A Room To Die For.

This week's VHS is my newly acquired Video Treasures copy of 1979's The Silent Scream.

Students residing at an off-campus mansion get bumped off one-by-one by someone or something.

I was teetering on whether to post about this one, as it was largely unremarkable, but I decided to soldier on anyway. Looking up The Silent Scream on Imdb, I wasn't surprised to find it was a revived project originally shot in 1977. At first considered unwatchable, the filmmakers revamped the script and hired some name actors like Cameron Mitchell, Avery Schreiber and Barbara Steele to gussy things up. I wonder if that was when they decided to add this aggressive title card, as well.

Almost nothing remained of the original movie and – considering the fuzzy rape scene that a character watched on TV was apparently footage from its previous incarnation – that's probably a good thing.

The first chunk of The Silent Scream felt a bit like Psycho, if the Bates Motel had been near a big university and not off the beaten path, but it descended into something more like Danny Steinmann's The Unseen – though admittedly that was released a year later. Technically sound, the movie boasts a decent location in its old rustic house, the very same one used for 1967's Spider Baby.

Juli Andelman as Doris in Silent Scream

Director Denny Harris populated the movie with a mix of old and new actors, including Juli Andelman as Doris. She was a plucky young thing whom I warmed to almost immediately. I thought it was a dick move for the two leads to abandon her on the beach with Grabby Grabberson. Doris seemed a bit more worldly than Scotty (Rebecca Balding) who ended up spending most of the climax tied to a clothing rack that looked like one I bought at IKEA. Push UP on it for FUCK'S SAKE!

Mainly though, this movie could've used more Mitchell & Schreiber. You know, it's funny. Usually when horror movies cut to the cops on the case, it comes off as jarring or upsets the tone (case in point, Last House on the Left), but these guys... I could have watched these guys all day.

The Silent Scream was watchable fare and should be given some credit for being saved from the fire with a do-over. If anything, it teaches us to apply for on-campus housing early, as procrastination = trauma.

Short of the Week #64: Creature Feature

Here's an amusing bit of retro horror I caught at one of the short blocks at Shock Stock last weekend. Here is Newton Wallen's Creature Feature from circa 2017.

Some other highlights from SS were Vidar T. Aune's Creaker from Norway and Canadian Kyle Sharpe's dark animation Astray. It was also good to see Natasha's Pascetta's Road Trash show up there too, as we screened it at Hexploitation a few months back.

Shock Stock 2019!

It's that time of year again where I travel down the 401 to London to take in the greasy sights and sounds of Shock Stock. Despite being up into the wee hours the night before due to a late Endgame screening, I still managed to get to the Ramada at a decent hour to meet up with Schwartz.

It was great as always to catch up with some old friends and people I seem to just see at these types of events like the Witch Finger Podcast gals and the dudes from Poster-Mortem and the CCHCC. It did not take me too long to burn through my allocated cash, mostly on the items below.

As always Shock Stock brought in some really cool guests, which included the likes of Tim Cappello - who performed live on Saturday night - and Kelli Maroney (Chopping Mall, Night of the Comet).

Felissa Rose (Sleepaway Camp) & Kelli Maroney (Chopping Mall)

The biggest draw was the Shock Stock Drive-In hosted by the legend himself, Joe Bob Briggs in his first event in Canada. This was a treat as we watched him intro the 1974 film The Mutations (on 16mm!) starring Donald Pleasance and Tom Baker.

Joe Bob Briggs introduces The Mutations on 16mm.

It was super fun and he did a lengthy Q&A afterwards where he talked about the history of freaks in film, Pioneertown and his new gig at Shudder. When asked what his favourite Canadian horror film was, he answered “Hello Mary Lou, Prom Night II.”

As for the rest, well... I'll adopt the old adage and say what happens at Shock Stock, stays at Shock Stock. The community is already abuzz with what will happen next year for the almighty tenth edition.

It's The End of the World, Eh?

With this weekend's finality of both Endgame and the Battle of Winterfell, I thought it appropriate to dust off an eighties end of the world title in Paul Donavan's Def-Con 4 from 1985.

Three astronauts crash land on Earth shortly after a nuclear war has ravaged the planet.

Denizens of the video store era will no doubt remember that infamous coverbox above. I just only recently realized that Def-Con 4 was a Canadian production. Donovan was a CanCon journeyman with a resume that included Lexx, one of the most wonderfully weird sci-fi's to ever grace the small screen. As for Def-Con 4's Canadian roots, you need look no further than the cast that included adopted Torontonian Maury Chaykin and Lenore Zann, who appeared in such notable homegrown titles as Visiting Hours and Happy Birthday To Me.

Tim Choate & Lenore Zann in Def-Con 4.

Def-Con 4 begins in orbit and we are let into the tense situation on the ground via news broadcasts. At first, I thought this might be another teleplay like previous crisis flicks Countdown To Looking Glass and Special Bulletin. Not so though, as their shuttle crashed to Earth in the second act, revealing a very different world than they left.

It wasn't long before I realized that the coverbox was another elaborate ruse. However, I must admit that I was fine that it went the Mad Max route instead. I was expecting this movie to be pretty cheap-looking, but to be honest it looked like they had at least some money to spend on sets. Though it probably wasn't hard to make Nova Scotia look like a desolate wasteland (I keed!)

Seriously though, Def-Con 4 has a good deal of personality. I love the fact that no one in the production though to check if DEFCON was a retro-graded scale. In actuality, Def-Con 4 only denotes mild concern. It may also be the first time I've ever seen a Social Insurance Card used in a movie.

Even though Def-Con 4 may not have reached the heights promised on its cover, this was still some choice eighties post-apoc shenanigans.

Short of the Week #63: Ella

It was recently brought to my attention that a short I saw waaaay back in 2011 at the now defunct Worldwide Shorts Festival is now online via Alter. Check out Dan Gitsham's Ella starring Anthony Head below.

I dig this short and its unique take on Red Riding Hood. Gitsham must have had a crystal ball because he beat the whole “people in animal masks” trend by at least a year. He recently returned to short filmmaking last year with And The Baby Screamed.

Pit, Man.

Last Thursday, in celebration of the 20th anniversary of the indispensable film archive Canuxpliotation.com, the Laser Blast Film Society screened the 1981 Canadian classic The Pit at The Royal. My love of this film is no secret and I was super chuffed to see it on the big screen.

Fortunately, there were others with artistic skills just as excited and they fashioned stuff for the event.

Poster art by Justin Cozens

Cards designed by Keenan Tamblyn

It was a terrific night of wacko Canadian film appreciation.

Ten Little Inheritants.

This week's VHS is a recent acquisition in Emmanuel Kervyn's 1988 horror Rabid Grannies.

A birthday party for two old ladies (Catherine Ayemerie & Caroline Braeckman) turns gruesome when they are possessed by demons and start knocking off their greedy relatives.

Rabid Grannies was a strange beast because it was a four European country co-production that was released this side of the pond by Troma Entertainment. It was a good fit for them, as the subject matter screams the company that brought us titles like The Toxic Avenger and Surf Nazis Must Die. However, with the foreign locales, dubbed dialogue and over-the-top gore, the hybrid actually felt more along the lines of Lamberto Bava or Braindead-era Peter Jackson.

It is amusing to note that a more appropriate title would've been Demonic Grannies, as the two grand matriarchs were possessed by a evil artifact given to them by a shunned relative and not infected by a four-legged creature. I'm guessing, in a practice that was popular in the eighties, this movie started as a title (or poster art) and worked its way back from that.

Rabid Grannies takes an unusually long time setting up its characters. That's not to say there's anything deep about them, there's just a large number so it just took a good chunk of time introducing them all. You've got the unhappy couple with kids, the magnate with the trophy wife, the bad boy and the lesbian couple for which I wonder if the filmmakers were trying to be progressive or exploitative. My money's on the latter. It was over a half-hour before the gore started flying, but it was very entertaining once it did..

I must admit there was a good deal of it, much more than I would've expected. I imagine that is why – save the catchy title – Rabid Grannies hasn't been forgotten. Everyone was fair game and most were cut to pieces. Even the ending was something that, again, echoed the younger Bava. You know, this could've been one of the umpteen Demons sequels and no one would have batted a gouged out eye.

This was a good pickup for Troma, as it matched their mandate, but also branched them out from the urban American titles they were known for.