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Rock, Pretty Baby (1956)

Starring John Saxon, Sal Mineo, Luana Patten, Edward Platt and Fay Wray. Written by Herbert H. Margolis and William Raynor. Directed by Richard Bartlett.

Plot: Jimmy Daley (John Saxon at the ripe age of 21) is a young teenager hoping to finally make it big with his rock 'n' roll band much to the objections of his father who wishes his son would follow in his footsteps as a Doctor. As if life weren't complicated enough for the troubled teenager, he suddenly finds himself reluctantly falling for a new girl in his life named Joan Wright (Luana Patten).

Comments: This is pretty much an average example of the troubled teenager/juvenile deliquency genre from the 1950s. There's lots of moralizing and emotionally charged conversations that sound anything but really typical of the average family although they do well represent how family values were expressed in the movies during this era. The biggest problem this has is it's painfully obvious all the music is only being pretend played and performed. Still any movie that has John Saxon as a brooding, troubled teenager cannot be all bad especially considering his parents are played by Edward Platt and Fay Wray and his sister is a very young Shelley Fabares. The music is actually more jazzy than rock and roll in the movie too which may or may not be a bad thing depending on one's taste. Overall I enjoyed this far more than logic dictates I should but then I don't think I'll ever get enough of this style of drive-in fare and this isn't even one of the better examples of the tormented youth genre.  Innocent fun.

:thumbup:  I used to keep this in rotation at the video store.  Conversations about heavy petting always make for great background noise.

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House of 1000 Corpses (2003)

Starring Sid Haig, Bill Moseley, Karen Black, Sheri Moon, Chris Hardwick, Erin Daniels, Jennifer Jostyn and Rainn Wilson. Written and directed by Rob Zombie.

Plot: Two young couples travelling the backwoods of Texas in search of urban legends and bizarre tourist spots find themselves drawn to Captain Spaulding's Museum of Monsters and Madmen and are further intrigued to try and search down more information first uncovered there about a terrifying local legend, a serial killer known only as Dr. Satan!

Comments: This is basically just a retread of the vastly superior 1974 TEXAS CHAIN SAW MASSACRE (albeit without a chainsaw). The basic plot and series of events that unfold are pretty much the same if you stop and think about it although some of the character roles in the family of psychopaths have been changed here and there. Unlike the original TCM, this never manages to really truly create any sense that what is happening on screen is really in the realm of plausible reality (it doesn't help matters that much of the film looks and plays out like an insanely over the top music video), doesn't sufficiently build its suspense or create characters the audience feels for or truly sympathizes with. That said, I have to admit to enjoying some of the fine performances given here, most notably by Sid Haig whose Captain Spaulding, by far the most entertaining character in the film, isn't on screen near as much as he ought to have been. Bill Moseley as Otis also proves quite effective whenever his sick and twisted character is given a chance to shine. Aside from that, only Gregg Gibbs' Dr. Wolfenstein Horror Host style segments stand out.  I definitely prefer the early part of the movie that is less like TCM. The rest just feels like an inferior imitation to me.

If you haven't seen The Devil's Rejects, it's a vastly superior movie compared to House of 1000 Corpses.

I hated Corpses but thought that Devil's Rejects was a great film with the only weak link being Sheri Moon Zombie's acting at times.

I agree...this was set-up like an extended White Zombie music video....I don't even make the connection between the two. Devil's Reject's is a great,SCARY film. No bullssht horror,with a capital H.

I think you're being a bit too tough on HOTTC, JaseSF. I don't think, for instance, that Rob Zombie intended the whole thing to be approached in realistic terms. This worked for both TCM (original and remake), but I think Zombie is aiming at a homage here, not at telling an original story. You can tell that from the visuals and production design, which are quite psychodelic, and by the fact he prefers to focus in the villains rather than in the victims.

This said, the movie has serious flaws, specially the pacing, and I agree with Torgo in that "Devil's rejects" is a much better film.

I don't know, I like Ho1000kC better than Rejects.  I guess it's personal preference.  House is more of an homage to the "crazy family" sub-genre of horror films (i.e.- The Hills Have Eyes, TCM, Faster p***ycat Kill Kill).  I wish they'd come out with a director's cut.

House was Zombie's first movie so of course it resembled a White Zombie video. If you watch the documentary with the two-disc Devil's Rejects he mentions his growth between the two. After he made House I think he realized he didn't need all the flashy cut scenes and other "needless" film. I think both movies are great for their own reasons. I personally think Rejects has the edge on House, however I think the best part of either of the two happened in House. The scene when the two police officers and one of the girl's father came to the house. The music, the camera angles, and the hesitation of the last shot were all beautifully done. One of those scenes that make ya all tingly in that same bone in your arm that made you throw rocks at squirrels when you were a kid. 

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The Hurricane Express (1932)

Starring John Wayne, Shirley Grey, Edmund Breese, Tully Marshall and Conway Tearle. Written by J.P. McGowan, George Morgan, Barney Sarecky and Harold Tarshis based on a story by Colbert Clark, Wyndham Gittens and Barney Sarecky. Directed by J.P. McGowan and Armand Schaefer.

Plot:  A young airline pilot named Larry Baker [John Wayne] sets out to stop a mysterious mastermind known only as “The Wrecker” because his m.o. is to cause train wrecks in an apparent attempt to ruin the railroad company and steal their gold shipments.  "The Wrecker" is also responsible for the death of railroad engineer Jim Baker, Larry's father. Complicating matter is the fact that “The Wrecker” dons lifelike masks so that he can pass for anyone he should hope to set up to take the fall for his crimes.

Comments: This slow-moving movie serial will most likely prove of most interest to John Wayne fans as this spotlights him in his younger days playing the role of dashing hero  lead Larry Baker in this outing. In one scene he even wields a pair of guns as he attempts to hold off the Wrecker's gang. This is one of those movie serials best enjoyed in parts as it was originally intended to be seen. Watching each chapter separately should prove a much easier accomplishment that sitting through its full three and half hour + running time in one sitting which would be tough slugging indeed.  Interesting enough, John Wayne's Larry Baker seems to possess unusual strength in this one as he often will lift up one of the Wrecker gang henchman over his head, well a dummy that supposed to represent said character at any rate, and throw him at his fellow gang members one of whom was played by Glenn Strange :teddyr:. The Wrecker too it seems can not only change his face with lifelike masks but can also change his entire body shape and size depending on who he's impersonating :bouncegiggle:.  This one also has a number of cliffhanger cheats where we see one ending in a previous episode end one way but the next episode shows a completely different outcome, hench characters who are apparently shot dead in one episode go completely unharmed in the next one.  :lookingup:  Overall, this serial is harmless fun,  if somewhat dull and overlong at times,  that may prove even more enjoyable to those who take delight in seeing classic cars, airplanes and trains not to mention a young and fit John Wayne in action. Shirley Grey plays the gorgeous cutie/love interest of Larry Baker and certainly isn't hard on the eyes either.

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The Lost City (1935)

Starring William "Stage" Boyd, Kane Richmond, Claudia Dell, Josef Swickard, George Hayes, Billy Bletcher and Margot D'Use. Written by Eddie Granemann, Leon D'Usseau and Perley Sheehan based on a story by Zelma Carroll, George M. Merrick and Robert Dillon. Directed by Harry Revier.

Plot: Dr. Manyus (Josef Swickard) is a brilliant scientist held captive by the mad Zolok (William "Stage" Boyd), ruler of a mysterious magical lost city in the middle of the African continent. By threatening Manyus's daughter Natcha (Claudia Dell), Zolok forces Manyus to create spectacular weapons for him including a machine capable of erasing minds and turning men (here their target is natives) into giant slaves. Zolok's use of Manyus's many electrical devices have taken on such an extent it's begun to cause tidal waves and bizarre electrical storms worldwide. Bruce Gordon (Kane Richmond) is a devoted young electrical engineer dedicated to finding the source of energy responsible for causing this destruction and chaos so he sets off on an expedition to Africa and soon discovers the wonders of the lost city. Can he and his ally Jerry Delaney (Eddie Fetherstone) rescue Manyus and his daughter from their terrible fate or will they too become mere tools and slaves of the crazed Zolok?

Comments: A fun movie serial that seems completely outrageous by today's standards, this features lots of sci-fi gadgets including ray guns, death rays not to mention a machine capable of enlarging people. There are those that no doubt would consider some of this one's content objectionable especially when Manyus at one point turns a black native white  :buggedout: !  I kid you not. And let's not forget the mindless giant black slaves grunt and groan like gorillas  :bouncegiggle:.  Anyways getting past that, this serial makes great use of its cliffhangers and always keeps the plot moving and interesting although Dr. Manyus does seem to get bounced from villain to villain almost like a ping pong ball. Of course, every villain wants Dr. Manyus to create an army of giant slaves to take over Africa. As to why anyone should want to take over Africa, well that's never sufficiently explained. Still I cannot say I was ever bored watching this although I'd imagine it might be tough going if one watches it four hours straight. Aside from William "Stage" Boyd over the top, hammy performance as Zolok that just has to be seen to be believed, I really enjoyed Margot D'Use's villainess Queen Rama whose as ruthless as she is is cunning and beautiful. This one's best moments come in the opening and closing chapters which feature Zolok most prominently.

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The New Adventures of Tarzan (1935)

Starring Herman Brix (later known as Bruce Bennett), Ula Holt, Frank Baker, Don Castello (later known as Ashton Dearholt) and Lewis Sargent. Written by Charles F. Royal, Basil Dickey, Bennett Cohen and Edwin Blum based on Edgar Rice Burroughs' characters, Burroughs himself was one of the movie serial's producers. Directed by Edward A. Kull and an uncredited Wilbur McGaugh.

Plot: Tarzan [Herman Brix] joins an expedition to Guatemala lead by his friend Major Martling [Frank Baker] to locate a precious totem named the Green Goddess for it is worshipped by savage natives in a a place known only as the dead city and also to rescue his old friend Lt. D'Arnot who he believes is being held captive there. This precious totem is said to contain not only a fortune in jewels but also the key to an explosive device unlike any the world has known. If not opened in the correct manner, the Green Goddess will explode. While Tarzan and his friends struggle with the native tribe, another interested party named Raglan steals the Green Goddess from under their noses and plans to use it for his own nefarious purposes. However in order to open the Goddess, Raglan [Don Castello] needs the code Martling has deciphered. Meanwhile yet another interested party, a mysterious young woman named Ula Vale [Ula Holt] is also on Raglan's trail hoping to thwart his efforts.

Comments: A very enjoyable, susprisingly fast-moving and adventurous Tarzan tale, one that is more true to Burroughs than most although that's not entirely surprising given his involvement. Lewis Sargent's comic relief character George is even used well to lighten the mood at appropriate moments. Apparently the plot to this one got changed along the way as original plans for the plot according to IMDB trivia: {"The original story for this serial featured munitions runners, Alice and Gordon mistaken for spies and pursued by the Guatemalan police, and Ula Vale as a mysterious figure revealed in the final episode to be an undercover government operative. The script was rewritten during production and these elements dropped. However, the original treatment was used for the pressbook synopsis and the original chapter titles were retained despite lacking relevance any longer (e.g. "Operative 17" as the final chapter). Virtually all Tarzan/serial film "historians" continue to refer to the pressbook synopsis, also, instead of watching the serial, and thus fail to accurately present the story that was finally filmed. Caveat emptor."} and probably explains the unexpected disappearance of Alice and Gordon part way through the serial only to reappear at the end as well as some of the serial introduction mentioning munition runners. Chapter 12 does seem totally unnnecessary however as our story is pretty well wrapped up by Chapter 11. Despite the problems mentioned above, this serial is actually pretty darn good with a more human Tarzan whose much closer to the novels although some may be disturbed by how the natives are quickly dispatched and killed as though their lives are worthless. Granted it was likely the lives of our heroes or theirs but still, it will bother many viewers.

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The Mad Ghoul (1943)

Starring David Bruce, Evelyn Ankers, George Zucco, Robert Armstrong and Turhan Bey. Written by Paul Gangelin and Brenda Weisberg based on a story by Hanns Kräly. Directed by James P. Hogan.

Plot: Curious to test his latest experimental chemical formula, based on an ancient Mayan nerve gas, on a human subject, chemistry professor/mad scientist Dr. Alfred Morris (played by George Zucco, certainly no stranger to the mad doctor role) tricks student Ted Allison (David Bruce) into being his unwitting subject. Also Dr. Morris has his eyes set firmly on another prize, Allison's young singer fiancee Isabel Lewis (Evelyn Ankers), who he discovers is no longer in love with Ted. When he later learns her heart beats for yet another (Turhan Bey), he commands Ted, turned into a type of zombie/ghoul by the formula to take out his adversary. Ted, not even fully aware of his actions in his zombie-like state, needs human hearts in order for Dr. Morris to make him an antidote, however terribly enough its effects never seem to last and the pair have to go on killing and killing.

Comments: George Zucco may have been somewhat typecast into the mad scientist role but boy does he ever approach these roles with full gusto. This one is certainly no exception IMO. Dr. Morris may be a little one-dimensional but Zucco still manages to completely steal the show with him giving by far the best and most memorable performance in the movie and who could really blame Dr. Morris for being smitten by the lovely Evelyn Ankers? David Bruce too does shine here does some key moments and makes a surprisingly effective and creepy zombie at times. I have to admit to giving a little cheer when Ted finally takes something of a stand for himself in the end. While this movie isn't quite as effective or anywhere near as memorable as most Universal horrors, it definitely has its moments of thrills and chills to delight, enough to make it worth checking out. Honestly on a personal level, it's the most fun I've had watching a movie in quite some time.

I think it's official, Jase has had his caffeine fix today.

You have put quite a bit of effort into your reviews, not just casual observations.

Here's an idea for Andrew: make this a sticky topic, or (better) give Jase his own sub-forum; we both know he can more than fill it up.

Actually Menard I just finally found some free time to watch my Treeline 150 Episode Movie Serial Video Collection and a few other items I had around waiting to be watched. In any case, glad you like my little effort here. It's actually pretty much akin to the IT CAME FROM MY COLLECTION thread I had going at Scifilm.  I hope to in time contribute some review stuff for Andrew if he'll have it.

Helps there's usually nothing on TV and I have loads upon loads of stuff still to view. Anyways, it looks like I'll be leaving sometime towards the end of the week on a working trip. Not sure how long I'll be gone, when I'll have to leave yet or when I'll be back but hey that's the nature of my job.

Bah!

I just deleted a lovely long and insightful post praising Jase's THE MAD GHOUL review, George Zucco, and also-ran Universal horrors. There was even a THE MAD MONSTER and a Dwight Frye reference.

Oh well,  :thumbup: and 'Karma'.

 :twirl:

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House of Horrors (1946)

Starring Robert Lowry, Virginia Grey, Martin Kosleck, Rondo Hatton, Bill Goodwin and Alan Napier. Written by George Bricker based on a story by Dwight V. Babcock. Directed by Jean Yarbrough.

Plot: A long-suffering sculptor named Marcel De Lange (Martin Kosleck), forever the target of negative art critic reviews, gains a chance at vengeance when he rescues a deformed killer known as the Creeper (Rondo Hatton), who takes delight in killing off his newfound friend's adversaries, from drowning. However is their bond really as strong as it appears or is De Lange just using the Creeper for his own ends?

Comments: This was quite a surprise. I wasn't expecting a movie anywhere near this good and most probably won't think as highly of this Universal B-Movie as I do. What makes it really work for me is that one can sympathize with and feel for both lead villains, especially Hatton's Creeper who constantly seems to be searching for some form of acceptance he can never manage to find. Hatton, who turned his deformities, the result of acromegaly, into a movie career where he played a monster without any make-up manages to captivate viewers in ways one never quite expects from a man who most likely was never classically trained as an actor. Kosleck too manages to give De Lange very human qualities, such as the way he cares for and strokes his pet cat, a man who feels he's been smitten down by the world and is just searching for some means at striking back however he can and perhaps has found yet another "pet" who can achieve that very purpose. No, this doesn't make the back-breaking actions of the Creeper justified but we can understand the motivations at work in the minds of our killers, who one could argue are sort of anti-heroes in this movie, and that's largely what makes this film such fascinating viewing. They're certainly more interesting that Virginia Grey's female reporter and her artist boyfriend who paints gorgeous female models.

(Note: I'm also posting these "Just Watched" reviews at my buddy Dr. Mality's Wormboard at wormwoodchronicles.com )

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Ace Drummond (1936)

Starring John King, Jean Rogers, Noah Beery Jr., Guy Bates Post, Lon Chaney Jr., Jackie Morrow and Arthur Loft. Written by Wyndham Gittens, Norman S. Hall and Ray Trampe based on characters in Captain Eddie Rickenbacker (A WW1 ace)'s comic strip. Directed by Ford Beebe and Clifford Smith.

Plot: A mysterious menace in Mongolia known only as "The Dragon" seems determined to stop International Airways from establishing a link to the Orient. "The Dragon" has learnt that an archaelogist named Dr. Trainor (Montague Shaw) has discovered a mountain filled with jade. Wanting to steal this treasure for himself, he is determined to stop the international presence in his nation. And he just might be able to pull this off thanks to a death ray he has created capable of bringing down planes via remote control.  America, wanting to foil "The Dragon"'s plot sends in top agent Ace Drummond (John King), Flying G-Man of the Air, to bring him down.

Comments: This 13 Chapter Serial is quite adventurous. It helps that each chapter actually further progress the story so that one ultimately is looking forward to catching the next with anticipation as to how our story will play itself out. There's also some neat sci-fi gadgetry: the Dragon's Death Ray and his unique means of communication to his allies via prayer wheels, water wheels, etc. that help keeps things different and interesting not to mention a number of false leads and turns to keep audiences on their toes and wondering. The most disappointing aspect of this serial is that Lon Chaney Jr. role is that of a throwaway henchman and that Ace Drummond constantly breaks out into song singing the same tune repeatedly. Also the final revelation didn't quite hold up IMO with previously established events. Getting past that and those moments I was disturbed by young Billy's, a youthful teenage sidekick who frequently tags behind Ace and his pal Jerry (noah Beery Jr.) on their adventures even going so far as to drive motrocycles and cars in their aid!, adoring admiration of his hero Ace Drummond, this is really quite enjoyable.

Wrongfully acused. Soooo funny! The effects are just a little bit bad, but it's the comedy that counts right?...right?

 Favorite line from the movie...Rondo,as art critic...looking at the bust of himself..."It's pretty."  :bouncegiggle:
 Me and my brother Glenn saw this years ago,late at night,and my brother was smoking pot. He nearly choked laughing so hard!
my favorite Rondo movie! Karma!  :thumbup:

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Dr. Renault's Secret (1942)

Starring J. Carrol Naish, Sheppard Strudwick, Lynne Roberts, George Zucco, Jack Norton and Mike Mazurki. Written by William Bruckner, Robert F. Metzler based on Gaston Leroux's novel "Balaoo". Directed by Harry Lachman.

Plot: A young, bright American scientist named Dr. Larry Forbes (Sheppard Strudwick) plans to visit the remote French villa that is home to his fiancée Madelon (Lynne Roberts) and her uncle Dr. Robert Renault (George Zucco) but on his way there the road is washed out from a storm so he is forced to stay in an hotel where Renault's most uncommon assistant Noel, a native of Java, is waiting to accompany him back to the Renaults'. However during his stay in the hotel, a drunk who had mistakenly occupied Dr. Forbes room in the night is mysteriously and brutally murdered. The next day, Forbes and Noel travel to the Renault's villa and all seems well until another mysterious death occurs. Soon it seems that Dr. Forbes is the likely target of someone's wrath but who and why? Could it be the ex-convict Rogell (Mike Mazurski) who was hired by the Renaults and had been forced to stay at the hotel, and had caught a glimpse of all the wealth Forbes' possessed when he paid the hotel manager for food and drinks, on that same fateful night as Forbes? Dr. Renault seems to suspect another likely answer. Just what is this deadly secret he's keeping to himself?

Comments: While this one is pretty predictable in the fashion it plays out, it holds a strange fascination. J. Carrol Naish, in perhaps one of his best and most understated performances, proves surprisingly compelling as the quiet but decidedly unusual and downright primitive Noel. George Zucco once again fits into the role he seems to have been forever typecast in as the determined Dr. Renault, a scientist who wants to succeed in his latest experiment whatever the cost to others. His performance here is somewhat more understated that usual for him as well. Ultimately one will be left to ponder just who the real monster of this piece was? It's definitely in this one's favor that it features several terrific character actors (Naish, Zucco, Mazurki and Norton) and it doesn't overstay its welcome, running just 58 minutes. Overall, it's quite a fun way to spend an hour if you're a fan of 1930-40s style sci-fi/horror.

SPOILER WARNING:

The biggest flaw here is it's pretty obvious fairly early on that Dr. Renault is rather like Dr. Moreau and Noel is in actuality his latest experiment. (This film would also be fitting in mention of another recent "gorilla" thread on here but is certainly a better example of that type of film than most).