Film Review: Spider-Man 2 (2004)

Also known as: Spider-Man: No More, Spider-Man 2: Lives, The Amazing Spider-Man (working title), Spider-Man 2.1 (recut version)
Release Date: June 25th, 2004 (Lithuania)
Directed by: Sam Raimi
Written by: Alvin Sargent, Alfred Gough, Miles Millar, Michael Chabon
Based on: Spider-Man by Stan Lee, Steve Ditko
Music by: Danny Elfman
Cast: Tobey Maguire, Kirsten Dunst, James Franco, Rosemary Harris, Alfred Molina, Donna Murphy, J.K. Simmons, Bill Nunn, Elizabeth Banks, Ted Raimi, Bruce Campbell, Dylan Baker, Daniel Gillies, Vanessa Ferlito, Elya Baskin, Hal Sparks, Joel McHale, Emily Deschanel, Joey Diaz, Chloe Dykstra, John Landis (cameo), Willem Dafoe (cameo), Cliff Robertson (cameo), Phil LaMarr (uncredited), Peyton List (uncredited)

Marvel Entertainment, Laura Ziskin Productions, Columbia Pictures, 127 Minutes, 135 Minutes (extended cut)

Review:

“We need a hero, couragous sacrificing people, setting examples for all of us. Everybody loves a hero, people line up for ’em, cheer for them, scream their names, and years later tell how they stood in the rain for hours just to get a glimpse of the one who told them to HOLD ON a second longer. I believe theres a hero in all of us, that keeps us honest, gives us strength, makes us noble. And finally gets us to die with pride. Even though sometimes we have to be steady and give up the thing we want most, even our dreams.” – May Parker

I always thought of Spider-Man 2 as the superior film between the first two. However, having revisited them for the first time in over a decade, I think they break even. And that’s a good thing, as the first was a wee bit better than I remembered and this one was just about the same.

I like the story and the stakes in the first one better but this film has what I consider to be one of the greatest moments in superhero film history, if not the greatest.

That moment comes at the end of the train battle where Spider-Man exposes himself to the people on the train while he is risking his own life to save them from a horrible death. Those people, in a very powerful moment, stand up for Spidey and vow to protect his identity. Shit gets me misty… every fucking time.

The rest of the film is pretty great too and while I get bored with there being a lot of romance in superhero films, Sam Raimi did a stupendous job with these pictures, as he truly captures the emotions and the heartbreak of the characters, showing both sides of the equation equally and fairly.

A lot of the credit also has to go to Tobey Maguire and Kirsten Dunst, who played these roles greatly while also having incredible chemistry. Sure, their story gets a bit fucked up in the third film but I’ll review that one in about a week.

Another thing I like about the film is how Raimi foreshadows things to come. Spider-Man is exposed to the public, which sort of foreshadows his identity becoming known to his love Mary Jane and his best friend Harry Osborn, who has vowed to get revenge on Spider-Man for the accidental death of his father.

It also foreshadows stories to come after this film by including Dr. Curt Connors, the man who would become The Lizard, as well as J. Jonah Jameson’s son, who would become Man-Wolf. Granted, Raimi never got to explore these characters more, as Spider-Man 4 and the films following it were eventually cancelled after the third movie misfired pretty hard.

It also felt like the groundwork was being laid for a Sinister Six story, which would become a focal point of The Amazing Spider-Man films that followed but that series was also cancelled in favor of another reboot that brought Spidey into Disney’s Marvel Cinematic Universe via Captain America: Civil War and his own solo films and guest appearances that followed.

Anyway, getting back on the topic of this film, my only real criticisms of it are the same as the previous one and that’s the visual style of it and how it looks overly copper. Granted, that feels like it is less of a problem here and the visual aesthetic was a bit more fine tuned and natural looking.

Apart from that, I just don’t like Dr. Octopus as much as I liked the Green Goblin. Both characters had weird designs and outfits in these movies but with the films being so good, you quickly look passed that. But Octopus feels kind of generic and uninspiring. While I like Alfred Molina in the role, I felt like he needed more meat to chew on and a much better look. In the end, however, you do really sympathize with him when he realizes what he’s done and decides to undo his work in an effort to save New York City and redeem himself in the eyes of Peter Parker, a kid he likes and respects.

Wrapping up two movies, this picture has an absolutely perfect ending. If the series ended here, it probably would’ve been remembered even more fondly but we did get that third film that derailed everything and it sort of left a stink on top of the series. Plus, after this, it would’ve felt almost criminal not to continue on.

Rating: 9/10
Pairs well with: the other two films in this mostly great series.

Film Review: I Come In Peace (1990)

Also known as: Dark Angel (original title), Lethal Contact (working title)
Release Date: January 26th, 1990 (South Korea)
Directed by: Craig R. Baxley
Written by: Jonathan Tydor, David Koepp
Music by: Jan Hammer
Cast: Dolph Lundgren, Brian Benben, Betsy Brantley, Matthias Hues, Jay Bilas, Michael J. Pollard, Al Leong

Vision PDG, Epic Productions, Trans World Entertainment, Triumph Releasing Corporation, 91 Minutes

Review:

“Either you’re Santa Claus or you’re dead, pal.” – Jack Caine

At least this movie isn’t as bad as its poster.

That’s not to say that this is a good film by any stretch of the imagination but I enjoyed it for what it was, a pretty mindless, hard-edged action flick starring Dolph Lundgren at the height of his earlier career.

The story follows a badass, no nonsense, “fuck playing by the book”, ’80s movie cop. He discovers that an alien drug dealer has arrived on Earth and is killing people to steal endorphins from their brains, as that’s a powerful narcotic on his home planet. He uses some snake-like tendril that shoots out of his wrist and sucks the endorphin juice out of humans like a crazy straw.

The alien has a goofy weapon that is basically a CD disc what flies around, slitting throats and chopping off body parts. He also has a pretty badass gun that looks like a fairly normal pistol but it fires more like an attack from an Apache helicopter. It’s absolutely ridiculous but it definitely gives this film a few extra badass points.

Let’s not talk about the acting, the direction or the paper thin plot that makes you suspend disbelief at record levels. The quality of those things are exactly what one would expect from a cheesy sci-fi action flick from this era.

I like the tone and the visual style of the movie. It’s certainly derivative of the other schlock-y goodness one can compare this film to but it utilizes these things much better than average and setting it in Houston, as opposed to L.A., New York or Chicago, was a nice touch that gave the viewer something cool to look at, as far as the background environments.

Honestly, this isn’t a motion picture that I’d really recommend to anyone, other than those that really like the combination of the action and sci-fi genres from a time when action films were still unapologetic, balls out bonanzas. 

Rating: 5.5/10
Pairs well with: other Dolph Lundgren action pictures of the era, as well as other R-rated sci-fi action flicks.

Film Review: Weird Science (1985)

Release Date: August 2nd, 1985
Directed by: John Hughes
Written by: John Hughes
Music by: Ira Newborn
Cast: Anthony Michael Hall, Ilan Mitchel-Smith, Kelly LeBrock, Bill Paxton, Robert Downey Jr., Robert Rusler, Suzanne Snyder, Judie Aronson, Vernon Wells, Michael Berryman, Wallace Langham (as Wally Ward)

Silver Pictures, Hughes Entertainment, Universal Pictures, 94 Minutes

Review:

“So, what would you little maniacs like to do first?” – Lisa

This was one of those films that I used to watch constantly when I was a kid. I loved this picture and, at the time, it was one of the coolest movies I had ever seen.

It’s been quite some time since I’ve seen it but I still really enjoyed it, even if it’s much harder for me to suspend disbelief as much as this film requires. But it doesn’t really need to make sense if you just surrender yourself over to the absurdity of it.

However, it has not aged well and it almost feels like a relic from the ’80s in a bad way. Also, out of John Hughes’ four big teen movies of that decade, I’d have to consider this one the worst, even though it was once my favorite.

The story is just absolutely bonkers and doesn’t make a lick of logical sense but the spectacle of it makes it entertaining.

My main problem isn’t that two teens make a girl using “science” it’s just how half-assed and convenient the whole process seemed. As a kid, you don’t think about this shit. However, as an adult, you do and if most people are like me, your brain will get more literal thinking with age. That’s not really going to bode well for this film’s longevity, as its audience has grown up and moved on. Well, maybe not those that are so addicted to nostalgia that they have to continually live vicariously through the past.

It probably sounds like I’m shitting on the movie and I don’t mean to. It’s fine for what it is and for its era, especially considering the age of its audience at the time. But even seeing this now, it’s hard not to like these characters, even if their journey seems kind of pointless and they don’t seem to actually learn anything important other than boners can make a man brave.

Kelly LeBrock is great in this and honestly, she’s the glue that keeps this movie from falling apart. But, as an adult, you start to see her character through a new lens and her story is pretty tragic and incredibly fucked up.

Here we have a supremely intelligent woman that was created by two horny teenagers that take her for granted, use her and then dump her less than 48 hours later, leaving her to wander the Earth with her magic powers and no real human connection with anyone. Sure, she’s Einstein level intelligent with beauty and personality but this sounds like the origin of a horror monster. And maybe, just maybe… there’s some sequel potential there. Just send me a check, I’ll see myself out and go straight to the bank, Universal.

Anyway, this is a fun, dumb movie that might not work as well in 2020, as it did in 1985, but it still probably deserves the beloved status it’s built up over the years. Despite my new take on it, I’ll still probably revisit it once in a while. But that’s also because it’s hard for me to sometimes resist the nostalgia bug even though I can see it for what it is.

Rating: 7/10
Pairs well with: other ’80s John Hughes movies, as well as ’80s and ’90s teen comedies.

Film Review: Panic In the Streets (1950)

Also known as: Outbreak, Port of Entry (working titles), Quarantine (script title)
Release Date: July 1st, 1950 (Boston premiere)
Directed by: Elia Kazan
Written by: Richard Murphy, Daniel Fuchs, Edna Anhalt, Edward Anhalt
Music by: Alfred Newman
Cast: Richard Widmark, Paul Douglas, Barbara Bel Geddes, Jack Palance, Zero Mostel

Twentieth Century Fox, 96 Minutes

Review:

“You know, my mother always told me if you looked deep enough in anybody… you’d always find some good, but I don’t know.” – Lt. Cmdr. Clinton ‘Clint’ Reed M.D., “With apologies to your mother, that’s the second mistake she made.” – Capt. Tom Warren

While most urban film-noir pictures take place in big cities like New York, San Francisco, Los Angeles or Chicago, it’s always cool to see one set in another city. In the case of this film, we’re taken to one of the most interesting and entertaining cities in the world: New Orleans.

I love New Orleans and it’s really neat seeing a film that was shot in that city’s streets circa 1950. It’s a very different place from what it would become but at the same time, it has such a rich history and really it’s own style that all of that comes through and gives you one of the most unique looking urban noir pictures ever made.

The film also gave us the debut of Jack Palance, who would go on to be one of the greatest character actors of all-time, as well as a multiple Academy Award nominee.

On top of that, we get such incredible performances from Richard Widmark and Paul Douglas that just on acting alone, this eclipses most of the other noir pictures of its day. Add in superb direction from a true maestro, Elia Kazan, and you’ve got a true classic.

While it’s not a masterpiece, it was a gritty, energetic and engaging motion picture from the first frame to the last.

The City of New Orleans really becomes a character in the film and apart from Kazan’s visual style, I think a lot of the credit also has to go to cinematographer Joseph MacDonald, who has a pretty impressive filmography, himself.

The story is about stopping a potential outbreak, as a small crew of criminals murders a man and it’s discovered that the victim had pneumonic plague. This forces a police captain and a military doctor to have to begrudgingly work together in an effort to solve the mystery of the man’s execution, find his killers and stop a pandemic from happening in New Orleans.

This is a movie that packs a real narrative punch that is punctuated by an incredible finale in a banana factory. In fact, there’s so much squeezed into this energetic and very layered film that I’m surprised they were able to get it all in the movie at just 96 minutes.

It is well-paced and even if it moves by fairly rapidly, Kazan did a masterful job in executing his vision on the screen and with real energy.

Rating: 9/10
Pairs well with: other noir pictures of the era, as well as Elia Kazan’s other films.

Documentary Review: Scream, Queen!: My Nightmare On Elm Street (2019)

Release Date: April 5th, 2019 (Cleveland International Film Festival)
Directed by: Roman Chimienti, Tyler Jensen
Written by: Michael Beard, Clint Catalyst, Leo Herrera, Justin Lockwood
Music by: Alexander Taylor
Cast: Mark Patton, Robert Englund, Jack Sholder, David Chaskin, Robert Rusler, Marshall Bell, Kim Myers, Clu Gulager, JoAnn Willette, Linnea Quigley

The End Productions, 99 Minutes

Review:

I was pretty excited to check this out when I first saw the trailer pop up. I’m a big fan of the Nightmare On Elm Street franchise and I was probably one of the few that actually liked the second movie, before everyone else figured out how “gay” it was.

Granted, I kind of saw the film’s gay subtext for myself and despite this documentary claiming that the gay innuendo was widely known when this came out, I don’t recall many people talking about it until the late ’90s or so. Then again, I was also a young kid and didn’t reach my teen years until the ’90s, so maybe my peers were a bit behind in picking up on the cues.

Anyway, I actually thought that this was just sort of meh. I wouldn’t call this documentary a disappointment but it just didn’t live up to the hype around it and to my own excitement after first hearing about it.

I guess the thing I liked most about it was that I finally got to see what became of Mark Patton, who sort of fell off the face of the Earth for a long time because of what he perceived as backlash from this picture and because he felt that it somewhat exposed him as being gay in a time when there was still a lot of misinformation and fear of AIDS, as well as a lot of homophobia in mainstream Hollywood.

Most importantly, this really goes into Patton’s personal life, showing the viewer what hardships he went through during and after this film. I don’t want to give too much away, as this is worth watching for those who also love the Elm Street movies.

It was also cool seeing the cast of the second Elm Street movie finally reunite after all these years. It’s obvious that Patton’s cast mates cared for him and had missed him during his self-imposed exile from the business.

Overall, this was a decent piece on the man and his life but I wish it would’ve gotten more into the movie itself and actually tried to show it more as a somewhat beloved film by a small minority of Elm Street fans. It was the most bizarre and weird of the Elm Street pictures and that’s without looking at the subliminal homophobia that was written into the script.

Rating: 6.25/10
Pairs well with: other recent horror movie documentaries.

Film Review: Tetsuo: The Iron Man (1989)

Also known as: Tetsuo (original title), The Ironman (alternative English title)
Release Date: June, 1989 (Italy – Fantafestival)
Directed by: Shinya Tsukamoto
Written by: Shinya Tsukamoto
Music by: Chu Ishikawa
Cast: Tomorowo Taguchi, Kei Fujiwara, Shinya Tsukamoto

Japan Home Video, K2 Spirit, Kaijyu Theater, 67 Minutes (cut down version), 69 Minutes, 77 Minutes (extended cut)

Review:

“Together, we can turn this fucking world to rust!” – Metals Fetishist

While there are some things I appreciate about this film, I actually hate it quite a bit.

It’s an absolute clusterfuck and while that’s what it set out to be, that doesn’t mean that putting the idea on celluloid is a good one.

This film looks like an industrial band’s music video from the late ’80s. And I’m not talking about a good industrial band on a major label, I’m talking about an unsigned band of college kids that have little to no talent that “borrowed” some film equipment for the weekend.

In fact, my only real experience in seeing any part of this film was when clips would be playing on screens in goth clubs in the late ’90s and early ’00s. In that setting with goth rock and industrial blaring through the club, it worked. As a film, not so much and in fact, not at all.

The only thing in this film I can really give props to is some of the special effects. While they’re not mind blowing by any stretch of the imagination, they are at least effective. The drill penis is a scary appendage no matter what side of it you’re on.

Apart from that, this is a shrill, spastic and seizure inducing fever dream. It’s really hard to watch and to digest, as none of it makes a lick of sense and it’s insane just for the hell of it because, you know… it’s fuckin’ art, maaan…

This is pretentious crap that gives films like Eraserhead some actual merit because at least there was something competent in that picture that allowed its director to grow into something better and more refined. Granted, I can’t say whether or not Shinya Tsukamoto actually got better, as I have no urge to delve deeper into his oeuvre after this unwatchable skull fuck.

If you have ever wanted to stare straight into the twitching eye of insanity while loaded up on a cocktail of uppers and hallucinogenics, than this might be your movie. But if it is, stay the fuck away from me, please.

Rating: 2/10
Pairs well with: industrial music videos by bands that never got signed, as well as Japanese surrealist gore flicks.

Film Review: Mayhem (2017)

Release Date: March 13th, 2017 (SXSW)
Directed by: Joe Lynch
Written by: Matias Caruso
Music by: Steve Moore
Cast: Steven Yeun, Samara Weaving, Steven Brand, Caroline Chikezie, Kerry Fox, Dallas Roberts

Circle of Confusion, Royal Viking Entertainment, RLJE Films, 86 Minutes

Review:

“My mother used to say that no one raindrop ever thought it caused the flood. I now know what she meant by that.” – Melanie Cross

The Last Drive-In had it’s worst week ever when it showed this, paired with Tetsuo: The Iron Man. Both of these are films I hate but I’ll save my criticism of Tetsuo for that review.

As far as Mayhem goes, fuck this turd.

It basically takes the concept of 28 Days Later and sets it in an office building. The story sees people get infected with a virus that causes them to act out their most violent and sexual impulses. Due to this infection, the entire office building is locked down in quarantine for several hours.

We then get treated to terrible people doing terrible things to one another in what is one of the most derivative and low brow edgy boi movies I’ve seen in quite some time. 

This is a film that wants you to think that it is pushing the bar but you might only fall for that if you’re thirteen. It doesn’t push the bar and in fact, it pulls its punches. Hell, when the two main characters decide to give into their animalistic urges and fuck, they don’t even rip their clothes off. By the end of this film, they should’ve been running around naked, covered in blood, screaming and killing with reckless abandon. I mean, that is if you want me to buy into the juvenile and done-to-death premise.

It’s like this film was written by a deranged middle schooler after a wet dream nightmare following a night of drinking mass amounts of cough syrup while binge watching Workaholics.

It’s so poorly acted that it actually has me second guessing its star, Steven Yeun. Maybe it is best that he got his brain bludgeoned in by Negan on The Walking Dead. Honestly, I was secretly hoping for Negan to show up and do that again.

I guess Samara Weaving was the best thing about the picture but I’m still not sure if she’s got the potential to be an actress that deserves more than this. This film certainly didn’t do her any favors despite being the only real bright spot.

Rating: 3.5/10
Pairs well with: The Belko Experiment and bad, edgy horror films that try to pass themselves off as high art.

Film Review: Beneath the Planet of the Apes (1970)

Also known as: Planet of the Man, Planet of the Apes Revisited (working titles)
Release Date: April 23rd, 1970 (Italy)
Directed by: Ted Post
Written by: Paul Dehn, Mort Abrahams
Based on: characters by Pierre Boulle
Music by: Leonard Rosenman
Cast: James Franciscus, Kim Hunter, Maurice Evans, Linda Harrison, Charlton Heston, Paul Richards, Victor Buono, Gregory Sierra

APJAC Productions, Twentieth Century Fox, 95 Minutes

Review:

“Glory be to the Bomb, and to the Holy Fallout. As it was in the beginning, is now, and ever shall be. World without end. Amen.” – Mendez

From memory, I always considered this to be the worst of the Planet of the Apes movies. I’m pretty sure I’ll still see it that way, once I get done revisiting the original five pictures.

This is just a really weird film and a major misfire, after its great predecessor and its mostly enjoyable sequels. Plus, this ends in a way that sort of kills the franchise. I’m not sure how they explain away this film’s ending in the next movie because I haven’t seen it in years, but this movie ends with the destruction of Earth.

Anyway, Charlton Heston returns but he’s only in the opening of the film and then in the third act. The lead role was given to James Franciscus, who looks an awfully lot like Heston, even though he’s a new character. However, he eventually meets Heston and works with him in trying to free themselves from the apes.

Beneath the Planet of the Apes is so bizarre, though. And I don’t mean that in a good way.

Apart from the apes, we meet a new group of antagonists, which are humans with psychic powers due to their exposure to radioactivity from Earth being nuked by mankind, earlier in this timeline’s history. The people also wear masks to cover up their disfigured faces. However, their masks are realistic versions of what their faces would look like without being destroyed by radiation. It doesn’t make a lot of sense and it’s just a stupid plot device so that the studio could cheap out and only use makeup effects sparingly.

In the larger Apes mythos, it’s almost best to ignore this picture. It doesn’t really fit with what comes after it and it threw a curveball into the narrative and concept that was so bad, it was never revisited or re-adapted in future remakes.

Apart from that, this is still a good looking film for its time but it’s still pretty obvious that the studio was trying to do things on the cheap: recycling previous set pieces and props while using less makeup effects and diverting away from the apes as the biggest focal point.

Rating: 5.25/10
Pairs well with: the four other Planet of the Apes movies from the original run, as well as the television show from the ’70s.

Film Review: My Blue Heaven (1990)

Release Date: August 17th, 1990
Directed by: Herbert Ross
Written by: Nora Ephron
Music by: Ira Newborn
Cast: Steve Martin, Rick Moranis, Joan Cusack, Melanie Mayron, Bill Irwin, Carol Kane, William Hickey, Deborah Rush, Daniel Stern, Ed Lauter, Colleen Camp, Troy Evans

Hawn / Sylbert Movie Company, Warner Bros., 97 Minutes

Review:

“Richie loved to use 22s because the bullets are small and they don’t come out the other end like a 45, see, a 45 will blow a barn door out the back of your head and there’s a lot of dry cleaning involved, but a 22 will just rattle around like Pac-Man until you’re dead.” – Vincent ‘Vinnie’ Antonelli

Even though My Blue Heaven kind of bombed when it came out, I’ve always liked the movie. I’d even go as far as to say that Vinnie Antonelli is my favorite Steve Martin character. I think a lot of that has to do with it being a real departure from typical Steve Martin while still having his DNA all over it.

Rick Moranis is also great, here. However, he plays the straight character and he’s not too dissimilar from the regular Moranis role. Well, except he’s an FBI agent and a bit of a badass when push comes to shove.

Rounding them out is a good cast of character actors, as well as Joan Cusack, who is pretty dynamite, overall. I like her character a lot and as you get to know her, you start to feel for her while the story makes her character’s journey a worthwhile one.

The plot revolves around an ex-mafioso who has been put into Witness Protection by the FBI. Martin plays the mafioso while Moranis plays the FBI agent assigned to him. Cusack plays the District Attorney of the town where Martin has been relocated to. Martin’s Vinnie can’t keep his hands clean, however, so Cusack’s D.A. keeps trying to throw the book at him while Moranis keeps interjecting, drawing the ire and the attraction of Cusack.

Mostly, the film plays out like a series of gags and funny bits with a simple but nicely layered story bringing it all together.

The best parts are where Steve Martin interacts with other people. He really makes this picture work and on paper, he probably didn’t seem like the best casting but he actually shines and shows his range in the comedy realm. Granted, Moranis and Cusack also bring a lot to the table and they only compliment Martin’s performance, giving him solid people to work off of.

In a lot of ways, this is just a feel good romantic comedy with some crime and a wee bit of action. It’s good, mindless entertainment and reminds me of a simpler time when we could escape into our entertainment and forget the world for 90-120 minutes.

The film has held up well and even though many would disagree, it’s still one of Steve Martin’s best.

Rating: 7.5/10
Pairs well with: other Steve Martin comedies of the ’70s up to the early ’90s, especially Parenthood and Little Shop of Horrors, which also feature Rick Moranis.

Film Review: Night Creatures (1962)

Also known as: Captain Clegg (UK)
Release Date: June 13th, 1962
Directed by: Peter Graham Scott
Written by: Anthony Hinds
Music by: Don Banks
Cast: Peter Cushing, Yvonne Romain, Patrick Allen, Oliver Reed, Michael Ripper

Major Pictures, Hammer Films, Universal-International, 82 Minutes

Review:

“Well if you’ve all done staring.” – Imogen, “If it’s all the same to you miss I’d like a few minutes more.” – Jack Pott

A movie featuring pirates should always feature a good amount of swashbuckling. This one doesn’t but it actually doesn’t hurt it, as it is a Hammer horror picture and there’s more emphasis on the creepy and weird than any sort of pirate action. For this film, non-swashbuckling pirates just work. But adding in some swashbuckling would’ve made it even cooler.

Also, this features three heavy hitters for Hammer with Peter Cushing, Oliver Reed and Michael Ripper. All three of these guys did multiple Hammer movies and their performances were always up to snuff and typically exceeded it.

That being said, I love this movie and I especially loved the concept of it, as well as how the monsters looked, what they actually were and how it all played out visually onscreen.

While Hammer was most known for their re-telling and re-imagining of classic monster stories, they’d always fill in the blanks with cool motion pictures like this that have an original, haunting story and also fit perfectly fine within the larger Hammer horror oeuvre.

The plot here is about a small town that sits near a marsh where the ghosts of men on ghostly horses haunt the area. There is also a creepy scarecrow that seems to appear in different places, watching those who pass through the marshes.

The town’s leader is a minister played by Peter Cushing but we soon learn that he is a famous pirate that has faked his own death and hid within this small community. The other men in the town were also his crew and they have to protect themselves when a hard-nosed naval commander comes to the village in search of the pirate Captain and the truth about what happened to him.

Night Creatures isn’t a complicated film and even the twists aren’t that surprising but honestly, they don’t need to be, as this is just a cool picture with a neat premise and great monsters.

The movie has a very eerie vibe and yet, it’s still a lot of fun and pretty lighthearted. While this might not be very high up on classic horror fans’ lists, it’s always been one of my favorite Hammer movies ever made.

Rating: 7.5/10
Pairs well with: other Hammer horror films of the era, especially those starring Peter Cushing.