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Another low budget outing from 1969, starring Gerald McRaney. Remember him from TV's Simon and Simon? The poster art gets my top vote for "Worst Poster Art from the 1960s." Looks like they took a meat cleaver and...oh, wait, didn't the killer use a meat cleaver in the movie? That explains it, then.
Continue reading "Movie Pressbook: Night of Bloody Horror " »
The Magnetic Monster (1953), c0-scripted by Curt Siodmak, who also directed.
So who do you think would win in a fight: Cujo or Dracula's dog?
After a long hiatus, We Belong Dead returns to satisfy our taste for classic (and not so classic) horror movies. Unlike some magazines catering to modern fare--and all those attached commercial necessities to keep the studio doors open--it's refreshing to read articles that examine movies with a more discerning eye and a fan's enthusiasm. I wished the editor had a more discerning eye for typos and some grammar lapses, but overall, this 9th issue of We Belong Dead is a welcomed addition to the horror movie magazine scene that appears to be experiencing a rebirth of readership.
There's so much here to curl up on the sofa with for a good read: an excellent comparative study of Night of the Demon to its literary source, M.R. James's Casting the Runes, a closer look at Reeve's Witchfinder General, and a bloody good rundown on Salem's Lot. Throughout, domestic and foreign poster art is amply sprinkled, making me wish this issue was in full color.
For Aurora model kit fans, Cage's The Thirteen Monsters of Aurora is a nostalgic reminder of just how good we monsterkids had it back then, and the pleasures of the printed medium are covered by Peter Benassi's childhood memories of pleasant chills pulled from the magazine and book racks. An endearing part of this magazine is how it captures the personal experiences of its contributors with their passions for the horrors of their childhood (and misspent adulthood, I'd warrant).
If you're like me and always on the lookout for a good listing of movies to watch next (or avoid, for that matter), you will find the coverage of the 5 best Ripper movies, Peter Cushing's Amicus roles, and a neophyte's guide to the curious amalgam of The Blind Dead movies a rewarding experience. Not so rewarding are the interviews with Barbara Shelley (everything was marvelous and modern horror shows too much) and Jean Rollin (bits and pieces from a longer interview that was lost) lack the more probing questions that would truly satisfy the jaded horror fan like myself. I know, it's a curse, but I bear it well.
But how can you find much fault with a magazine that dares to hammer Hammer's Dracula films and dares to find some semblance of enjoyment in Dracula vs. Frankenstein?So yes, let's hope We Belong Dead 10 won't take as long to hit the racks as issue 9 did.
The Mexican lobby card for Bela Lugosi's horror-comedy, One Body Too Many (1944).
Is it just me or does this 11 x 17 inches pressbook scream Moebius Model Kit to you, too?
Continue reading "Movie Pressbook: Prisoner of the Iron Mask " »
Great pressbook for a surprisingly effective B movie, The Monolith Monsters (1957). Extraterrestrial rocks growing amok concept provides the most interesting aspect of action for another movie: Superman Returns (2006).
Continue reading "Movie Pressbook: The Monolith Monsters (1957)" »
Paul Naschy movie. Love the poster art. The movie, not so much. Great title, though. One you'll not see again in our more enlightened social environment. Although, now that I think of it, House of Psychotic Men would be a fitting title for a documentary on Congress.
Continue reading "Movie Pressbook: House of Psychotic Women" »
The movie is So Sweet, So Dead (1972). The original Italian title is even more unexciting (and much longer). So the pressbook goes for the titillation effect with the more direct "The Slasher...is the Sex Maniac!" The 1970s were a lot like that. Movie pressbooks from this decade are a lot like that, too.
Yes, indeed, zombie pix are upbeat and durable. This 11 x 17 inches double bill pressbook for The Black Sleep and The Creeping Unknown (although Creeping isn't covered much) is a black and white treat that reminds me a lot of Famous Monsters of Filmland magazine in its "Horror Beyond Belief!" layout. I would have loved to have seen those waxworks of the horror stars in a theater lobby.
Continue reading "Double Bill Pressbook: The Black Sleep
and The Creeping Unknown " »
A simple Mexican lobby card design you see for 1970s and 1980s movies like Without Warning (1980): photographic elements and basic text layouts.
I simply love this Mexican lobby card for The Naked Jungle (1954). For one thing, how can you go wrong with an unstoppable army of man-eating ants ruining your day. Sure, there's romance and a manly Charlton Heston to save the day, but did I mention MAN-EATING ANTS? The card is eye-catching, and the illustration sophisticated yet vibrant.
