Skinless is a 2014 micro $2000 budget American horror film co-written and directed by Dustin Mills (The Puppet Monster Massacre, Bath Salt Zombies, Night of the Tentacles). It stars co-writer Brandon Salkil, Erin R. Ryan (Babysitter Massacre), Allison Egan and Dave Parker.

Skinless will receive an initial theatrical premiere in Cleveland at midnight in the US by Phantom Pain Films on March 8 with other venues to follow.

Official synopsis:

“Brilliant oncologist Peter Peel discovers a possible cure for skin cancer in the belly of an exotic parasite. When he tests the cure on himself, his world is shattered and a monster is born. Skinless is a sad tale of madness, murder, monsters, and love.”

Night of the Tentacles trailer:

Thanks to Bloody Disgusting for some of the info above.

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The Legend of Six Fingers is a 2013 American found footage monster horror film written and directed by Sam Qualiana (Snow Shark: Ancient Show Beast). It stars Debbie Rochon, Lynn Lowry, Andrew Elias, Tiffany Shepis and Tim O’Hearn.

Bloody Earth Films will release the film on DVD and VOD on June 24, 2014.

Two filmmakers, Neil and Andrew, set out to make a documentary about a rash of domestic animal slaughters in rural Western New York. After interviewing several local residents, the filmmakers learn the Native American legend of Yá·yahk osnúhsa? – “Six Fingers” in English, a bipedal creature not unlike Bigfoot, so named because it has three fingers on each hand. Believing that Six Fingers is responsible for the animal slayings, the filmmakers set out on a terrifying journey into the woods to discover whether or not the creature exists…

IMDb | Facebook

King Kong vs. Godzilla (キングコング対ゴジラ Kingu Kongu Tai Gojira) is a 1962 Japanese science fiction Kaiju film produced by Toho Studios. Directed by Ishirō Honda with visual effects by Eiji Tsuburaya, the film starred Tadao Takashima, Kenji Sahara, and Mie Hama. It was the third installment in the Japanese series of films featuring the monster Godzilla. It was also the first of two Japanese made films featuring the King Kong character (or rather, its Toho Studios counterpart) and also the first time both King Kong and Godzilla appeared on film in color and widescreen. Produced as part of Toho’s 30th anniversary celebration, this film remains the most commercially successful of all the Godzilla films to date. The US version sported a different edit and Universal Studios library music including cues by Henry Mancini from Creature from the Black Lagoon.

Plot:

Mr. Tako, head of Pacific Pharmaceuticals, is frustrated by the ratings the television shows his company is sponsoring. When a doctor tells Tako about a giant monster he discovered on the small Faro Island, Tako believes that it would be a brilliant idea to gain publicity. Meanwhile, American submarine Seahawk gets caught in an iceberg. Unfortunately, this is the same iceberg that Godzilla was trapped in by the Japanese Self-Defense Forces back in 1955, and the submarine is destroyed. Godzilla breaks out and heads towards a nearby Arctic military base, attacking it. He continues moving inland, razing the base to the ground. Godzilla’s appearance is all over the press, making Tako furious.

On Faro Island, a giant octopus attacks the native village. The mysterious Faro monster is then revealed to be King Kong and he defeats the octopus. King Kong then drinks red berry juice, becomes intoxicated, and falls asleep. Tako’s men place Kong on a large raft and begin to transport him back to Japan. However, a JSDF ship orders them to return Kong to Faro Island. Godzilla had just come ashore in Japan and destroyed a train, and the JSDF doesn’t want another monster entering Japan. Unfortunately, during all this, Kong wakes up from his drunken state and breaks free from the raft. Reaching the mainland, Kong meets up with Godzilla…

Buy King Kong vs. Godzilla on Blu-ray from Amazon.co.uk | Amazon.com

Reviews:

“There are two major fights in the film, the short scuffle near the middle and the big climax. The short one is basically a tease for the climax and establishes the hate the two monsters have for each other. Tsuburaya gives some great personality into these battles. These aren’t just two mindless animals fighting, they have reactions and make plans. (Who didn’t laugh when King Kong walks way from the short scuffle while scratching his head like he’s not sure what he’s up against?) The climax is easily one of the most exciting of the Godzilla franchise.” Daniel Alvarez, Unleash the Fanboy

“This marked the first step into a more comical approach to Godzilla. Many on the production crew were displeased with how lighthearted the film was, believing that Godzilla was more appealing when he was something to be feared. However, Toho wanted to broaden the audience and felt targeting children with the more comical scenes was the way to go.” Monster Movie Kid

“Solid fun. The dubbed dialogue hits all kinds of fantastic comedic moments, such as a character’s tendency to ache and complain about his ‘corns’ or the behavior and stuttering of Mr. Tako, the guy who takes over custody of Kong (bet he wishes he didn’t do that now, eh?). Normally I’d be a bit peeved at the infusion of comedy in a monster movies – I tend to like my monster flicks taken seriously – but considering that the humor and satire is part of the script’s DNA, well, I don’t quite mind it at all. And that adds substantially to the overall funness of this flick.” Andrew Simon, The Ramblings of a Minnesota Geek

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Buy Godzilla Yuki Sakai Works Godzilla Concept Structure by Ban Dai from Amazon.co.uk

Wikipedia | IMDb | Wikizilla | We are most grateful to Cathode Ray Mission for some of these images

The League of Extraordinary Gentlemen (or LXG on some early publicity material) is a 2003 science fiction action film with horror elements, loosely based on the first volume of the comic book series The League of Extraordinary Gentlemen by Alan Moore and Kevin O’Neill. Released on July 11, 2003 by 20th Century Fox, it was produced by Don Murphy (From Hell) and directed by Stephen Norrington (Blade) from a screenplay by British comic book writer James Dale Robinson. It stars Sean Connery, Naseeruddin Shah, Peta Wilson, Tony Curran, Stuart Townsend, Shane West, Jason Flemyng, and Richard Roxburgh.

It is an action film with prominent pastiche and crossover themes set in the late 19th century, featuring an assortment of fictional literary characters, who act as Victorian Era superheroes. It draws disparately on the works of Jules Verne, H. G. Wells, Bram Stoker, Sir Arthur Conan Doyle, H. Rider Haggard, Ian Fleming, Herman Melville, Oscar Wilde, Robert Louis Stevenson, Edgar Allan Poe, Gaston Leroux, and Mark Twain.

On a stated budget of $78 million, the film grossed $179,265,204 worldwide at the box office, plus rental revenue of $48,640,000, and initial DVD sales of $36,400,000. Though not popular with critics or fans of the comic series, the movie has developed a cult following, particularly within the Victorian steampunk community for its production design.

Notorious for being a troubled shoot, Connery didn’t get on with director, Stephen Norrington. “On the first day I realized he was insane,” Connery subsequently told The Times. The veteran actor retired from lead roles after this taxing part. For his part, Norrington cited what he considered to be studio interference and he has not made another movie since.

Plot:

In 1899, men dressed as German soldiers attack the Bank of England and steal Leonardo da Vinci’s layouts of Venice’s foundations. Shortly after, led by their leader the “Fantom”, men dressed as British officers kidnap German scientists and destroy a factory, causing tension between the United Kingdom and Germany which could lead to an international war, with both attacks marked by highly advanced weaponry (for the time) such as tanks and machine guns. Sanderson Reed of the British Empire ventures to Kenya, to recruit world-renowned hunter and adventurer Allan Quatermain…

In London, Quatermain meets “M”, Reed’s employer, who explains that the Fantom plans to destroy Venice to prevent a meeting between the leaders of the world, his ultimate goal being to start a world war and arms race to profit from sale of his weapons. To combat the Fantom, a team of unique individuals known as the League of Extraordinary Gentlemen is being formed – consisting of Quatermain himself, Captain Nemo, chemist Mina Harker, and invisible thief Rodney Skinner. M sends the group to recruit their fifth member, immortal Dorian Gray, who remains youthful while a currently missing portrait of himself ages. Dorian once was infatuated with Mina, but refuses to join the team. The Fantom and his assassins attack, but thanks to the presence of U.S. Secret Service Agent Tom Sawyer, the assassins are defeated, although the Fantom escapes. Mina is revealed to be a vampire, a result of her past encounter with Count Dracula. Dorian and Sawyer join the team and set off in Captain Nemo’s submarine, the Nautilus, to recruit their final member, Mr. Hyde…

Reviews:

“The League of Extraordinary Gentlemen assembles a splendid team of heroes to battle a plan for world domination, and then, just when it seems about to become a real corker of an adventure movie, plunges into incomprehensible action, idiotic dialogue, inexplicable motivations, causes without effects, effects without causes, and general lunacy. What a mess.” Roger Ebert, Rogerebert.com

“Logic and continuity fly out the window. True, the effects and sets are marvellously fantastical and there are one or two neat comical allusions to the heroes’ literary roots. But where’s the excitement, the thrills, the tension, the style?” Derek Adams, Time Out

“The problem with The League of Extraordinary Gentlemen is the filmmakers tried to give everyone a main storyline and ended up diluting everything. With so many characters, the film lost some focus. One guilty pleasure I had from the film was Mr. Hyde, who was expanded (literally) from the original Robert Louis Stephenson story to be a massive gorilla-like monster, filled with rage.” Kevin Carr, Film Threat

” … like The Mummy Returns and other failed fantasy blockbusters, The League falters around halfway through, and becomes the type of bloated, CG-driven video game that the first previews had indicated. The film loses its sense of excitement in favor of some very cheesy special effects (particularly another cousin of the Hulk, only blood-red). There also seems to be a strong effort to make the film bigger and bigger right up until the finale. There are some exciting moments even then, but the climax turns out to be a major letdown.” Cinema Blend

“By the time the League actually does something, the film drowns in its own forced spectacle. Fight scenes are shoddily edited, ridiculous set-pieces fail to hide woeful effects and worse are the bewildering array of continuity errors. Anyone who has seen Blade knows that Norrington can direct slick action fare, but there’s scant evidence here. No matter how troubled the shoot was, the movie was shanghaied from the off, courtesy of Hollywood’s dependence on market-defined ‘success’.” Danny Graydon, Empire Magazine

“The problems pretty much begin and end with Sean Connery. On paper, he’s a natural choice to play the ageing - no, aged - Quatermain. But Connery, who also acts as an executive producer, isn’t content to be a team player. So what we’ve got here, ladies and gents, is a star vehicle, the revered Scotsman moulding Quatermain from the opium addict of the comic into an unstoppable septuagenarian with Arnie-style quips. Too often, this feels like a League Of One.” Total Film

“The trouble with having seven protagonists is that you need seven antagonists, seven backstories, seven ‘struggles against adversity’ and seven resolutions. So some of it gets a bit rushed, quite a few backstories are recounted in a matter of nanoseconds, and towards the end the action switches constantly between about four or five different battles, with Mina fighting Dorian and Quatermain fighting Moriarty and Skinner fighting another invisible man and Hyde fighting another Hyde. It’s all done in a very fast-pace, but at least it does get done at all; at least all the characters have character.” Fully Ramblomatic

Wikipedia | IMDb

Godzilla: Final Wars (ゴジラ ファイナルウォーズ Gojira: Fainaru Wōzu) is a 2004 Japanese science fiction Kaiju film directed by Ryuhei Kitamura (Versus), written by Wataru Mimura and Isao Kiriyama and produced by Shogo Tomiyama. It is the 28th installment in the Godzilla film series, and the sixth in terms of the series’ Millennium era. The film stars Masahiro Matsuoka, Don Frye, Rei Kikukawa, Kane Kosugi, Maki Mizuno and Kazuki Kitamura.

As a 50th anniversary film, a number of actors from previous Godzilla films appeared as main characters or in cameo roles. In addition, various Kaiju (monsters) made reappearances, as most were last seen more than 30 years earlier. Godzilla: Final Wars premiered on November 29, 2004 in Los Angeles, California and was released on December 4, 2004 in Japan. Before the world premiere, Godzilla received a star on the Hollywood Walk of Fame.

Director Ryuhei Kitamura has compared Godzilla: Final Wars to that of a musician’s “Best of” album, stating “We picked lots and lots of the best elements from the past and combined it in a new way. It’s what I love about Godzilla and what I don’t love about recent Godzilla movies”.

The music in Godzilla: Final Wars was composed by Keith Emerson (Inferno; Murder Rock; The Church) Daisuke Yano and Nobuhiko Morino, while the band Sum 41 contributed the song “We’re All To Blame” to the soundtrack (and received high billing in the film’s opening credits sequence). Some critics expressed concern with the music of Final Wars, arguing that Emerson’s score would be better suited for a campy made-for-television movie or video games, while others pointed out that it made a refreshing change from the music of previous Godzilla films.

Plot teaser:

In 2004, endless warfare and environmental pollution has resulted in dangerous kaiju and the Earth Defense Force (EDF) is created to protect the planet. The organization is equipped with the best technology, weapons and soldiers, as well as mutants with special abilities. Godzilla is the EDF’s only unstoppable opponent. The EDF’s best combat vehicle, the Gotengo, corners Godzilla at the South Pole and buries him under the Antarctic ice, freezing him alive.

Forty years later, the EDF discovers a mummified space monster. The mutant soldier Shinichi Ozaki and the United Nations biologist Dr. Miyuki Otonashi are sent to research it. Shortly thereafter, the two encounter the Shobijin, fairies of the guardian monster Mothra, who reveal that the monster is Gigan, an alien cyborg sent to destroy Earth 12,000 years earlier. They also warn that a battle between good and evil will happen soon and that Ozaki, because of his mutant capabilities, must choose between the two.

Suddenly, kaiju appear in major cities. The EDF attempts to drive them away. The monsters include Anguirus in Shanghai, Rodan in New York City, King Caesar in Okinawa, Kamacuras in Paris, Kumonga in Arizona, Zilla in Sydney and Ebirah near Tokyo. Despite defeating Ebirah, the EDF is unsuccessful in destroying the monsters. After destroying most of the cities, the monsters vanish and an enormous alien mothership appears over Tokyo. The aliens, known as Xiliens, say that they are friendly and have eliminated the monsters…

Reviews:

” … brief missteps are not enough to undermine the film, which is a pulse-pulverizing bit of special effects and martial arts mayhem that truly is good enough to deserve a stateside release. Certainly, the film is over-the-top and utterly fantastic.” Steve Biodrowski, Cinefantastique

“The Matrix influence extends to slow-motion bullets, 360-degree freeze-pans, and Ozaki’s understanding of his divine purpose — but, really, all this tosh accomplishes is to pad Godzilla: Final Wars for a good 35 minutes longer than is necessary. Godzilla himself doesn’t even show up for the first hour and a half, since he’s kept on ice under the South Pole specifically for occasions like this. After a while the shoot-outs, fistfights, and bellowing latex bleed into one unending blur, and you find yourself actively pining for the earth to be destroyed so the end credits can come up.” Ty Burr, Boston Globe

“.. a blithely campy, altogether good-natured love letter to the classic Godzilla films of the 1960s and 1970s directed by… Japan’s adolescent action stylist.” Sean Axmaker, Static

Buy Godzilla Tokyo S.O.S. + Godzilla: Final Wars on Sony Blu-ray from Amazon.com

Wikipedia | IMDb | Godzilla on Horrorpedia

Supercroc - also known as Jurassic Croc – is a 2007 American made-for-TV film produced by The Asylum and directed by Scott Harper (AVH: Alien vs. Hunter) from a screenplay by Steve Bevilacqua (When a Killer Calls; Hillside Cannibals) based on a story by David Michael Latt (Scarecrow Slayer; Halloween Night). It stars Cynthia Rose Hall, Matthew Blashaw, Kim Little, David Novak, Kristen Quintrall, Marat Glazer, Noel Thurman, Steven Glinn, Allen Duncan, Michael Tower.

Plot teaser:

A military unit is sent to stop a giant crocodile before it reaches Los Angeles…

” … it doesn’t get poorer quality than this – the croc looks like a bad painting, the ‘muzzle flash’ of the weapons makes it look like they’re playing LaserQuest, even with the constantly blurry footage (which may or may not have been deliberate) the helicopters look like they’ve been stolen from the Muppets and the fact that for the majority of the movie you have to struggle to hear the dialogue over the “background” music all add to the direness of this offering.” Nerds Raging

“Supercroc a giant monster movie without any of the giant monster in it. It’s a film that instead of putting padding around a giant monster, it throws in some giant monster around a lot of padding. In fact this film is the most padded film ever and could easily sustain being squashed underneath a giant 50ft crocodile and survive intact.” Popcorn Pictures

“There are many issues with Supercroc. In fact, finding a notable positive amongst the detritus is no easy task. I did laugh at the crocodile but I’m sure I wasn’t supposed to. I’ve been more frightened of a runny nose than this crocodile made up of utterly dreadful effects. The acting is weak, the story uninspiring and boy is this croc easy to take down! Another major issue was the sound. I had the volume cranked up to the max but still struggled to sometimes make out what the hell people were saying.” Donnambr, Paperblog

“This movie is just amazingly-bad for all of the reasons that you think.  On top of that, it’s not all that good for the ironic reasons that Asylum films can be.  Sure, the effects are bad, but you don’t get to see enough of them.  None of the really ridiculous stuff from future Asylum films- i.e. the Shark attacking the plane or the ‘Fend off Piranha with the Bicycle Kick’ – really show up. The film is chock full of set-ups for them…but has no pay-off. They really just seem to be messing with us.” Mondo Bizarro!

IMDb

Godzilla: Tokyo S.O.S., released in Japan as Godzilla × Mothra × Mechagodzilla: Tokyo SOS (ゴジラ×モスラ×メカゴジラ 東京SOS Gojira tai Mosura tai Mekagojira Tōkyō Esu Ō Esu), is a 2003 science fiction kaiju film directed by Masaaki Tezuka. It was the twenty-seventh film to be released in the Japanese Godzilla series. It stars Noboru Kaneko, Miho Yoshioka, Mitsuki Koga,

Plot teaser:

Mechagodzilla is undergoing repair modifications after its battle with Godzilla. Prime Minister Hayato Igarashi accepts Lead Scientist Yoshito Chujo’s choice to replace the Absolute Zero Cannon with a powerful Tri-Maser.

The Shobijin (Mothra’s twin fairies) warn the Japanese government that Godzilla continues returning to Japan because they used the original Godzilla’s bones in Kiryu’s design. If they return the bones to the bottom of the sea, Mothra would gladly take Kiryu’s place in defending Japan, but if they do not, Mothra will declare war on humanity. Soon enough, Kamoebas, a giant mata mata turtle, is found washed ashore on a Japanese beach…

Reviews:

” … almost completely disregards story and structure, characterization and emotion in favor of mindless mayhem with only the most basic story-advancing plot elements to allow for some “logical” progression towards the end battle. The movie is very much a Western-inspired one, in that regard, favoring big action and speed rather than depth and meaning. Of course, some viewers might find that a positive, and that’s a justifiable position to take given that Godzilla is a series with its roots in the fantastical.” Martin Liebman, Blu-ray.com

“The music found in Tokyo S.O.S. is one of the better scores for a Godzilla film, composed once again by Oshima. Like Oshima’s previous work, there is some repetition here in the music; however, like Akira Ifukube, Oshima can get away with this as her music works so well even as a stand alone experience … Tokyo S.O.S., at heart, is simply one lengthy kaiju brawl between the three title monsters, who are entangled in a battle that lasts most of the film, something which hasn’t been seen since 1972′s Godzilla vs. Gigan.” Anthony Romero, Tokyo Kingdom

Bereft of characterization, GMMG contains far too many characters for so little time devoted to them. Still, Tezuka imbues a fanciful aura hearkening back to the magical works of Toho’s monster master, Ishiro Honda. GMMG often feels like 90 minutes cut from the previous movie, but is still a lot of fluffy fun replete with spectacular effects work.” Cool Ass Cinema

“Godzilla: Tokyo S.O.S. features plenty of monster combat, for a change minimizing character inner struggle (it’s still there, unfortunately). Godzilla, Mechagodzilla, and Mothra—as well as two new Mothra larvae—get lots of screen time, as Japan is once again obliterated. Fans of atomic breath, light canons, and organic scales and cocoon webbing are in for a treat. The plot is pretty straightforward, but the American dubbing misses many of the nuances of the Japanese version.” Octavio Ramos, Examiner.com

Wikipedia | IMDb

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Indigenous is a 2014 found footage horror film directed by Alistair Orr (Expiration). It stars Zachary Soetenga, Lindsey McKeon (Supernatural TV series; Shredder), Sofia Pernas, Pierson Fode (DragWorms).

Official synopsis:

A group of five young friends travel from Los Angeles to exotic Panama for a week of partying in lush tropical paradise. Befriending a beautiful local woman in their hotel bar, they learn of a secret jungle hike to a pristine waterfall nearby. The woman cautions them strongly against the hike, warning that other gringos in search of the legendary waterfall had mysteriously disappeared into the jungle, never to be seen or heard from again.

Ignoring her warnings, the group convinces the woman to guide them to the picturesque waterfall, thinking that they have nothing to fear with a local as their guide. What begins as a fun outing quickly turns terrifying when their guide mysteriously vanishes after a romantic tryst at the falls. As night closes in, the friends realize too late the truth behind her warnings—horrific, bloodthirsty, flesh-eating creatures are now stalking them. The mangled survivors rush to jungle caves for shelter, only to realize they’ve entered the monsters’ lair…

IMDb | Facebook | Twitter

‘Attacked …by a creature from Hell!’

Day the World Ended aka The Day the World Ended (1955) was produced and directed by Roger Corman. Rick (Richard Denning) is a heroic scientist who, among others, must face off against a mutant monster (Paul Blaisdell) after an atomic war destroys human civilisation. It was remade in 1967 with the title In the Year 2889 by Larry Buchanan with the dialogue repeated almost entirely verbatim. The film is referred to in a 2001 horror film of almost the same title, The Day the World Ended.

Plot teaser:

Following an all-out atomic war, which has apparently destroyed most (if not all) human civilization, the Earth  is left contaminated with radioactive fallout. The apparent single exception is a box canyon, surrounding by lead-bearing cliffs, in which former Navy Commander Jim Maddison, lives with his daughter, Louise, in a home stocked with supplies against just such a holocaust. Into this natural bomb shelter come stumbling several survivors, who just by chance were inside the canyon when the war occurred. After initially refusing to admit the others, Jim relents when his daughter pleads with him and appeals to his humanity. Among the survivors are a geologist, Rick (Richard Denning), who just by coincidence happens to specialize in uranium mining, and a small-time hood, Tony (Mike Connors - billed in the film as “Touch” Connors),with his “moll” Ruby, on their way to San Francisco…

Reviews:

” … I was also impressed by Corman’s insight that post-apocalyptic life in the 1950’s would surely be informed in roughly equal measure by 20th-century science and the sort of theologically vague Protestantism that was an ever-present undercurrent in American life in those days. I just wish some of the neat ideas on display here had been explored in greater depth.explored in greater depth.” 1000 Misspent Hours and Counting

“Day the World Ended is made on a painfully low budget. The photography and lighting is crude and Corman’s camera set-ups are virtually static. The film almost takes place like a stage play in a single setting – in the opening scene, the characters even make their entrance on cue one after the other like actors in a drawing room drama. It is a cheap and shoddy film. It is however conducted with an undeniable vigour and a conviction in itself. Paul Birch gives a fine hard-edged performance as the captain, and one does not doubt for a moment that everybody involved believed the pronouncements about the future that the film makes.” Moria

“On the small scale as well as the large, we find hints in Day The World Ended that Corman was just beginning to come into his own as a director, such as some thoughtful – and what we can now recognise as typical – character bits; while in the symbolic use made of the comedy / tragedy masks that hang upon the Maddisons’ lounge-room wall, we also see the earliest stirrings of his taste for actual art, which would later manifest itself in quite unexpected ways, although always in severe philosophical conflict with his overriding desire to save a buck.” And You Call Yourself a Scientist!

Buy How I Made a Hundred Movies in Hollywood and Never Lost a Dime by Roger Corman from Amazon.co.uk | Amazon.com

Cast and characters:

• Richard Denning as Rick
• Lori Nelson as Louise Maddison
• Adele Jergens as Ruby
• Mike Connors as Tony Lamont (as Touch Connors)
• Paul Birch as Jim Maddison
• Raymond Hatton as Pete
• Paul Dubov as Radek
• Jonathan Haze as the Contaminated Man
• Paul Blaisdell as the Mutant
• Roger Corman as Nelson, Louise’s Fiancee in Framed Photograph (uncredited)
• Chet Huntley as Narrator (voice) (uncredited)

Wikipedia | IMDb

The People That Time Forgot is a 1977 British fantasy/adventure monster film based on the novel The People That Time Forgot and Out of Time’s Abyss by Edgar Rice Burroughs. It was produced by Amicus Productions and directed by Kevin Connor (Motel Hell). Like Connor’s other two Burroughs-derived films, The Land That Time Forgot and At the Earth’s Core, the film was distributed in the United States by American International Pictures (AIP). It stars Patrick Wayne and Doug McClure (Humanoids from the Deep, The House Where Evil Dwells).

Plot teaser:

Major Ben McBride (Wayne) organises a mission to the Antarctic wastes to search for his friend Bowen Tyler (McClure) who has been missing for several years. A British naval survey ship takes McBride’s party: the paleontologist Norfolk (Thorley Walters), gunner Hogan (Shane Rimmer, Warlords of Atlantis) and photographer Lady Charlotte ‘Charlie’ Cunningham (Sarah Douglas) fly to Caprona in an amphibious aircraft, but are attacked by a pterodactyl and forced down.

They find themselves in a world populated by primitive warriors and terrifying prehistoric creatures, all of whom they must evade in order to get back safely to their ship. They meet a cave-girl, Ajor (Dana Gillespie), who leads them to the land of a race of samurai-like warriors called the Nargas…

Reviews:

As with the other AIP-Burroughs flicks, the budget just wasn’t there for state of the art effects or production design. The monsters are all unconvincing puppets with the exception of the pterodactyl, which comes off rather well despite barely ever flapping its wings. (It’s very adept at riding those Capronan air currents, apparently.) Model work is spotty, too; shots involving miniatures of the airplane range from very good to laughable. But location filming in the Canary Islands helps a great deal, providing a suitably primeval looking world for the characters to explore. (Thus People isn’t hamstrung by cheesy interior sets like At the Earth’s Core.) And the cast is game, not just going through the motions.” Brian Lindsey, Eccentric Cinema

” … sports a fine cast and well drawn characters that help enliven the action. There are less monsters on display here which should be a given considering the title. One of the creatures is borrowed from At the Earth’s Core (1976). Most of them are trotted out during the conclusion as the heroes are being “chased” by the volcano.” Cool Ass Cinema

“The effects are still more endearing than actually special but that’s a big part of the charm and a reason why these movies still have their fans. The script by Patrick Tilley is exactly what it should be and the direction from Kevin Connor keeps everything moving along nicely in between moments that put the main characters in peril or take time to show one of the many stop-motion creatures. This is no SFX extravaganza, but I sat there with a big smile on my face while watching a bunch of people try to use a dinosaur to tow an aircraft along the ground…” Kevin Matthews, FlickFeast

” … duplicates the damning structural flaw that so damaged its predecessor— putting the exciting part of the movie first, and ending with the dull part. It still comes out very slightly ahead of The Land that Time Forgot, in that the changeover from excitement to boredom happens significantly later in the film, but it still isn’t anywhere near as good as its best moments suggest it could have been.” 1000 Misspent Hours and Counting

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‘Terror strikes… from beneath the sea!’

Monster from the Ocean Floor (original title: It Stalked the Ocean Floor) is a 1954 low budget science fiction horror film about a sea monster that terrorizes a cove in Mexico. The film was directed by Wyott Ordung (screenwriter on Target Earth; First Man into Space and director of Walk the Dark Street). It starred Anne Kimbell and Stuart Wade. Wade also starred in other low-budget films during the decade including Tarantula (1955), and Teenage Monster (1958). Producer Roger Corman also appeared in a cameo in the film; it was the first film that he solo-produced.

“The monster was actually a puppet shot behind a cloudy fish tank. I certainly had no money for process shots, where the action is rear-projected onto a screen and the actors play to it onstage.” Roger Corman, How I Made a Hundred Movies in Hollywood and Never Lost a Dime

Plot teaser:

Julie Blair (Kimbell) is an American vacationing at a sea-side village in Mexico. She hears stories about a man-eating creature dwelling in the cove. She meets Dr. Baldwin (Dick Pinner), a marine biologist, and they fall for one another. The mysterious death of a diver interests Julie in investigating, but Baldwin is very skeptical. She sees a giant amoeba rising from the ocean…

Reviews:

“Monster from the Ocean Floor isn’t just low budget, it’s minuscule budget, yet the use of so much location footage adds a real edge of verisimilitude. At just over an hour it’s watchable and generally entertaining, despite its unforgivable depiction of Mexicans as hysterical drunkands. The monster is a cheap yet oddly amusing creation and his demise – stabbed in the eye with a mini sub – is brilliantly bad. Pseudo-scientific dialogue also adds an air of authenticity that is missing from some of the bigger budgeted 50s monster movies. Low rent and a portend of Corman’s aquatic horrors to come… ” Adrian J Smith, Horrorpedia

“Roger Corman was absolutely right. A sufficiently careful producer could make a modestly entertaining and effective movie on Monster from the Ocean Floor’s pocket-change budget, and Corman in fact did so here. It’s true that the 64-minute running time helps a lot, and that another half-hour this heavily freighted with placid scuba-diving footage would have been straight-up lethal. It’s true again that Jonathan Haze and Wyott Ordung make Speedy Gonzalez look like a paragon of ethnic sensitivity with their impersonations of Mexican watermen, and that it is impossible to square the appearance of the utterly adorable monster puppet…” 1000 Misspent Hours and Counting

“This, then, is Monster from the Ocean Floor, a film with, I would contend, a few virtues – just a few – even aside from the purely historical: a nice lead performance; good use of its locations, and attractively moody photography (so it ought to be: this film was shot by Floyd Crosby – only two years after High Noon!); some interesting character touches; the first appearance of a future Corman stock player, Jonathan Haze (who hides behind an aggressively “Mexican” moustache)….” And You Call Yourself a Scientist!

“Wyott Ordung’s direction is dull and prosaic. Not much happens and even less that is exciting. There are some particularly bad performances from the actors playing the Mexicans, who are all caricatured like movie cliches of American Indians, speaking without any articles. The production has been mounted with the characteristic penny-pinching economy that Roger Corman became famous for. To this extent, we only ever see a single shot of the monster – a glowing, single-eyed octopus emerging out of the ocean (and even then only ever in long distance).” Moria

Buy How I Made a Hundred Movies in Hollywood and Never Lost a Dime by Roger Corman from Amazon.co.uk | Amazon.com

Choice dialogue: “Happy monstering!”

Wikipedia | IMDb | Image thanks to Héritage Montréal

Godzilla is a 1998 American science fiction monster film directed and co-written by Roland Emmerich (Ghost Chase). It was a reimagining of the popular Japanese film monster of the same name. The screenplay was written by Emmerich and Dean Devlin. The plot of the film revolves around a giant reptilian monster, mutated by nuclear tests in the French Polynesia, who migrates to New York City to nest its young. The cast features Matthew Broderick, Maria Pitillo, Hank Azaria, Kevin Dunn and Jean Reno.

Godzilla earned $379,014,294 in gross revenue before ancillary sales (VHS, DVD, TV, cable and Blu-ray). Despite its initial commercial success upon release, the film was met with a negative reception from critics and fans of the Japanese Godzilla series alike. The negative reception highlighted by critics included the film’s thin plot, acting, and directing while fans of the Japanese Godzilla movies targeted the film’s drastic reinvention of the titular character, which included its radical redesign and departure from the source material.

Plot teaser:

Following a nuclear incident in French Polynesia, a lizard’s nest is irradiated by the fallout of subsequent radiation. Decades later, a Japanese fishing vessel is suddenly attacked by an enormous sea creature in the South Pacific ocean and only one seaman survives. Traumatized, he is questioned by a mysterious Frenchman in a hospital regarding what he saw, to which he replies, “Gojira”. Dr. Niko “Nick” Tatopoulos (Broderick), an NRC scientist, is in the Chernobyl exclusion zone in Ukraine researching the effects of radiation on wildlife, but is suddenly interrupted by the arrival of an official from the U.S. State Department. He is sent to Tahiti and Jamaica, escorted by the military, to observe the wreckage of the recovered Japanese fishing trawler with massive claw marks on it. The Frenchman is also present, observing the scene, and introduces himself as Philippe Roché (Reno), an insurance agent. Aboard a military aircraft, Dr. Tatopoulos identifies skin samples he discovered in the shipwreck as belonging to an unknown species. He dismisses the military’s theory that the creature is a living dinosaur, instead deducing that it is a mutant created by nuclear testing. The large reptilian creature, dubbed as “Godzilla” by the media, travels to New York City leaving a path of destruction in its wake…

Reviews:

All the supposedly heroic characters wear baseball caps backwards. So the MORON alert flashes even before they spout trite dialogue. That said, the mildly amusing French secret agent element and the finale with the baby Godzillas ripped off from Jurassic Park are relatively engaging. The film was unfortunately a wasted opportunity with a Godzilla that is presented as just a giant radioactive lizard – without any kind of character – plus vacuous human characters that just annoy rather than engage the audience.

Adrian J Smith, Horrorpedia

“It’s even emphasized by the monster’s revamped design, which bears no resemblance to any Godzilla we know. The thick legs are gone, the back spines are gone, the cruel, humanoid eyes are gone. What it is, in short, is a plain old allosaurus (or whatever paleontologists are calling it these days). Godzilla’s profile was always absolutely unique and unmistakable, but this thing here? I saw pictures of that in dinosaur books when I was a kid. I mean, Christ, he doesn’t even breathe radioactive fire! What the hell’s THAT all about?”

Wikipedia | IMDb

Plot keywords: nuclear explosion Panama Ukraine Chernobyl earthworms worms footprint military redhead ship ocean helicopters rain Jamaica cap backwards plane fishing trawlers lizards radiation french Polynsia New York Coffee Komodo dragon diner television fish fishermen jetty truck mayor yellow cab Iron building manholes crowbar sewer Chrysler Building looting French secret service Scooby-Doo chewing gum Elvis Presley reporter subway Central Park submarine torpedo Madison Square Garden Lincoln Tunnel Jimmy Page Barney

Albert Kallis was a professional artist who designed many film posters for American International Pictures (AIP) releases in the 1950s. Kallis’ striking designs elevated the selling of exploitation movies to a new art form in itself. Indeed, AIP’s Sam Arkoff and James H. Nicholson would often have a poster designed first to pre-sell a movie to theatre owners before it even went into production.

Below are just some of the lurid posters that this prolific artist created; they are representative of a time when movies could be sold to a potential audience eager for thrills by just an single image alone whilst going on to become key examples of American pop culture iconography in themselves.

Some of the artwork above was worked on by Reynold Brown or may have been his work supervised by Albert Kallis. If anyone knows more information please comment below. In 1958, Kallis also co-founded the IHOP (International House of Pancakes) restaurant chain.

We are indebted to Monster Brains for inspiring this posting and for some of the images above.

Ragnarok - original title: Gåten Ragnarok – is a 2013 Norwegian fantasy adventure monster movie directed by Mikkel Brænne Sandemose from a screenplay by John Kåre Raake. It stars Pål Sverre Hagen, Nicolai Cleve Broch, Bjørn Sundquist, Sofia Helin, and Maria Annette Tanderød Bergly.

In the US, Magnet are unleashing Ragnarok in theatres, on iTunes and on demand August 15, 2014.

Official synopsis:

Archeologist Sigurd Svendsen (Pål Sverre Hagen) has for years been obsessed with the Oseberg Viking ship. The only inscription found on the ship is the enigmatic “man knows little” written in runes. Sigurd is sure that the Oseberg ship contains the answer to the mystery of Ragnarok, the end of days in Norse mythology. When his friend Allan finds similar runes on a stone from the north of Norway, Sigurd becomes convinced that the runes are in fact a treasure map. Together they mount an expedition group, and their adventure leads to the “No Man’s Land” between Norway and Russia, which has been deserted for decades. Here Sigurd learns the true meaning of the runes – a secret more terrifying than he could possibly imagine…

Source: Dread Central

Sharktopus vs. Pteracuda is a 2014 American horror film directed by Kevin O’Neill (Dinocroc; Dinoshark) from a screenplay by Matt Yamashita (Art School of Horrors) for Roger Corman’s New Horizons Pictures. It stars Robert Carradine (Humanoids from the Deep (1996); Monster Night; Slumber Party Slaughter), Katie Savoy, Rib Hillis (Piranhaconda; 616: Paranormal Incident; Cowboys vs Dinosaurs), Tony Evangelista, Hector Then, Hensy Pichardo.

The film is one of two sequels to the hit Sharktopus, the other being Sharktopus vs. Mermantula, also directed by O’Neill. It is due to be screened by Syfy in July as part of their ‘Sharknado’ festival to celebrate sharksploitation in general and the unleashing of Sharknado 2: The Second One in particular.

Plot teaser:

The offspring of Sharktopus goes into battle with the latest science experiment “Pteracuda” – half pteradactyl, half barracuda – in a challenge for monster supremacy…

IMDb | Thanks: Dread Central

‘… a strange and forbidding race …a giant fiendish creature’

Missile to the Moon is a 1958 American science fiction film with monsters directed by Richard E. Cunha (Giant from the Unknown; She Demons; Frankenstein’s Daughter) from a screenplay by H.E. Barrie and Vincent Fotre (Night of the Witches; Baron Blood). Distributed by Astor Pictures (Robot Monster; Peeping Tom), the film is an even lower budget remake of 1953′s already low budget Cat-Women of the Moon.

The cast includes Richard Travis, Cathy Downs (The Phantom from 10,000 Leagues; The Amazing Colossal Man; She Creature), K. T. Stevens, Tommy Cook, Nina Bara, Gary Clarke, Michael Whalen, Laurie Mitchell, Leslie Parrish, Henry Hunter, Lee Roberts, Sandra Wirth, Pat Mowry, Tania Velia, Sanita Pelkey, Renate Hoy (“Miss Germany, 1952″), and Mary Ford.

In 2008, Legend Films issued the film in a colorised version, plus a remastered black and white upgrade.

In 2009, Filmusik presented a live performance of Scott J. Ordway’s soundtrack with a showing of the colorised version. The same year, a Blue Waters comic series, inspired by the movie, was issued.

Plot teaser:

Two escaped convicts, Gary and Lon, are discovered hiding aboard a rocket by scientist Dirk Green, who then forces them to pilot the spaceship to the Moon. Dirk, who is secretly a Moon man, wants to return home. Dick’s partner, Steve Dayton, accompanied by his fiancé June, accidentally stowaway on board just before the rocket’s launch. Moon man Dirk is later killed in a meteor storm during the lunar trip. Once they land on the Moon, the spaceship’s reluctant crew encounter an underground kingdom of beautiful women and their sinister female ruler The Lido, giant lunar spiders, and mysterious surface dwelling, slow-moving, rock creatures…

Buy The Brain from Planet Arous + Cat-Women of the Moon + Missile to the Moon + The Day It Came to Earth on DVD from Amazon.com

Reviews:

” … the level of invention is low and the whole thing becomes progressively sillier as it proceeds.” BFI Monthly Film Bulletin

“The direction is so rushed and the puny sets so restrictive that most of the scenes are flat-blocked. Players march onscreen single file, go through the dialog, and exit again stage right or left. Just like a Hanna-Barbera cartoon … you can’t get the full impact of Missile to the Moon until you witness the Orlandan marriage dance performed with a bongo and tambourine accompaniment. Or see our heroes throw doorknobs at the Rock Men, exploding one to bits (a more successful effect, actually, than a similar one in Barbarella). Don’t see it alone, it’s funnier with friends.” Glenn Erickson, DVD Talk

“Among the camp highlights: dubbed screams (taken, reportedly, from Attack of the 50 Foot Woman), obvious photo-blowup backdrops (you can even see the line between two connected photos), a cardboard spaceship (watch it sway in the wind), rock monster that look like Gumpy, Earth-like oxygen and gravity on the Moon, and more.” David Elroy Goldweber, Claws & Saucers

Buy Claws & Saucers 630 page book from Amazon.co.uk | Amazon.com

“Truly an all-time low, based on the lowest of the low to begin with, Cat-Women of the Moon.” John Stanley, Creature Features

” … best remembered for its extraordinarily inept plot, set and props.” The Aurum Film Encyclopedia: Science Fiction

Buy Missile to the Moon colorised and remastered black and white DVD from Amazon.co.uk | Amazon.com

Rent or buy on Amazon Instant video

The same poster as above but the with censored women!

Buy Missile to the Moon poster from Amazon.co.uk

Buy Missile to the Moon + Earth vs. Flying Saucers + Planet Outlaws on DVD from Amazon.co.uk

Buy Missile to the Moon on Image Entertainment DVD from Amazon.com

Wikipedia | IMDb | Image credit: Wrong Side of the Art! | Monster Movie Music

Noble Johnson (April 18, 1881 – January 9, 1978) was an African-American actor and film producer. He was one of the first black actors in Hollywood to achieve any meaningful level of fame and successfully navigated the transition from silent movies to talkies.

Born in Marshall, Missouri 18th April 1881, Noble was a boyhood friend of Lon Chaney Sr and both became well-known for their ability to immerse themselves into roles, playing a wide variety of characters, often ‘bit-parts’ who still made a big impression. The Johnsons were a well-known black family in the city and their father was an expert horse-trainer. Johnson left school at 15 and travelled with his father riding horses until 1898 when he became a cowboy and had a succession of jobs in ranching, horse training, and later in mining in 1909, as well as finding time to be a boxer and an athlete.

Noble Johnson became the first major black actor, and though achieving fame, inevitably found himself often cruelly typecast. His imposing 6’2″ frame and comparatively light-coloured skin meant that he appeared as innumerable tribal characters, servants, Russians, Asians, Polynesians, monsters, Arab Princes, Native Americans and the Devil himself! This chameleon-like ability was aided by the quality of early film-stock and make-up.

Early successful silent appearances included the Rudolph Valentino break-out smash war epic, Four Horsemen of the Apocalypse (1921), as The Bronze Man in Cecil B. DeMille’s first Biblical colossus, The Ten Commandments (1923), The Indian Prince in Douglas Fairbanks’ swashbuckling, The Thief of Baghdad (1924) and Pre-Code sensation, Dante’s Inferno (also 1924), which featured completely nude actresses and scenes so dazzling they were reused in the 1935 remake, and nearly 60 years later in Ken Russell’s Altered States. A sign of the times is that although playing the somewhat critical part of The Devil, Johnson appeared uncredited. Johnson also appeared in a minor role alongside his friend, Chaney, in Tod Browning’s 1928 film, West of Zanzibar.

By the time he had made the leap to talkies, the roles, though perhaps more developed, still focussed more on Johnson’s appearance than his talent – interestingly, his appearance in The Mysterious Dr Fu Manchu (1929) was alongside another actor who struggled to escape typecasting, Warner Oland, best known as his many appearances as Charlie Chan and also the cause of everyone’s problems in 1935′s Werewolf of London. Further indignity followed when he starred as ‘Janos the Black One’ in the first film adaptation of Edgar Allan Poe’s The Murders in the Rue Morgue; like many Poe-based films, the plot skirts timidly around the source material,

Four films that followed helped elevate Johnson to more significant roles in the industry and to the attention of horror film lovers; The Most Dangerous Game (1932), The Mummy (1932), King Kong and Son of Kong (both 1933). As the sinister Cossack, Ivan, in the seminal The Most Dangerous Game, he was subject to something which may now seem extraordinary – he was ‘whited-up’ – naturally the opposite of being blacked-up. Appearing opposite Karloff in The Mummy he played the elegant Nubian, by turns, obedient and merciless. In both Kongs, Johnson appeared a the Tribal Leader of Skull Island – fun, iconic but let’s face it, hardly a progression morally or otherwise. He played The Zombie in the Bob Hope horror-comedy The Ghost Breakers in 1940.

Johnson essentially drew a veil over his career in 1950, shortly after appearing alongside John Wayne in She Wore a Yellow Ribbon as Chief Red Shirt, though he popped up in the 1966 TV movie, Lost Island of Kioga… as a hostile Indian. Truly, we had come no further. Johnson also helped to found the first Black-American film company, the Lincoln Motion Picture Company, in existence until 1921. He died at the grand old age of 96 in 1978.

Daz Lawrence, Horrorpedia

Sharkansas Women’s Prison Massacre is a 2014 American horror film directed by Jim Wynorski (Chopping Mall; Not of This Earth; Piranhaconda) from a screenplay by himself and William Dever (producer of Blood Moon; Camel Spiders; Gila!). It stars Dominique Swain (Fall Down Dead; Nazis at the Center of the Earth), Traci Lords (Shock ‘em Dead; Blade; Not of This Earth), Cindy Lucas, Christine Nguyen, John Callahan, John Archer Lundgren, Amy Rasimas Holt, Serafin Falcon.

Official synopsis:

Sharks on land! Hunting victims from just below the earth’s surface! Yes, you heard that right… prehistoric sharks are on the attack in Arkansas. And a shapely work gang from the women’s prison there suddenly find themselves at the center of the terrifying situation.

A local fracking crew has accidently cracked open a section of the earth’s mantle, allowing a swarm of prehistoric land sharks to head upwards from an underground ocean in search of new victims. So after a suspenseful escape, the five gorgeous prisoners find themselves not only on the run from the law… but a horde of blood thirsty hell bent creatures as well. Trapped in a remote fishing cabin hundreds of miles from civilisation, the curvy quintet must use both their wits and wiles to elude the jaws of death swimming just outside in the front yard.

You’ll meet Honey, a fiery spinner armed with a smokin’ pair of .38s. Standing close by is her lover Anita, at once both sexy and psychotic. Shannon is the sweet, girl-next-door type… that is if you happen to live next door to a mental institution. Michelle is the girl from the ghetto, street-wise and savvy beyond her years. And finally there’s Sarah, the demolition expert; she’ll blow your mind if you get too close! All five will have to bury their own petty hatred for each other in order to survive…

IMDb | Images courtesy of Jim Wynorski

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‘Screaming young girls sucked into a labyrinth of horror by a blood-starved ghoul from hell.’

Beast from Haunted Cave is a 1958 (released January 1, 1959) horror/gangster/heist film directed by Monte Hellman (Silent Night, Deadly Night 3: Better Watch Out!) and starring Michael Forest, Frank Wolff (Cold Eyes of Fear; Death Walks on High-Heels) Richard Sinatra, and Sheila Carroll. Filmed in South Dakota at the same time as Ski Troop Attack, it tells the story of bank robbers fleeing in the snow who run afoul of a giant spider-like monster that feeds on humans.

Screenwriter Charles B. Griffith (Little Shop of Horrors) rewrote an earlier screenplay for the film Naked Paradise using the working title Creature from the Cave . A third version of this storyline appeared as the comedy film Creature from the Haunted Sea. It was produced by Roger Corman’s brother, Gene (Attack of the Giant Leeches), and released on a double-bill with The Wasp Woman.

Plot teaser:

A group of criminals, led by the ruthless Alexander Ward (Frank Wolff), hatch a plan to steal gold bars from a vault in Deadwood, South Dakota. Ward sends one of his henchmen, Marty (Richard Sinatra), to set an explosive in a nearby gold mine, the detonation of which will act as a diversion for their heist. Although Marty, accompanied by a local barmaid (Linné Ahlstrand), succeeds in setting the explosive, he encounters a beast (Chris Robinson) in the mine. The beast kills the barmaid, but Marty escapes with his life.

The next morning, the explosive goes off as planned and Marty and his gang succeed in stealing gold bars from the vault. They set off to a remote cabin, led by a local guide named Gil Jackson (Michael Forest), where they hope to be picked up by a plane. Gil is initially unaware of their plans, but he becomes suspicious when he hears reports of the robbery on the radio and discovers that they’re carrying handguns. They reach the cabin without incident, but once there, a violent snowstorm delays the plane’s arrival. Marty’s “secretary,” Gypsy (Sheila Noonan), is taken by the young Gil and tells him that Marty plans to kill him once the plane arrives. Gil and Gypsy take off back to town together.

Marty, who still carries unpleasant memories of his encounter with the beast, has all the while been concerned about being followed. He encounters the beast again during the trip to the cabin, but his companions think he’s losing his mind…

Reviews:

“First-time director Monte Hellman … does an admirable job with the leftovers he’s got to work with, infusing this heist flick/monster movie combo with a touch of French New Wave cinema – dotted with hip ski resort babes, jazzy interludes, moody crooks donning indoor sunglasses and a surprising amount of cinematic wherewithal – a characteristic usually missing from Corman’s budget-tight shooting schedules.” Willard’s Wormholes

“The film spends more time as a low-end crime thriller than a horror item. The monster is not all that scary, and is all too clearly a manipulated marionette made of rags and hair. But the majority of its appearances are well-staged (skipping a few sickly shots of the thing superimposed over the snow) and it retains a certain mystery. Its habit of stashing its victims for later feeding through a sickening tube, is a disgusting detail that would crop up in the later Alien films. The staging of the action is different and interesting, and while not necessarily good, the film is a creditable effort.” Glenn Erickson, DVD Talk

For the Mexican poster, the Beast developed blood shot eyes!

“The beast effects are the typical guy-in-a-costume variety. But that doesn’t matter, because Beast From Haunted Cave uses the beast as an almost minor plot point, despite the film’s title. The scenes inside the monster’s lair, the ëhaunted cave’, remain downright creepy. Pale, half-dead bodies hang cocoon-like on the walls, and Hellman’s use of shadows, whether intentional or not, remain effective and disturbing today.” Rich Rosell, Digitally Obsessed!

Buy Synapse DVD with theatrical and extended TV version from Amazon.com

Wikipedia | IMDb