on “Monstrosity,” relates Milligan’s horrific final days. By then a pauper, Milligan is buried in an unmarked grave.

If you want to learn more about Andy Milligan, you can purchase McDonough’s’ updated biography and Craig’s analysis book here, and here. You can search ebay or other sites for issues 52, 53 and 54 of Tim Lucas’ Video Watchdog, to read a three-part series on Milligan. And Plan9Crunch blog has a detailed look at the making of “Surgikill” by its writer, the late Sherman Hirsh. Andy, in rascal fashion, conned Sherman into believing he never made films in England, but it’s a great read. And Plan9Crunch blog interviewed McDonough a long while ago. Many of Milligan's films are reviewed at Plan9Crunch.com.

Attack of The Giant Leeches – Terror In The Florida Everglades!

Review by Steve D. Stones

Here's another awesome Blu-Ray double feature put out by Retromedia – Attack of The Giant Leeches (1959) (aka The Giant Leeches) with Teenagers From Outer Space (1959). Both prints of the films are in excellent quality. Produced by Roger Corman and his brother Gene, Attack of The Giant Leeches was directed by Bernard L. Kowalski and features the bizarre organ music of Alexander Laszlo. The film also features July 1959 Playboy centerfold – Yvette Vickers. A skim budget of $70,000 was all it took to produce this B-movie masterpiece.

A swamp hillbilly from the Florida Everglades named Lem Sawyer (George Cisar) encounters a strange creature in the swamps while poaching for wildlife. Sawyer fires several shots from his gun into the creature, but is unable to stop the creature as it swims away. Later that evening, Sawyer reports this incident to his swamp buddies at Walker's General Store. His buddies laugh at him and don't believe his wild story.

That same evening, Dave Walker (Bruno VeSota), owner of Walker's General Store, confronts his wife Liz (Yvette Vickers) for being bossy with him and for prancing around the store while scantily dressed in front of his swamp friends. Liz appears to be bored with the marriage and does not listen to a word Walker says to her.

Unknown to Walker, Liz has the reputation of being the town harlot. Liz leaves Walker's store for a date with Lem that night. During the date, Lem and Liz are attacked by the same creature that Lem confronted with his gun. Lem is killed by the creature as game warden Steve Benton (Ken Clark) arrives in time to save Liz.

Refusing to learn from the attack, Liz continues her harlot ways by parking in a car by the swamp with Cal Moulton (Michael Emmet) as the two kiss and make out on a blanket. Dave Walker catches the couple in the act and threatens his wife and Cal with a shotgun. Walker becomes angry with the couple and orders that they walk out into the swamp where they are attacked by giant leeches and taken to an underground cave. Walker later hangs himself in jail because the local authorities believe he was responsible for killing Liz and Cal.

After two poachers are attacked in their boat and taken by the giant leeches, a search party led by game warden Benton searches for the two poachers and Liz and Cal. Dr. Grayson (Tyler McVey) suggests to his daughter Nan (Jan Shepard) and Benton that perhaps giant leeches are living in a cave under the swamp and are responsible for all the missing persons reports. He recommends that a charge of dynamite be placed in the swamp to bring the leeches to the surface. Benton refuses to go with this plan, stating that it's his job to preserve wildlife and that perhaps the four victims could still be alive in a cave below the swamp.

Although Benton threatens to arrest Dr. Grayson if he's seen in the swamp with explosives, Grayson and his daughter Nan place a charge of dynamite in the swamp. The bodies of the two poachers and Cal float to the surface as angry Benton arrives at the scene. Grayon's theory about an underground cave proves to be correct when an autopsy reveals that the bodies had only been dead for a few short hours. Liz Walker's body is yet to be found.

Benton and a diver go into the water with spear guns to kill the giant leeches after Liz's body comes to the surface from a second dynamite charge. Watch carefully for scuba tanks poking out of the giant leech costumes as they confront Benton and his diver companion in the water. Overall, the appearance of the giant leeches is quite effective.

It's interesting to note that Attack of The Giant Leeches played on a double-bill on the drive-in movie circuit with director Roger Corman's film – A Bucket of Blood (1959). In 1960, the film later played on a double-bill with Corman's – House of Usher (1960). Attack of The Giant Leeches remains in the public domain because its copyright has never been renewed. A remake was made in 2008. I have not seen the remake, but I've heard from several sources that it's not very good.

Director Bernard L. Kowalski also directed another great cult classic – Night of The Blood Beast (1958) which also stars Michael Emmet and Tyler McVey. The bizarre organ music by Alexander Laszlo used in Attack of The Giant Leeches was first used in Night of The Blood Beast.

Sadly, actress Yvette Vickers' mummified body was found in her home in April 2011 by a neighbor. She was 82 years old at the time of her death. Autopsy reports suggest that she may have been deceased for a year or more before her neighbor discovered her body. Her July 1959 Playboy photos were taken by cult director Russ Meyer. She can be heard giving audio commentary with film historian Tom Weaver on the 2007 DVD release of Attack of The 50 Foot Woman.

For further information about Attack of The Giant Leeches and other American International Pictures films, see the excellent and exhaustive book – American International Pictures – A Comprehensive Filmography (2019 McFarland) by author Rob Craig. I consider this book to be one of my most cherished film encyclopedias in my personal library. Happy viewing!

American International Pictures – A Comprehensive Filmography - By Rob Craig

Review by Steve D. Stones

It's often been said that you can't judge a book by its cover. It's also been said that you can't judge a book by its movie. If you've ever read a film analysis book by Rob Craig, you know his books deliver both in their content and their colorful cover designs. His analysis of forgotten films and underground cult directors is well researched and well written. Craig treats these often forgotten films and their directors with great respect. Craig never resorts to giving aggressive pot shots to any of the films he writes about, unlike some film critics and historians I won't mention here.

In the introduction to his latest book – American International Pictures – A Comprehensive Filmography (McFarland 2019), (800-253-2187) Craig makes it clear that this book is meant as an analysis of AIP films and their television product, and not intended as a history of the company or a biography of the company's founders – James H. Nicholson and Samuel Z. Arkoff. The Amazon link is here.

The sole purpose of this project, according to Craig, is to gather as comprehensive a listing of all film product that AIP was involved in marketing, which includes – all AIP theatrical releases, films and series released to television through AIP, and to chronicle all product released through one of AIP's subsidiaries or satellite companies. The list of AIP's satellite companies is quite long.

Also in the introduction, Craig mentions what he considers to be one of the most unique and interesting products offered by American International TV, which was a series of eight original productions by Texas cult filmmaker – Larry Buchanan. These productions were released under the “Azalea Pictures” banner in the 1960s. The films include – The Eye Creatures (1965), Zontar, The Thing From Venus (1966), Creature of Destruction (1967) and In The Year 2889 (1966) – all remakes of 1950s films. This is a topic which is no stranger to Craig, since he discussed the Azalea films at great length in his awesome book about director Larry Buchanan (The Films of Larry Buchanan – A Critical Examination – 2007 - McFarland ).

Many of my all time favorite low-budget films are discussed in Craig's latest book, such as: A Bucket of Blood (1959), The Screaming Skull (1958), The Phantom Planet (1961), Planet of The Vampires (1965), The Pit & The Pendulum (1961), The Robot vs. The Aztec Mummy (1959), and the Mexican import – Santa Claus (1959). It's great to see Craig give a positive nod to Santa Claus. I was beginning to think that my co-blogger Doug Gibson and myself were the only two human beings on the planet to appreciate Santa Claus and all its bizarre charm.

Craig's latest book reminds me a lot of Michael Weldon's – The Encyclopedia of Film (1983 Ballantine), only Craig's writing gets into much greater details of the films he discusses. One of his most interesting reviews in the book is for A Bucket of Blood (1959). This is one of his longest reviews.

Released Halloween 1959 and directed by Roger Corman, A Bucket of Blood is considered a horror comedy that comments on the then “beat culture/beat generation” of the 1950s. Craig mentions the film as being ahead of its time, since straight-forward horror films had played themselves out by the end of the 1950s. A Bucket of Blood brought a fresher point of view as a spoof and parody of horror films and beat culture while at the same time keeping a cynical tone.

Craig mentions that he views Little Shop of Horrors (1960), a film made by Corman shortly after A Bucket of Blood and one which has some similar plot points, as the far more superior of the two films. Although I'm a fan of both films, I'm not sure I agree with Craig's analysis of Little Shop of Horrors as being a much better film. While it may be true that actor Dick Miller incoherently mumbles many of his lines in the film, portraying him as a doofus, as Craig points out, this does not detract from Miller's character as a struggling coffee house worker and artist. In fact, in my view, it greatly adds to his lonely, shy, and backwards character that helps to reinforce the stereotype of the “struggling genius artist.” A Bucket of Blood and Little Shop of Horrors make great companion films.

For further reading of Craig's work, refer to his excellent book on director Ed Wood: Mad Genius – A Critical Study of The Films (McFarland 2009), Gutter Auteur – The Films of Andy Milligan (McFarland 2012) – and his equally awesome book on films of 1957 – It Came From 1957: A Critical Guide To The Year's Science Fiction, Fantasy & Horror Films (McFarland 2013). Also refer to the above mentioned book on the films of Texas director Larry Buchanan. Happy reading.

Films of Ed Wood covered in depth in book

By Doug Gibson

The first thing that grabs me while reading the new book, "The Cinematic Misadventures of Ed Wood," by Andrew J. Rausch and Charles E. Pratt Jr. (BearManor Media, 2015) is that there's virtually no contributions from Wood's "old guard," the folks that were around him from the late 1940s to the early 1960s. There's nothing wrong with that, in fact it's a strength of the book, to bring new blood to Wood study. We've heard too many of the old stories in print and screen.

But there's another bittersweet reason for the many omitted. Kathy Wood, Lyn Lemon, Paul Marco, Dolores Fuller, Gregory Walcott, Vampira, Loretta King, Norma McCarty, Don Nagel, David De Mering, Bunny Beckinridge, Mark Carducci, Valda Hansen, and others. They're all dead, some in the last few years. The main Wood friend of that long-gone era still kicking is Conrad Brooks and he's barely mentioned. Even Wood's initial stepladder to fame, Bela Lugosi, keeps a small presence in this volume. (Editor's note: Brooks has died since this review's initial publication).

"Cinematic Misadventures ..." is far from perfect, but it is a valuable book. Its ability to gather a collection of younger, eclectic characters to go on the record about their associations and obsessions with Ed Wood is evidence of the lingering influence of Wood's movies, and yes, legacy, folks. This man's going on 40 years dead and people are still talking about him while others, say, Samuel Arkoff, are interred into the cemetery of footnotes.

The strongest part of Rausch and Pratt's Ed Wood book is the interviews (there's 89 pages of Q and As, and bookended forwards and afterwords by Wood "scholars" Ted Newsom and David C. Hayes. The former did the still-awesome "Ed Wood: Look Back in Angora," and the latter examined Wood's fiction career in the book "Muddled Mind: The Complete Works of Edward D. Jr." (Since then, Bob Blackburn, one of Wood's co-heirs, has published two extensive collections of Wood's short fiction).

The interviews are great reading. There's one with Rudolph Grey, who still has written the best Wood book, "Nightmare of Ecstasy." He provides the interesting nugget that it's likely that portions of a lost Wood film, "Cry of the Banshee," are tucked into Wood's "Night of the Ghouls." I'm inclined to believe Grey, and assume he's referring to the exterior stock footage of ghost Jeannie Stevens, who harasses Valda Hansen in the film.

Speaking of stock footage from "... Ghouls," there's a fascinating interview with a pair, including Marco's nephew, who discovered and had restored the once-lost "Final Curtain," a long scene of which is stock footage in "Ghouls. It has Duke Moore, in tuxedo, roaming an old stage and discovering ghost Stevens. I've always loved the improvisation of Wood, how he manages to make that insert work by having "Night of the Ghouls" policeman Moore in tux readying to go to the opera. It's also interesting to learn from the interview that decaying film smells like vinegar.

There's an entertaining interview with Rob Craig, who wrote an eccentrically interesting criticism of Wood's work a few years ago, and has since tackled Andy Milligan. I don't always agree with Craig, but I appreciate his taking the time to deconstruct the filmmakers who worked far away from the roads covered in tinsel.

I have a hard time sitting through 10 minutes of Andre Perkowski's $500 film homages to Wood's previous works, but the interview with this micro-micro budget filmmaker was extremely interesting. He says he's read about 50 of Wood's novels, so for about $25,000 maybe we'll see 48 or 49 more Perkowski Wood homage films.

And former Apostolof/Wood actress Brenda Fogarty is just brilliant in responding to a theory the authors have that the content of Wood's films must have reflected his personal, cultural and political beliefs. (That's like claiming Stephen King is a racist if he has a character use the "N word.) Fogarty points out that the misogyny and male fantasy rape in the turgid, offensive porn that Wood and Apostolof produced was grinded out to appeal to the dysfunctional, maladjusted audience for that cinema sewer, and cannot be ascertained as the filmmakers' personal beliefs.

The same argument is applicable to the author' criticisms of Wood's moralistic stance in "The Sinister Urge," the "anti-pornography" hypocrisy in that film, and the overly moralistic tone in "The Violent Years." Those films were pre-porn-era  titillation, which regularly used "moral lessons" as a hook to bring in the peepshow crowd. Heck, "Orgy of the Dead" used faux morals too to present bad strip acts! To sum up: you can criticize Wood for making depraved films, but you can't definitively tag him as that in real life, no more than you can tag George Orwell as an anti-Semite for statements in his classic novel "Down and Out in Paris and London," or Charles Bukowski as adopting what his characters in novels say, and the list goes on.

The movie summaries of Ed Wood's resume are the weakest part of the book. There are, however, much-needed and appreciated pages on three Wood-scripted films that have not been covered much. They include the early 1960s' films "Shotgun Wedding" and "Married Too Young," and the really interesting "Venus Flytrap," from 1970. I've got to see this film via amazon instant video, because it seems like a gem based on its description. There's also tidbits of interesting new info such as learning that "Jail Bait" star Clancy Malone previously delivered Wood's groceries, or that Apostolof was so fed up with Wood's drinking during the "Orgy of the Dead" shoot that he didn't use him again for several years.

Also, there's a long chapter on the 1998 "I Woke Up Early the Day I Died," scripted by Wood and directed by Aris Iliopulos, who attracted a good cast and budget. The authors tag this as "Wood's masterpiece." I'd like to test that theory but legal problem have kept this film from U.S. distribution. There is also an interesting interview with Iliopulos. (Look at the cast of "I Wake Up ..." It's incredible.)

The book's chief flaw is that far too many pages are devoted to Wood's mediocre pornography efforts post-"Orgy of the Dead." Films such as "Necromania," "For Love and Money," "One Million AC/DC," "Young Marrieds," "Nympho Cycles," "Snow Bunnies," etc. could have all been dispensed with one or two paragraphs. The only two Wood-involved films that merit chapters after 1965 are the aforementioned "Venus Flytrap" and "Fugitive Girls," a Wood/Apostolof R-rated film that almost, the authors appropriately note, reaches the level of AIP drive in fare of the 1970s.

The porn chapters are boring, the authors despise the turgid quality of the films and pay homage to such poor quality by offering the worst writing of "Cinematic Misadventures." I never, ever want to read this again in any Wood-themed book: In the chapter on "Necromania," the authors write: "... the women's vaginas are so grotesquely hairy that they look like they've got bear heads in leg locks."

That simply jumps the TMI shark,

Despite all, this is a valuable addition to Wood's films study, and well worth buying for genre fans (it's available via Kindle too). Rausch and Pratt have accomplished what was clearly a goal; to find new information on Wood's career and legacy. The interviews and the film chapters accomplish that, with wide variances of worth and quality in the wealth of information gathered.

Science fiction, fantasy and horror; all from 1957

Review by Steve D. Stones

It really didn't occur to me that many of my favorite low-budget science-fiction films were released in 1957, until I read Rob Craig's awesome book - It Came From 1957: A Critical Guide to the Year's Science Fiction, Fantasy and Horror Films  (McFarland - 2013 - www.mcfarlandpub.com - 800-253-2187). If you are familiar with Craig's writing, you know he is no fan of big budget, Hollywood produced science-fiction films. He loves the more creative, thought provoking films made on a shoe string budget by smaller studios. Director Roger Corman is an example of this. Craig gives an interesting analysis of Corman's 1957 releases, such as Attack of The Crab Monsters and Not of This Earth.

In 1950s America, the Cold War was a hot topic, the expansion of the Military Industrial Complex was underway, a grandfatherly figure and war hero - Dwight D. Eisenhower - was in the White House fulfilling his conservative agenda, and the space race had also just begun. Science-fiction entertainment of the 50s reflected all of this, as Craig points out in his book. The 1950s, with its robust economy and birth of the "baby boomers," was truly a decade which bred consumerism and a hope to fulfill "The American Dream."

One of Craig's more interesting reviews of a 1957 film is his review of From Hell It Came, a favorite of mine, produced by Jack and Dan Milner. This film breaks from the stereotypical 1950s portrayal of the woman as homemaker and bearer of children. A woman scientist and feminist named Terry, played by beautiful Tina Carver, is pursued by a male scientist, Tod Andrews. Andrews suggests in one scene that she should be like "normal women" by getting married to him, having children and settling down as a house wife. Carver rejects his suggestion, and feels it is a lifestyle she could not be a part of. As she says in a scene from the film "I live by my intellect!"

Like From Hell It Came, Roger Corman's - Attack of The Crab Monsters also focuses on a group of scientists living on a Pacific atoll while conducting research, only this time the scientists are not necessarily trying to impose an Imperialistic agenda on natives. The scientists discover that one of the giant crabs is pregnant. Craig gives a Freudian analysis of the giant crabs, with their raised frontal limbs and large mouth opening, as the opening of a vagina ready for intercourse, particularly in the missionary position. Their teeth devour the penis of any male who dares enter. A strange, yet humorous analysis of the giant crabs.

If you have read much of Craig's writing, you know he is often critical of what he calls the "phallo-centric" and "patriarchy" of male dominance in popular culture. He often relates his subject matter to the patriarchal dominance of men in culture and cinema. He makes this clear even in his book about Texas director Larry Buchanan - A Critical Examination.

Craig even references the male erection in relation to the subjects of the films he discusses, such as the giant architectural monster in Kronos, who sprays his electrical energy as if it is sperm erupting from a penis. Craig sees the giant walking tree in From Hell It Came, known the Tabanga, as a walking penis who enforces his male agenda on its creators.

Don't forget to read Craig's conclusion at the end of his book. It is here that he opens up on his views of the Star Wars and Alien franchises, calling them brain dead serial junk which act as propaganda to encourage a perpetual state of war. It is safe to say that fans of Star Wars would not take too kindly to his analysis, but perhaps many Star Wars fans would also have no desire to see any of the low-budget films Craig so passionately writes about.

Craig's analysis of Star Wars may be more of a frustration of film viewers favoring special effects and swash buckling action over a more thoughtful, intellectual approach of lower budgeted science-fiction films. I see his point, and I agree with him, for the most part. However, there is no denying the impact of Star Wars on science-fiction cinema and popular culture.

For further analysis of Craig's views on big budget, Hollywood produced films, see Andrew J. Rausch's and Charles E. Pratt, Jr's 2015 book - The Cinematic Misadventures of Ed Wood. Craig is interviewed in the book and makes a great case for the importance and entertainment value of Ed Wood films. Like Rudolph Grey, Craig is an expert on all things Ed Wood.

For further reading of Craig's works, see his other excellent books - Ed Wood: Mad Genius - A Critical Study of The Films (2009), Gutter Auteur: The Films of Andy Milligan (2012), and The Films of Larry Buchanan - A Critical Examination (2007). I am anxiously waiting for his latest project about low-budget director Jerry Warren to be released. It couldn't come out soon enough for me. Happy reading.