Also known as: The Passionate People Eater (working title) Release Date: August 5th, 1960 Directed by: Roger Corman Written by: Charles B. Griffith Music by: Fred Katz, Ronald Stein (uncredited) Cast: Jonathan Haze, Jackie Joseph, Mel Welles, Dick Miller, Myrtle Vail, Jack Nicholson
Santa Clara Productions, The Filmgroup, American International Pictures, 72 Minutes
“It’s a finger of speech!” – Mushnick
I often times come across people who don’t realize that there was an “original” version of The Little Shop of Horrors that existed before the ’80s movie and the stage interpretations. And since it was made by the great B-movie king, Roger Corman, it’s always something worth pointing out.
The origin of this movie is kind of cool, as Roger Corman was challenged to beat his previous record of filming a movie quickly and with that, set out to film this entire picture in two days. A big part of that two-day window was that he wanted to re-use sets from his movie Bucket of Blood before they were torn down. He succeeded.
The film features a few Corman regulars, most notably Jonathan Haze, as the film’s lead, as well as Dick Miller and Jack Nicholson, in what was his most bonkers role, early in his career. Nicholson actually plays a dental patient that loves pain, which was the same role that Bill Murray played in the ’80s musical remake.
Now this version isn’t a musical like the ’80s film and the stage productions. However, it features a cool musical score by Fred Katz and an uncredited Ronald Stein. I like the odd score so much that I actually own it on vinyl.
I think that the most impressive thing about the movie is the special effects. The fact that they were able to create Audrey, the giant, man-eating plant and utilize it so well for this quick shoot is pretty astounding. But then, Roger Corman continually astounded with how quickly he shot his films, the sheer volume of them and how he pinched his pennies while getting the most out of them.
The Little Shop of Horrors is really no different than Corman’s other horror and sci-fi productions of this era in his career. And the end result is an enjoyable, quirky picture that is fun to watch or revisit every couple of years.
Rating: 6.5/10 Pairs well with: its ’80s musical remake, as well as other early Roger Corman pictures.
Also known as: Mutant (Australia, France, Canada), Subject 20 (Germany) Release Date: May 7th, 1982 Directed by: Allan Holzman Written by: Tim Curnen Music by: Susan Justin Cast: Jesse Vint, Dawn Dunlap, June Chadwick, Linden Chiles, Fox Harris, Raymond Oliver, Scott Paulin, Michael Bowen, Don Olivera
Jupiter Film Productions, New World Pictures, 77 Minutes, 85 Minutes (VHS cut), 82 Minutes (Director’s Cut)
“Welcome to the Garden of Eden. We play God here.” – Dr. Cal Timbergen
At this point, I’ve probably reviewed more films produced by Roger Corman than any other producer in the motion picture industry. But I’d be lying if I didn’t say that he was my favorite and the fact that he literally has hundreds of pictures, means that I’ll probably still be reviewing his work for several more years. And that’s assuming that I can ever actually see all of his films.
Forbidden World came out in a time when Corman was making a lot of sci-fi space-centered movies. Where Battle Beyond the Stars was his Star Wars ripoff, this one was his Alien ripoff.
There were many movies that were “inspired” by Alien, however, and some of them are pretty good. This one, is actually one of my favorites but let me get into why.
To start, I love the overall vibe of this movie. It’s stylistically cool and it has pretty impressive practical effects from something in this era that wasn’t made by George Lucas or Steven Spielberg and for having such a small budget.
I thought the monster was pretty cool and while this takes several beats from Ridley Scott’s Alien it is still original enough to be a pretty unique experience. Plus, it’s disturbing in its own way and you can’t predict what’s instore just based off of what it’s ripping off.
I also think that the cast in this is pretty decent and better than what’s typical for a Roger Corman production. The lead, Jesse Vint, was a good, heroic everyman. I also enjoyed Dawn Dunlap and June Chadwick because… well, you probably know why. Dunlap is especially gorgeous and damn near perfect. Although, her screaming got to be a bit much.
Something interesting about this movie, which I discovered while researching it, is that James Cameron worked on the set design. Granted, these sets were built for another Corman produced Alien “homage”, Galaxy of Terror. However, many of those set pieces were recycled and reconstructed for this movie. I think it’s probably safe to assume that Cameron’s work on these productions helped him when he directed Aliens, the official sequel of the film this one tried to emulate.
Forbidden World is better than what one would probably expect. It has that patented Corman touch, borrows heavily from a better movie but it all comes together rather well and should entertain fans of ’80s sci-fi, practical special effects and Corman flavored cinematic craftsmanship.
Rating: 6.5/10 Pairs well with: other Roger Corman produced films of the late ’70s and ’80s.
Also known as: Top Mission (France), American Scorpion, Vice Wars (alternate English titles – Germany) Release Date: August 1st, 1985 (Argentina) Directed by: Hector Olivera Written by: Steven M. Krauzer, Hector Olivera, David Vinas Music by: George Brock, Jorge Lopez Ruiz Cast: John Schneider, Royal Dano, Federico Luppi, Rodolfo Ranni, Patti Davis
Aries Cinematografica Argentina, New Horizons, Concorde Pictures, 82 Minutes
“[while applying the cattle prod to Cliff’s teeth] “Tell me, Cliff… where are the papers?… You have no choice because I’m going to kill you…” – General Lujan
Sadly, this movie isn’t anywhere near as badass and cool as its poster. In fact, it’s kind of a letdown, if I’m being honest.
This does star John Schneider of The Dukes of Hazzard, though. So had I seen this as a kid, I probably would’ve loved it.
It also features Royal Dano, a character actor I like in all of his roles.
This was one of the ten films that Roger Corman made down in Argentina. He had some sort of deal with a studio down there and they pumped out a lot of shit like this, as well as pretty bad sword and sorcery flicks at the height of their popularity.
This film sees Schneider take on generic Latin American drug traffickers backed by military might. There’s a lot of action and gun play but overall, most of this stuff is poorly shot and executed.
For action flicks like this, all you need to do is “bring it” with the action shit and the plot and flaws almost don’t matter. However, if you fail at the most important part, everything else comes off looking like shit too.
Still, I did like Schneider and Dano in this but their presence doesn’t save the film in anyway. Well, other than making this not abysmally bad.
It’s still really bad, though and it’s damn forgettable. Schneider probably could’ve evolved into a legit action star if he were given the right vehicle. Cocaine Wars certainly wasn’t that.
Rating: 4/10 Pairs well with: other C-level action films of the ’80s.
Release Date: January 30th, 1991 (New York City premiere) Directed by: Jonathan Demme Written by: Ted Tally Based on:The Silence of the Lambs by Thomas Harris Music by: Howard Shore Cast: Jodie Foster, Anthony Hopkins, Kasi Lemmons, Scott Glenn, Ted Levine, Frankie Faison, Tracey Walter, Charles Napier, Roger Corman, Chris Isaak, Harry Northup, Daniel von Bargen, George A. Romero (uncredited)
“A census taker once tried to test me. I ate his liver with some fava beans and a nice chianti.” – Hannibal Lecter
My memories of this film are as great as they could possibly be but after seeing this again, the first time in many years, I was still surprised by just how perfect it is. There are very few motion pictures that deliver so much and at such a high level that seeing this was incredibly refreshing and left me smiling from ear-to-ear, regardless of the dark, fucked up story.
That being said, as great as both Jodie Foster and Anthony Hopkins are as actors, I have a hard time thinking of anything else they were better in.
Sure, they’ve both had other legendary performances but man, they brought their best to this picture like their entire lives counted on it being a success. Plus, their chemistry is incredibly uncanny that in spite of knowing what Hannibal is, at his core, you almost kind of root for them in a sort of awkward, fucked up, romantic way.
I can understand why Jodie Foster didn’t want to return to the role with Hannibal, a sequel that took too long to come out, but I really would’ve liked to see this version of the characters come together again because the strange connection that they share deserved more exploration.
It would’ve been hard to live up to this masterpiece of a film, though, but I’ll save my added thoughts on Hannibal for that review in about a week.
Anyway, it wasn’t just Foster and Hopkins that were great. This film’s entire cast was perfect and this enchanting nightmare just sucks you in and doesn’t release its grip till well after the credits are over. This movie just lingers with you and a big part of that was the performances of every actor.
Credit for that also has to go to Jonathan Demme, who, as director, was able to pull the best out of this stupendous cast from the smallest role to the most iconic and pivotal.
Additionally, he really displayed his mastery of his craft in this like no other movie he’s directed. The tone, the atmosphere and the sound were perfect. This boasts some incredible cinematography, masterful shot framing, exceptional lighting and Demme employs some really interesting and cool techniques. The best being used in the finale, which sees Foster’s Clarice, terrified out of her mind, as she hunts the film’s serial killer, seen through the point-of-view of his night vision goggles, as he carefully stalks her through a pitch black labyrinthine basement.
That finale sequence in the house is absolutely nerve-racking, even if you’ve seen this film a dozen times. The tension, the suspense, it’s almost too much to handle and that’s the point in the film where you really come to understand how perfect this carefully woven tapestry is.
Plus, it really shows how complex Clarice is as a character. She’s brave as fuck but alone, up against a monster like Buffalo Bill, her senses and her primal fear overwhelm her. However, she still snaps out of it just quick enough to put him down, perfectly and exactingly. Foster is so damn good in this sequence too, that you truly feel yourself in her shoes.
Speaking of Buffalo Bill, Ted Levine was amazing in this role. Man, that guy committed to the bit so much that it’s impossible not to appreciate what he brought to the film. It could’ve been really easy to have been overshadowed by Foster and Hopkins but this guy rose to the occasion with them and excelled in this performance.
My favorite sequence in the film, after the finale, is the one where Hannibal Lecter escapes imprisonment. This is where you finally see how cold and vile he can be. It also shows you how damn smart he is at outwitting those who tried to cage this lion but took that cage’s security for granted. He exposes the flaws in their overconfidence and careful planning and leaves this story a free man, out and about in the world.
The Silence of the Lambs was an unexpected runaway hit and it’s easy to see why. I always thought that it was funny that this was released on Valentine’s Day, as it must have shocked many casual moviegoers just looking for a film to see on a date where they just wanted to smooch their lover. It makes me wonder how many married couples saw this on their first date.
Rating: 10/10 Pairs well with: the other Hannibal Lecter films.
Release Date: October 24th, 1962 Directed by: Roger Corman Written by: Leo Gordon, F. Amos Powell, Robert E. Kent Music by: Michael Anderson Cast: Vincent Price, Michael Pate, Robert Brown, Charles Macaulay, Joan Freeman, Morris Ankrum
Edward Small Productions, United Artists, 79 Minutes
“[as a ghost, showing the whip lashes on her bare back to Richard of Gloucester] Wouldn’t you rather look at my back? Is it not attractive as a woman’s back should be?” – Mistress Shore
Growing up a big fan of Vincent Price, Tower of London wasn’t really a favorite film of mine. Although, I have to say that I kind of enjoy it now.
Sure, it wasn’t as colorful and energetic as his other pictures with director, Roger Corman. However, it is well acted and showcases Vincent Price as a real bastard with a certain charisma. He takes this completely evil character and gives him life in a way that is unique, entertaining and chilling.
No, you never like Price’s Richard III but that doesn’t matter, as you’re not supposed to. He’s just a hell of a villain played by a hell of an actor and once he gets his just desserts, it’s damn satisfying.
Like all Corman pictures, this was made quickly and on the cheap. But also like many Corman pictures, the end results are much better than one should expect and that’s just a testament to the man’s skill and his brand of cinematic magic.
This is an often times unnerving story but it features ghosts, magic, murder, torture and a legitimate power hungry madman. What’s not to like?
I’m glad that I watched this for the first time in about twenty years, as my opinion on it has changed somewhat.
Rating: 6.25/10 Pairs well with: other Vincent Price films of the ’50s and ’60s, especially those with director Roger Corman.
Also known as: The Haunted and the Hunted (UK alternative title), Dementia (working title) Release Date: August, 1963 (Indianapolis premiere) Directed by: Francis Ford Coppola Written by: Francis Ford Coppola Music by: Ronald Stein Cast: William Campbell, Luana Anders, Bart Patton, Mary Mitchell, Patrick Magee, Eithne Dunne
Roger Corman Productions, The Filmgroup, American International Pictures, 75 Minutes
“It’s nice to see her enjoying herself for a change. The mood around this place isn’t good for her…. Especially an American girl. You can tell she’s been raised on promises.” – Louise Haloran
Dementia 13 is the first film that Francis Ford Coppola directed that wasn’t a nudie cutie. It was also produced by Roger Corman, after Coppola had worked on Corman’s The Young Racers. With leftover funds and some of the same actors and being in the same country, Corman intended to shoot another quick low budget flick but he ended up giving the reigns to Coppola with the request being that he make something Psycho-like and it had to be done cheaply.
Coppola wrote a brief draft of the story in one night and gave it to Corman while also describing the most vividly detailed sequence. This impressed Corman and he gave Coppola the remaining $22,000. Coppola also raised some extra funds himself by pre-selling the European rights to the film without telling Corman.
Ultimately, Coppola’s antics didn’t really strain the relationship between he and Corman and the film has gone on to be somewhat of a cult classic. It’s hard to say whether or not it would’ve reached that status without being Coppola’s first legitimate movie but nonetheless, it’s definitely earned its money back more than tenfold over the years.
Overall, it’s not a great film and the story is kind of meh but I do enjoy the performances of Patrick Magee, a long-time favorite of mine, as well as William Campbell and Luana Anders.
Additionally, the film does create a solid, creepy vibe that has held up well.
For the most part, it is competently shot and Coppola showed great promise and a great eye with his work, here.
I think that the plot could’ve been better if there was more time to write it and refine it but Corman productions rarely had that luxury and these things were just pumped out on the cheap with the crew immediately having to move on to the next picture.
All things considered, this is still better than it should have been and Coppola did make chicken salad out of chicken shit. While it’s not the best chicken salad, it is certainly palatable and mostly satisfying with enough sustenance to get you by for the time being.
Rating: 6/10 Pairs well with: other horror films of the 1960s, as well as other very early Francis Ford Coppola movies.
Also known as: Captive Women (Philippines title), Stab In the Dark (alternative title), Night Light (original script title) Release Date: September 7th, 1990 Directed by: Sally Mattison Written by: Catherine Cyran Music by: Jamie Sheriff Cast: Keely Christian, Brittain Frye, M. K. Harris, David Greenlee, Hope Marie Carlton, Maria Ford
The original Slumber Party Massacre didn’t need a sequel, as it was incredibly derivative of the slasher genre and also re-used the neat killer concept from the movie Driller Killer.
However, the second film was very different and had more personality and cool rockabilly charm, setting it apart and making it a unique slasher flick experience.
This third movie, sadly, is just derivative of the derivative first film and lacks the musical flair and uniqueness of the second one.
This is cookie cutter shit at its worst that’s both highly predictable and doesn’t offer up anything new to the genre or even its own series.
Although, by 1990, the slasher genre was becoming passe and horror was trying to get smarter and more introspective. I wouldn’t say that slashers were dead but they had definitely been made in abundance over the course of the previous decade and to stand out, you really needed to do something different.
Now don’t get me wrong, I don’t dislike this film. I just don’t have much love for it when there are dozens of better slasher flicks to watch and re-watch.
The characters are simple archetypes devoid of real personality and the mystery of who the killer is, is made quite obvious in the film’s opening. Sure, there’s a red herring but I even found that to be predictable as hell.
Being that this was produced by Roger Corman, it probably made money. So the fact that there wasn’t a fourth one is kind of interesting. But maybe Corman saw the writing on the wall and knew that this film was one too many in the Slumber Party Massacre series.
Rating: 4.25/10 Pairs well with: the other films in the Slumber Party Massacre series, as well as other teen slasher flicks.
Also known as: Slumber Party Massacre: The Sequel (working title), Don’t Let Go (Germany), Massacre 2 (Brazil) Release Date: October 16th, 1987 Directed by: Deborah Brock Written by: Deborah Brock Music by: Richard Cox Cast: Crystal Bernard, Atanas Ilitch, Kimberly McArthur, Juliette Cummins, Patrick Lowe, Heidi Kozak, Joel Hoffman, Jennifer Rhodes, Michael Delano
“Oh come on, baby. Light my fire!” – The Driller Killer
I dig this movie.
The thing is, it doesn’t need to make a lick of sense or even have a great story. This film features a driller killer that is some sort of singing rockabilly ghost and his objective here is to try and murder all the members of a girl band and their doofus love interests.
The film also stars a young Crystal Bernard before she would go on to greater stardom, as a core cast member of the long-running NBC sitcom Wings. She was also on the syndicated sitcom It’s A Living but I don’t think anyone, other than me, even remembers that show. But my mum made me watch it every weekend when it was on and I sort of liked it, back in the day. I was also crushing hard on Bernard because of that show.
I like that this film taps more into the realm of black comedy more than its predecessor, and while I think the original is a tad bit better, I like that this installment was more creative and lively. I love the singing rockabilly driller killer, as well as his tunes. I also love the girl band and all the female characters were fun and kind of cool in their roles, even if their characters didn’t require Oscar-caliber performances.
This film also ups the ante from the original, as it has more gore and some cool gross out moments. The big zit scene was well done and superbly executed for a film with a Roger Corman micro-budget. But this film, like so many from the realm of ’80s horror, just goes to show how great practical special effects can be over the easy-out of modern CGI.
Slumber Party Massacre II is hardly a classic but it’s still a fun romp with an energetic soundtrack, killer tunes and a much better than decent finale that exceeds the climax of its predecessor.
Rating: 5.5/10 Pairs well with: the other films in the Slumber Party Massacre series, as well as other teen slasher flicks.
Also known as: All the Fallen Angels, The Fallen Angels (working titles) Release Date: July 20th, 1966 Directed by: Roger Corman Written by: Charles B. Griffith, Peter Bogdanovich (uncredited) Music by: Mike Curb Cast: Peter Fonda, Nancy Sinatra, Bruce Dern, Diane Ladd, Buck Taylor, Norman Alden, Michael J. Pollard, Frank Maxwell, Dick Miller, Peter Bogdanovich
American International Pictures, 87 Minutes
“We don’t want nobody telling us what to do. We don’t want nobody pushing us around.” – Heavenly Blues
While people mostly remember Easy Rider as the counterculture biker picture of its time, The Wild Angels predates it by three years, features the same star and was actually the film that kicked off a whole slew of biker and drug movies.
Directed by Roger Corman and starring two of his regulars, Peter Fonda and Bruce Dern, this picture also inspired some other counterculture films by Corman, most notably The Trip.
Overall, this is a pretty dark picture but it has some charm to it, mainly because the main players are so good. Despite the fact that they’re mostly despicable pieces of shit, there is that part of you that wants them to find the freedom and fantastical utopia they are looking for.
At it’s core, this is just a cool movie with cool stars and the film really does a superb job at manufacturing a pretty genuine feeling story about outlaw bikers and their flimsy philosophies. I think that’s the main reason as to why this picture sparked a cinematic trend that saw more films like this getting made for several years.
I wouldn’t place this among Corman’s best films but it is certainly a good one that stands on its own and showcases the director’s talent in spite of his rapid shooting style and microbudget economics.
I also wouldn’t call this the best of the counterculture pictures of its day but it is most definitely a great example of this sort of cinematic social commentary done well.
Rating: 7.5/10 Pairs well with: other Roger Corman films from the ’60s, as well as other counterculture and drug pictures of the time. Especially those starring Peter Fonda or Bruce Dern.
Also known as: Carquake! (UK) Release Date: July 6th, 1976 Directed by: Paul Bartel Written by: Paul Bartel, Donald C. Simpson Music by: David A. Axelrod Cast: David Carradine, Bill McKinney, Veronica Hamel, Gerrit Graham, Robert Carradine, Belinda Balaski, Mary Woronov, James Keach, Dick Miller, Paul Bartel, Joe Dante, Allan Arkush, Jonathan Kaplan, Roger Corman, Don Simpson, Martin Scorsese (uncredited), Sylvester Stallone (uncredited)
Cross Country Productions, Harbor Productions, New World Pictures, 90 Minutes
“I thought this car could beat anything on the road.” – Linda Maxwell, “This car’s a winner.” – Coy ‘Cannonball’ Buckman
A year after Paul Bartel directed the cult classic Death Race 2000, he made a very similar film with a lot of the same core cast members, as well as producer and B-movie legend, Roger Corman.
In this film, take the Death Race 2000 concept and strip away the futuristic sci-fi setting, the slapstick uber violence and the plot to assassinate a corrupt president and you’ve essentially got the same film.
Granted, Cannonball! isn’t as good and I kind of blame that on stripping away the things that made Death Race 2000 so unique. This is still really enjoyable, though, and fans of that more beloved flick will probably dig this one too.
The race car driving hero is still David Carradine and he’s re-joined in the cast by Mary Woronov, Paul Bartel (the director), Sylvester Stallone in an uncredited cameo, as well as some of the other bit players.
Like Death Race, the film follows a cross-country auto race, all the wacky characters involved and all the crazy shenanigans of racers trying to sabotage and outperform one another.
I like a lot of the new additions to the cast like the always great Gerrit Graham, Robert Carradine, Bill McKinney, Belinda Balaski and the inclusion of Dick Miller, Joe Dante, Allan Arkush, Jonathan Kaplan, Roger Corman (the producer), Don Simpson and Martin Scorsese, who is also uncredited for his appearance here.
The action is good, the comedy still works and this film has that unique Paul Bartel charm.
In the end, this isn’t quite a classic but it did help pave the way for all the other movies like it that followed for years to come.
Rating: 7.5/10 Pairs well with: Paul Bartel’s Death Race 2000, as well as other cross-country racing movies of the ’70s and ’80s like the Cannonball Run films, The Gumball Rally and Speed Zone.