Tag Archives: #31daysofhorror

The Bloodstained Shadow (1978): 31 Days of Horror

#17. The Bloodstained Shadow (1978)

the bloodstained shadow 1978Nature of Shame:
Later-era giallo that takes cues from the best of the genre and I will pretty much watch anything labeled “giallo.” Unwatched 88 Films Blu-ray.

Hooptober Challenge Checklist:
Decade: 1970’s
Anniversary: 40th

I read about The Bloodstained Shadow in Troy Howarth’s So Deadly So Perverse Vol. 2 and subsequently picked the Blu-ray up from 88 Films. It’s been on my shelf for ages, but with the arrival of the Underrated ’78 lists on Rupert Pupkin Speaks, I had to finally crack the seal and do the deed.

The Bloodstained Shadow Elevator Pitch

It’s a murder mystery and insular society whodunnit with strangulations, mediums, unsolved murders, repressed psychoses and black gloved killers! In Venice!

the bloodstained shadow 1978

In the Bloody Laguna of Venitian Delights

Antonio Bido’s The Bloodstained Shadow (aka Solamente Nero) recalls Lucio Fulci’s Don’t Torture A Ducking in that in focuses on the crimes committed within an insular society. Where Fulci goes bombastic to unearth the message in his film, however, Bido peels back layers with tweezers.

Stefano visits his priest brother in the Venice laguna whom warns of a decadent community of evildoing and makes vague allusions to a medium. And because this is a giallo, Stefano then witnesses the strangulation of the medium by a killer (dressed in black, naturally). When Stefano investigates and uncovers the truth about a string of murders, he becomes a target for the murderer himself.

the bloodstained shadow 1978

No One Expects the Venetian Priest #SpoilerAlert

So Bido might telegraph the identity of the killer rather early on in the film, but the fun of The Bloodstained Shadow has nothing to do with uncovering the truth. It’s about how you got there — and you’ll cross multiple genres and wildly erratic pacing to make it happen.

Like Bido’s other successful film, Watch Me While I Kill, it sometime feels like the director merely flies by the seat of his pants, piecing together genre aesthetics and cues like mismatched puzzle pieces. While it’s easy to interpret that as a lack of vision or incompetence, Bido appears (feel free to argue) to use his lack of convention to keep viewers off balance. Seeing as how he’s working within a very restrictive genre, this methodology has less madness than you might think.

the bloodstained shadow 1978

How Does a Shadow get Bloodstained Anyway?

In certain ways, Bloodstained Shadow reminded me of Francisco Barilli’s Pensione Paura, another film that dances between predictable genre beats to create something resistant to categorization. Bido manages to include a smattering of visual tropes that still ground the film within the giallo genre range. This has probably served Bido better than Barilli’s non-conformity.

As a result of the style of the murders and procedural drama, Bloodstained Shadow gets that genre credibility. Viewers will remain interested in giallo-classified films, whereas Barilli’s film floats outside the genre and therefore off of most horror fans’ radar. It’s not even currently available on DVD to my knowledge and that’s a bloody shame.

the bloodstained shadow 1978

Final The Bloodstained Shadow Thoughts

The Bloodstained Shadow has such awkward pacing that you’ll forget for long stretches that what you’re watching is supposed to be a horror film. Normally, I’d use that very same line as a complaint. In this instance, however, Bido so effectively deploys exotic cityscape cinematography an score (by Stelvio Cipriani and mixed and re-recorded by Goblin) that the languid pacing feels more like a strength. The film has plenty of other weaknesses, but it largely overcomes them by having a unique feel in an otherwise narrow genre bandwidth.

The Bloodstained Shadow Rating:

Availability:

bloodstained shadow blu-ray

The Bloodstained Shadow is available to watch on Amazon Prime Video. The film looks rather dark and colorless on the stream, but it’s quality enough to sample for free.

I watched the film on 88 Films’ Region B Blu-ray release, which offers better color and sharper black contrast. 

It’s not a major upgrade, however. I still hope that the film will received a nice Region A offering in the near future from a caring distributor willing to do some restoration work. The visuals and score are the most important parts of the film — so it’s a shame that we can’t view a better source.

 

2018 @CinemaShame / Hooptober Progress

#1. Deep Rising (1998)
#2. The Mist (2007)
#3. Abbott and Costello Meet Frankenstein (1948)
#4. Abbott and Costello Meet the Invisible Man (1951)
#5. Abbott and Costello Meet the Mummy (1955)
#6. Maniac Cop (1988)
#7. Nightbreed (1990)
#8. The Hound of the Baskervilles (1959)
#9. In the Castle of Bloody Desires (1968)
#10. Chopping Mall (1986)
#11. The Kiss of the Vampire (1963)
#12. The Legend of Hell House (1973)
#13. Messiah of Evil (1973)
#14. Possession (1981)
#15. Blood Diner (1987)
#16. Inquisition (1978)
#17. The Bloodstained Shadow (1978)

James David Patrick is a writer. He’s written just about everything at some point or another. Add this nonsense to the list. Follow his blog at www.thirtyhertzrumble.com and find him on TwitterInstagram, and Facebook.

The Raven: 31 Days of Horror

the raven 31 days of horror

31+ Days of Horror. 33 Horror Movies. 33 Reviews. Hooptober Challenges and Bonus Tasks.
View my 2017 Cinema Shame/Hoop-Tober Watch Pile Shame-a-thon Statement here.

Nature Shame:
Long overdue for a rewatch Shame.

Hoop-tober Challenge Checklist:
Decade: 1930’s
Pre-1970’s

 


 

#9. The Raven (1935)

the raven 1935 posterYou could transcribe, pretty much verbatim, the introduction to my prior #31DaysofHorror review about The Black Cat (1934) and place it right here for The Raven (1935).

Let’s go on a tangent instead. Tangents are often more interesting anyway.

I always meant to make a triple feature of this, Roger Corman’s The Raven (1963) and James McTeigue’s The Raven (2012) starring John Cusack. So wildly different in tone and form and yet all equally disinterested in adaptation. Instead of considering how they treat the material, you could study the ways in which they just don’t bother.

I’ve been guilty of judging films based on their adaptive muscle, but in many ways this falls back on lazy criticism. It’s a worthwhile exercise to throw shade on poor adaptation — but not adaptations that want nothing to do with adaptations to begin with.

Turning Poe’s poem into a full-length cinematic property approaches the definition of insanity. Marketing shorthand dictates that Poe has been a successful cinematic commodity, and therefore more Poe must be produced to make the dollars — but only a small segment of the population legitimately cares whether the film uses the original text. There’s a reason that three “adaptations” of The Raven exist and none of them approach the material earnestly.

Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore—
    While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
“’Tis some visitor,” I muttered, “tapping at my chamber door—
            Only this and nothing more.”

 

the raven 1935

The Story

David Boehm’s screenplay merges bits of Poe’s “The Raven” with “The Pit and the Pendulum” to spin a story about an eccentric millionaire surgeon Richard Vollin (Bela Lugosi) whose obsession with Edgar Allan Poe has turned him into a deranged torture-happy psychopath. I should clarify. The story contains a taxidermed raven and features a pendulum. Director Lew Landers populates his screen with familiar Poe imagery, but never actually attempts anything beyond face value association.

the raven bela lugosi

After Vollin saves a girl who had been injured in a car accident, he falls madly in love with her. When she rebukes his advances (she is engaged to be married after all), he makes associations with Poe’s “Lenore” and slips further into his Poe mania. He invites the girl, her father and her fiancé to his humble abode with the nefarious intentions of murdering them with his collection of torture devices.

I considered Karloff’s performance in The Black Cat to be one of the best of his career. In that film he plays a villain of quiet and calculating cruelty, yet the performance never lacked eccentricity. While I admire his work as Frankenstein’s monster and the Mummy, the prosthetics handicapped his performance. Watch The Black Cat or the Val Lewton-produced Body Snatchers (1945) and you can see Karloff’s full arsenal of talents and subtlety.

the raven 1935

Lugosi, on the other hand, lacked, shall we say, similar nuance. He never learned to mask his thick accent and therefore always found himself reduced to a narrow collection of put-upons and Balkan misfits. Dracula stands as the monument of his career. Restraint benefitted his characters. When a director managed to corral his enthusiasm for showy performance, Lugosi gave gold. And in this instance, Landers starved Lugosi until it was high time to commence scenery chewing.

In The Raven Karloff again finds himself hidden behind grotesque prosthetics (the fake eyeball is especially unnerving), and Lugosi benefits by slipping into the trousers of the brilliant but sociopathic doctor. Here he’s allowed to underplay Villon’s madness until it all comes pouring out during the film’s wild and eccentric ending. In a bit of a role reversal, Karloff becomes the put-upon assistant and Lugosi the proper, regal villain.

the raven boris karloff
The makeup effects on Karloff after the mad Doctor Lugosi has his way with him.

Landers competently handles the material he’s given, but contemporary reviews proved unkind.

From the New York Times on July 5th, 1935: “If The Raven is the best that Universal can do with one of the greatest horror story writers of all time, then it had better toss away the other two books in its library and stick to the pulpies for plot material.”

And this was not an isolated criticism. Most everyone it seemed still believed that studios should attempt to adapt Edgar Allan Poe. As has been proven time and time again, adapting Poe’s stories — which almost wholly belong to the realm of psychological terror — proves problematic. How does one convey internal terror in a commercially-viable film?

Let me answer that. One doesn’t. One borrows bits and bites and plays fan service. A black cat wandering. The shadow of a raven. Haunting echoes. Reciting a poignant line hither and thither. The palette holds only so many shades of black and grey.

Final Thoughts:

The Raven entertains by virtue of Lugosi’s potent performance. Landers presents the mad doctor’s torture devices statically and perhaps in the vein of a low-budget adventure serial, but his grasp of light and shadow make up for a lack of inventiveness with the camera. Despite a prolific career, Landers never emerged from B-film purgatory.

It’s always entertainment when Karloff and Lugosi get to share the screen as equals. The Raven works, not because it has any inclination towards adapting Poe, but because it doesn’t bother and lets Bela Lugosi and Boris Karloff fill in the gaps.

30Hz Movie Rating:

 


Availability:  

the bela lugost collection universal

The Raven (1935) is available on the Universal Bela Lugosi Franchise Collection. The set also features Murders in the Rue Morgue, The Black Cat, The Invisible Ray, and Black Friday.


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2017 Cinema Shame/Hoop-Tober Watchpile Shame-a-thon

#1. Caltiki The Immortal Monster (1959) / #2. The Devil Doll (1936) / #3. The Velvet Vampire (1971) / #4. Mill of the Stone Women (1960) / #5. The Initiation (1984) / #6. Poltergeist (1982) / #7. Night of the Lepus (1972) / #8. The Black Cat (1934) / #9. The Raven (1935)

 

31 Days of Horror: 2017

Halloween brings out the best and the worst of us as obsessive moviewatchers. I can only speak for myself, but I imagine my experience mirrors many of yours. When October rolls around (now mid-September because the 31 horror movies in 31 days doesn’t jive with adult schedules), horror movies dominate all channels. The wife shrugs her shoulders. Hide the more explicit DVD cases from the kids. You start arguing about sequels and franchises and Argento vs. Bava vs. Fulci.

My wife joins in when I can find a nice, palatable mid-grade horror film. In recent years, she’s joined me for films like Tremors and The Fog and comedies like The Ghost and Mr. Chicken. (Though, she still tells me she’s nervously scanning the mist for ghost pirates whenever a nice fog rolls through the Pittsburgh hills.)

Each year for the past four years, I’ve embarked upon the journey to watch at least 31 horror movies by the end of October. Last year I joined @ElCinemonster’s Hoop-Tober challenge on Letterboxd.com. Each year he lays down a few challenges to help guide the viewing of his monstrous minions. This year I’m again combining my Cinema Shame Horror Shame-a-thon with the Hoop-Tober Challenge 4.0 to perpetuate the most unwieldy title in the history of movie blogging and watching.

Welcome to the @CinemaShame/Hoop-Tober Watchpile/Shame-a-thon 31 Days of Horror 2017

31 Days of Horror 2017

Let’s lay down some rules for any lunatics that might want to play the home version of the 31 Days of Horror 2017.

Pick 31 never-before-seen (or unwatched DVD purchases) horror movies — “horror” is broadly defined as anything containing elements of the horror genre. So, for example, I’ve count the Abbott & Costello monster films in the past because of the classic movie monsters. Watch as many as you can stomach during your “month” of October.

I’m air-quoting “month” because, as I mentioned earlier, I’m borrowing @ElCinemonster’s notion that we’re busy goddamn people and 31 days is just not a reasonable duration for busy people to watch 31 horror movies. He’s beginning his “month” on September 15th. I plan to do the same. I hit 33 last year(!) and while I don’t expect to top that total I aim to match.

I’m going to pluck as many movies as possible from my Watch Pile (any film I already own that hasn’t been watched). I’ve been making a more concerted effort to watch more movies than I buy. The worthy remain. The ones I don’t see myself watching again hit eBay. I’ll note the outcome of each disc in my blurb.

And speaking of blurbs… after each movie, I’ll toss up a mini-review and a 30Hz rating that will correspond to my review on Letterboxd.com. The review may or may not contain any actual insight. The reviews are the part of this project that will leave you a quivering pile of bloody goo. And now for the more specific Hoop-Tober demonic hurdles, courtesy of @ElCinemonster.

6 sequels (mix-and-match. 6 total)
6 countries
6 decades
6 films from before 1970
6 films from the following: Carpenter, Raimi, Whale, Browning, Craven, Tom Holland (mix-and-match, or all one)
3 people eating people (non-zombie)
1 Hammer Film
1 Romero film
1 terrible oversight aka OVERT SHAME! (use this link, filter out the films you’ve seen and picked the highest rated film from the list that you can get ahold of)

And 2 Tobe Hooper Films (There must ALWAYS be a Hooper film)

-review them all.(eek)

Clearly one film can satisfy multiple criteria. Viewing and reviewing will begin at 12:01am CST on Sept 15th.

I plan to call some audibles when spur-of-the-moment cravings strike, but here’s my blueprint for the 2017 31 Days Of Horror CinemaShame/Hoop-Tober Watch Pile Shame-a-Thon.

31 days of horror 2017

Past #31DaysOfHorror Shame-a-thons: 2013 | 2014 | 2015 Part 1 | 2015 Part 22016 

*rewatch

  1. A Nightmare on Elm Street 4: The Dream Master
  2. A Nightmare on Elm Street 5: The Dream Child
  3. Brain Damage
  4. Caltiki: The Immortal Monster
  5. Cannibal! The Musical
  6. Christine
  7. Death Walks in High Heels
  8. Eating Raoul
  9. Friday the 13th
  10. Friday the 13th Part II
  11. House*
  12. House 2*
  13. House 3
  14. House 4
  15. Fox with the Velvet Tail
  16. Invaders from Mars
  17. Mill of the Stone Women
  18. Posession
  19. Prince of Darkness
  20. Shocker
  21. Spontaneous Combustion
  22. Suddenly in the Dark
  23. The Devil Doll
  24. The Dismembered
  25. The Green Butchers
  26. The Hound of the Baskervilles*
  27. The Wife Killer
  28. Spider (Zirneklis)
  29. The Velvet Vampire
  30. What Have You Done to Solange?
  31. Two Evil Eyes
  32. The Initiation
  33. The Fan (Der Fan)
  34. The Invisible Man (familiar comfort horror)*

the invisible man 31 days of horror 2017

What’s your list? What’s your plan for horror movie watching this year? If you’re keeping a list or participating in the Hoop-Tober challenge, I’ll link you in the header for my posts. Just leave a note with a link in the comments. Together we shall overcome… or we’ll be the loser pumped off in the first act to establish indomitable menace. It’s more comforting to know you’re not doing this alone.

31 Days of Horror: The Ghost and Mr. Chicken

The Ghost and Mr. Chicken - 31 Days of Horror

31+ Days of Horror. 33 Horror Movies. 33 Reviews. Hooptober Challenges and Bonus Tasks.
View my 2016 Cinema Shame/Hoop-Tober Watch Pile Shame-a-thon Statement here.

Nature of Ghost and Mr. Chicken Shame:
Unseen Comedy Classic

Hoop-tober Challenge Checklist:
Decade: 1960’s
Before 1970’s



 

#31. The Ghost and Mr. Chicken

 

the ghost and mr. chicken 1966 poster

 

 

The Horrific days of October have bled into the Thanksgiving holiday. I’m pecking away at this post while my daughters watch the rather dismal Hotel Transylvania 2, a rather potent distraction from composing competent thoughts let alone complete sentences regarding a movie I watched nearly a month ago. I lament the trend to compose bl-g-length posts rather than three or so sentences; I hope I remember this 11 months from now when I again embark on 31 Days of Horror.

The Ghost and Mr. Chicken appeared on the 31 Days of Horror schedule as part of the wife-friendly horror marathon, and though the film lacks certain frightful elements… or really any at all… Don Knotts has brought to light an intrinsic link between horror and comedy. Many of our most classic horror films trade in absurdity, yet transcend that absurdity through horrific imagery. How distant is, say, John Carpenter’s Halloween from a parody of John Carpenter’s Halloween? Change to score from haunting synth to a Mickey Moused screwball riff. Swap out scream queen Jamie Lee Curtis for weak-kneed Don Knotts. What do you have? The Ghost and Mr. Chicken.

 

Don Knotts - The Ghost and Mr. Chicken

 

Comedy and horror make excellent bedfellows. How potent is a quick laugh in the face of quaking terror? What makes Evil Dead 2 such a successful film? The preposterous coupling of laughter and the innate terror of demons from another dimension coming to get you through the floor. Laughter breaks the tension, allows the viewer to more fully embrace the emotional strain of pure terror. Unrelenting horror often falls short of classic status. The broader audience cannot embrace something as dour and hopeless as Dead and Buried, just to name one recent example from my own 31 Days of Horror experience. And even though that film had a few laughs, it fell short of accomodating a lesser constitution.

The mirror image of Evil Dead 2 looks something like The Ghost and Mr. Chicken. Horror elements swapped for screwball. The comedic excesses swapped for creepy old mansions and inexplicable goings on. There’s really not much difference between the personalities of Bruce Campbell and Don Knotts anyway.

 

Bruce Campbell - Evil Dead 2

 

(This prattle makes perfect sense as I’m typing away, but I’m sure I’m shortchanging a dozen necessary components of this argument — the pint of 750ml Ommegang Three Philosophers I just downed likely has something to do with it. What can I say? It’s the holidays.)

Don Knotts plays Luther Beggs, a typesetter at the local paper with aspirations to be a fully-accredited news reporter. He believes to have seen a murder outside a local “haunted” mansion, but while he details the incident to his boss, the “victim” walks into the room. Luther’s a local joke, a man-child prone to histrionics. So when the opportunity presents itself, Luther volunteers to sleep one night in the haunted mansion. He’ll write about it and sell many papers with his tales of terror.

Don Knotts - The Ghost and Mr. Chicken

During his night in the house, Luther encounters secret staircases, creepy passages, self-playing organs and many things that go bump in the night. After writing about them all, Luther becomes a local hero, championed by all. (Apparently Kansas is short of heroes.) That is, until he’s accused of libel by the owner of the mansion and discredited by his old schoolteacher who claimed Luther was always “keyed up” as a boy.

Since this is a feel-good 1960’s comedy the outcome of The Ghost and Mr. Chicken is never really in doubt. Romanticizing small town America, the championing of the average Joe, punishment of greed. Comfort food for the 1960’s loving soul. The difference between The Ghost and Mr. Chicken and a true horror movie feels like a canyon — and yet, how far does it actually stray from a haunted house film of the same generation? Compare The Ghost and Mr. Chicken with The Haunting (1963) or The Legend of Hell House (1973), two films that bookend Mr. Chicken by a few years on each side.

Better lighting in the haunted mansion. A slight shift in focus from the source of the spooks to the libel suit and the eventual Scooby Doo unmasking. Dial back the Don Knotts, of course. Consider the ways that The Ghost and Mr. Chicken builds and relieves tension through a Don Knotts pratfall. The real difference is just the repeated efforts to relieve the tension before it festers into something greater.

 

Final Thoughts:

The Ghost and Mr. Chicken remains a frivolous lark of comedy/horror film. Easygoing and legitimately funny (if you care for Don Knotts’ schtick — which I do), despite the soulcrushing weight of civic-sanctioned bullying. It’s a film that at once celebrates the oddball yet fails to condemn small-town America’s gossipmongering. Yet we forgive and enjoy, because 1960’s.

 

30Hz Movie Rating:

30hzrating31-2

 


the ghost and mr. chicken blu-ray

 

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Earlier 2016 31 Days of Horror entries:

#1. Vampyros Lesbos / #2. A Chinese Ghost Story / #3. The Haunting of Morella / #4. Delirium (1972) / #5. A Lizard in a Woman’s Skin / #6. She-Wolf of London / #7. Son of Frankenstein / #8. Killerfish / #9. The Bride of Re-Animator / #10. A Bay of Blood / #11. The Seventh Victim / #12. The Fly (1958) / #13. The Fly (1986) / #14. Deep Red / #15. Dracula’s Daughter / #16. Day of the Animals / #17. The Unknown / #18. Kuroneko / #19. Komodo / #20. Tremors / #21. Tremors 2 / #22. A Nightmare on Elm Street / #23. A Nightmare on Elm Street 2: Freddy’s Revenge / #24. A Nightmare on Elm Street 3: Dream Warriors / #25. Tenebrae / #26. Salem’s Lot / #27. Veerana / #28. House of Wax / #29. The Bird with the Crystal Plumage / #30. Dead and Buried

31 Days of Horror: Dead and Buried

31 Days of Horror: Dead and Buried

31+ Days of Horror. 33 Horror Movies. 33 Reviews. Hooptober Challenges and Bonus Tasks.
View my 2016 Cinema Shame/Hoop-Tober Watch Pile Shame-a-thon Statement here.

Nature of Dead & Buried Shame:
Unseen (and two-years borrowed) Blu-ray

Hoop-tober Challenge Checklist:
Decade: 1980’s
Because Cinemonster told me to



 

#30. Dead and Buried (1981)

 

Dead & Buried UK Quad poster
Original Cinema Quad Poster – Movie Film Posters

 

 

I didn’t know anything about Dead and Buried when I borrowed it from a buddy of mine two years ago. He just told me I should watch it. Then when Cinemonster added it to the Bonus Requirements for Hooptober 2016, I expressed a measure of enthusiasm because I still had Dead and Buried up on the shelf. Dusty, maybe, but there. And I still didn’t know anything about it.

I still had no desire to pop it in for a watch.

As the CinemaShame/Hooptober 31 Days of Horror Challenge 2016 wound down, I had two movies left on the schedule — Dead and Buried and This Old Dark House. The first because I just didn’t watch it. The second because This Old Dark House remained the only film on my list I didn’t own or didn’t otherwise have in my possession. FINE! I’LL WATCH THE MOVIE. Dead and Buried had almost reached Titanic levels of stubborn refusal. (To be fair, NOTHING will ever reach Titanic levels of stubborn refusal. I still haven’t seen Titanic and I’m quite convinced I’m the last person on earth. Solidarity?)

Thankfully, Dead and Buried didn’t Trojan horse me Titanic; it was actually striking example of atmospheric horror with a side of stomach-churning gore. That syringe in the eyeball, though! At times Gary Sherman’s film recalled The Fog — lots of haze and small town xenophobia and paranoia. The horrors of Dead and Buried take on a far less supernatural form, at least at the outset. As the film progresses, the horrors of Potter’s Bluff remain grounded in the corporeal — humans doing despicable things — despite the threat originating from humans of an undead variety. It’s no small feat maintaining this grounded slice of terror. I attribute the film’s success directly to its pacing and atmosphere.

jack albertson dead and buried

 

As grisly murders slowly encircle our small town sheriff, Dan (the Sheriff) learns that the murdered subjects eventually return to Potter’s Bluff as walking, talking, “living” townspeople. The whole town’s caught a case of the dead-ish — including Dan’s wife and now he’s got to find out what to do about it. It’s a tricky thing, convincing the remaining “living” members of a town that the walking dead are systematically eliminating them — especially when it’s the mortician behind it all. Who suspects the mortician? He’s already a creepy dude. And what a spectacularly creepy dude he is — played by the great Jack Albertson (Grandpa Joe in Willy Wonka and the Chocolate Factory).

 

The languid (though uneven) pacing coddles the terror, slowly building until you find yourself on the edge of your couch with a steadily growing sense of unease that becomes full-on paranoia. The unease broken only by cringeworthy fits when the undead brutally attack with boulders and sex tapes and eye-piercing syringes and gasoline and matches. They’ve got a healthy bag of tricks, all of which leave you squirmy.

 

Dead and Buried 1981

 

Final Thoughts:

But still… there’s that “but.” Dead and Buried sells such a perversely unrepetant tale that it’s hard to love it. Admire? Absolutely. Love? I’m not jumping at the bit to toss this one in again. I would like to revisit, if only to consider whether a second watch dulls the feelings of bridge-jumping hopelessness. Also, this merely reaffirms my notion that small town America will crush your soul and suck out your eyeballs.

 

30Hz Movie Rating:

30hzrating31-2

 


Dead & Buried Blu-ray

 

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Earlier 2016 31 Days of Horror entries:

#1. Vampyros Lesbos / #2. A Chinese Ghost Story / #3. The Haunting of Morella / #4. Delirium (1972) / #5. A Lizard in a Woman’s Skin / #6. She-Wolf of London / #7. Son of Frankenstein / #8. Killerfish / #9. The Bride of Re-Animator / #10. A Bay of Blood / #11. The Seventh Victim / #12. The Fly (1958) / #13. The Fly (1986) / #14. Deep Red / #15. Dracula’s Daughter / #16. Day of the Animals / #17. The Unknown / #18. Kuroneko / #19. Komodo / #20. Tremors / #21. Tremors 2 / #22. A Nightmare on Elm Street / #23. A Nightmare on Elm Street 2: Freddy’s Revenge / #24. A Nightmare on Elm Street 3: Dream Warriors / #25. Tenebrae / #26. Salem’s Lot / #27. Veerana / #28. House of Wax / #29. The Bird with the Crystal Plumage