Halloween Meets Three-Mile Island.

I just wanted to post about something really cool I discovered recently. I think a few sites wrote about this last year, but I didn't hear about until a friend of mine told me about a treasure trove of unproduced movie scripts over at archive.org.

So legend has it that circa 1977, John Carpenter took a job writing a script for a project called Prometheus Crisis. This screenplay, which was later called Meltdown, is essentially "Halloween in a nuclear power plant".

This script is fascinating for a few reasons. If you read it (you can find it here), you can see elements that would later end up in his future projects. The characters arriving and exploring the abandoned facility echoes that of MacCready and Doc Copper at the Norwegian camp in The Thing and there is a sequence that would be lifted verbatim a decade later for Prince of Darkness. I even saw a shot or two that would end up in Halloween II, but that could just be coincidence.

Perhaps most impressive is that the technical jargon sounds accurate - at least from my rudimentary knowledge watching Chernobyl and a few Netflix docs - even though it was written at a time when I can't imagine information of nuclear energy was readily available. Carpenter wrote this before meltdowns were a reality, as Three Mile Island or even the film The China Syndrome wouldn't happen for another two years. It's basically like when Stanley Kubrick made 2001 before anyone actually went to space. 

Aside from that though, Meltdown is  a pretty brutal slasher script with an atmospheric and unique location and some really good set pieces - one kill I've still never seen even to this day! It's a bummer this was never made. Carpenter & Co were trying to get it done as recently as 1997, but things just never came together. Oh well, at least we have the script. 

Horror Movie Guide: The Boogeyman

The next title in the Guide is one of the more infamous and possibly surprising I'd never seen up until this point; Ulli Lommel's The Boogeyman. I mean, I was aware of the coverbox of this and its 1982 sequel to be sure, but I guess it just slipped through the cracks for two reasons. First, there was the dull-as-dirt 2005 version that I probably incorrectly assumed was a remake, and second my actual introduction to Lommel was through his shit parade of direct-to-video serial killer flicks in the mid 2000s. Neither of these occurrences incentivized me to check out the original 1980 one until now...

A brother and sister's (real life siblings Nicholas & Suzanna Love) traumatic event in their childhood comes back to haunt them through a cursed mirror. That's the best I got...

I struggled to come up with a place to start on this one because I have so many questions. Does every house in New England have those Amityville windows? What is the purpose of the brother in this story? Which one of the filmmakers had a thing for pantyhose?

Suzanna & Nic Love as Lacey & Willy in The Boogeyman.

Paramount among my queries while watching The Boogeyman though was how was this not an Italian production? Even without the tremendous score by Tim Korg (which truth be told is the best thing about this movie), you also have the inherent incoherence of the story. I mean, what are the rules here? Lommel must have been subscribing to Argento's "things just are." credo here. Apart from that, it seemed like he was mashing up The Exorcist and Amitville Horror, with a dash of proto Final Destination. 

What you get is something that feels long, even at eighty minutes, padded out by scenes with low budget royalty John Barrymore - who they likely had for a day - and the glowering of the aforementioned superfluous brother character.

At the end of the day, it's a somewhat entertaining watch, but there are other films of this ilk that offer way more bang for your buck (1982's Superstition for instance), but I can't deny that I did see its influence. The last scene in the kitchen did remind me of a similar sequence in 1983's Blood Beat. Lommel also was able to carve out a prolific career for himself, working regularly all the way up until his death in 2017. Not many maestros can say that. The Guide was surprisingly generous with this movie.

I find it weird they would praise the colour lighting as if this wasn't something the Italians hadn't been doing since the mid sixties. Oh well, I'm at least glad I was able to finally cross this one of the list.

Horror Movie Guide: Bog

Next up in the Guide was Don Keeslar's 1978 movie Bog. I had no previous knowledge of this movie, but wagered I knew what to expect, as everything by appearance screamed Z-grade. But hey, maybe I'd be lucky and get something orbiting the oeuvre of Don Dohler.

An aquatic prehistoric beast is awoken by fisherman using dynamite and starts to pick off the townsfolk.

Sadly, Bog was a bore. It kind of plays like a PG version of Humanoids From The Deep, where the beast is killing dudes and using the ladies to lay its eggs. Although, that is merely heresay, as absolutely none of it is onscreen. You get the ol' zoom-in-to-screaming-face and cut to red time and time again.

This movie has many similarities to Bigfoot, a film from the Guide I watched about this time last year. It's a lot of people talking and walking, is largely bloodless and has one recognizable character actor keeping things mildly interesting - in Bog's case, Aldo Ray. They both also have a pleasing theme song, as well.

Aldo Ray as Sheriff Rydholm in Bog.

You do at least get more shots of the creature, even if it does look like it came from the set of Pertwee-era Dr. Who. I'll also give credit to Gloria DeHaven who I never clued in to that in addition to playing the scientist, was also the forest hag, Adrianna. I also have a question - this movie was shot by Wings. Like Paul McCartney's band Wings??? I assume that can't be true otherwise the end credits would've spooled out to Live & Let Die...

In Bigfoot's defense, it had a few buxom ladies in swimsuits. Bog gives us a couple of harpies off the hop that I couldn't wait to get slimed. It also featured the most unappealing middle-aged make-out scene this side of Nightbeast. 

Yes, my reaction to this scene too.

Overall, I give the edge to Bog, but they are both pretty joyless affairs. The Guide would seem to agree with me, although they make it sound way more extreme a movie than it actually is. Hell of a font though!

Feb 28th Horror Trivia Screening List

To all those who came here from the event or Storm Crow's FB page, welcome! I am Jay, one half of the horror trivia quizmasters and this is my humble blog. Here's the selected list of titles mentioned at the last event. Click on the titles to be redirected to their Imdb listing.

Horror Trivia Night happens at Storm Crow Manor in Toronto. If you're in the area, come on down! Register here. If you're not local, we do occasionally stream the event on @ruemorguemag Instagram.

Street Trash (1987)

Cabin Fever (2002)

Watcher (2022)

The Abominable Dr. Phibes (1971) 

House of the Long Shadows (1983) 

The Sacrifice Game (2023)

The Slumber Party Massacre (1982)

In A Violent Nature (2024)

Creep (2004)

Creep (2014)

The Exorcist III (1990)

Piranha II: The Spawning (1981)

Beyond Re-Animator (2003)

The People Under the Stairs (1991)

Horror Movie Guide: The Body Snatcher

As it turns out, I was unable to track down the 1972 version of Bluebeard so I'll have to circle back to that at a later date. In its stead, I moved onto Robert Wise's 1945 film The Body Snatcher. I'd never heard of it before reading of it in the Guide, but I had a good feeling.

In 1830's Edinburgh, a doctor (Henry Daniell) and his new assistant (Russell Wade) look to shady cabman John Gray (Boris Karloff) to supply them with increasingly fresh cadavers for their medical experiments.

Yeah, The Body Snatcher was a delight. I'm surprised people don't talk about this one more, because it is a literal Venn diagram of silver screen horror movie greats. Wise, directing Karloff and Bela Lugosi in a Val Lewton-produced RKO picture based on Robert Louis Stephenson? I mean, come on!

As I've said before, Karloff's filmography features large in The Guide and it seems with each title I say 'oh was my fave Boris performance!'. Well, again I say, THIS one was tops. He's so deliciously evil as John Gray. I was sad to see Lugosi in a smaller part (apparently due to his health) but the scene him and Karloff last share together was a great one. 

Boris Karloff & Bela Lugosi in The Body Snatcher

I was initially disappointed that Lugosi didn't play the doctor, until I saw Daniell in action. He's terrific and his theatrical training comes out right away. And then there's Wade, who's striking resemblance to Judge Reinhold was almost distracting..

In addition to the strong cast, the atmosphere is on point. Using sets from RKO's production of The Hunchback of Notre Dame, Wise employs shadow as well as he ever did (wow, just realizing how long and storied a career Wise actually had) and that prolonged shot in the fog that ends with the street urchin's voice being cut off was *chef's kiss*. 

Though they naturally don't show anything onscreen and the fight scenes are rudimentary, Wise doesn't give a fuck, he'll off anyone or anything. Oh, and I loved that Val was still up to his old tricks, swapping out Cat People's Lewton Bus, for a Lewton Horse. 

The Body Snatcher was a joy throughout, and may even best Bedlam (another Val Lewton RKO picture) in the B&W horrors I've experienced while going through the Guide. Naturally, they agreed with me, maybe the first four star they've awarded so far.

Caaaaayseeeeeee.

Today's VHS is another Vestron title, this one from 1990, called simply, Fear. No, not the one where Marky Mark fingers Reese Witherspoon, or the one with the tree dude, but one I do recall from my video store days. I never partook, likely because it looked like a slew of other titles that were released around this time, but more on that later...

Psychic Cayce (Ally Sheedy) uses her powers to help track down violent criminals, but things get dangerous when she crosses paths with a serial killer with the same gifts.

Like last week's title Hider in the House, this movie was also a casualty of Vestron's bankruptcy in the late eighties. Denied a theatrical release, it found a home on Showtime and was then unceremoniously dumped on video two years later when distributors were filling shelves with anything that remotely resembled The Silence of the Lambs.

Having said that though, this was a fun one. There have been tons of movies where characters see through a killer's eyes, but I can't recall one exactly like this, where they are communicating, even taunting, the person receiving the visions. Fear is not just a title, but refers to the killer getting off on the fear of his victims, and also Cayce's as she witnesses his misdeeds. Director Rockne S. O' Bannon's (no relation to Dan) confident filmmaking is helped along by a Henry Mancini score that really slaps.

Sheedy had to do all of the heavy lifting here and performs admirably, even through the more ridiculous situations she is put in and her almost Final Girl-like shift from victim to aggressor during the carnival set piece felt organic and bad-ass. And I admit I let out a little cheer when the killer, who'd been previously only referred to as Shadow Man, was revealed to be the King of all shifty-eyed psychos, Pruitt Taylor Vince!

I found Cayce's eagerness to be out in the public eye, writing books about the killers she'd collared, a little bold. Like, wouldn't having a crime crystal ball make you a target? And the rules of her powers were a little muddy and seemed to extend beyond her explanation of them at the hop, but hey! It's a 90s movie-of-the-week, who am I to judge? 

I should look further into the demise of Vestron because, at least from my small sample size, it appears they were still cranking out entertaining product at the end. Maybe they threw all their money in a Superman IV-sized hole like Cannon did? Quick everyone, to the 'Pedia!

Busey's Gonna Busey.

The next VHS on my pile was the 1989 thriller Hider in the House. I hadn't seen this movie, but I certainly remember it at my video store with that coverbox that SCREAMS late 80s/early 90s.

Julie (Mimi Rogers) and her family move into their newly renovated dream home, not realizing that a recently released mental patient (Gary Busey) has built himself a secret room in the attic.

I was pleasantly surprised by Hider in the House. It was very similar to a lot of movies that came out around that time, which is why I found its release year of 1989 (before the floodgates opened in the 90s) confounding. Due to Vestron going tits up, it never got its planned theatrical release so it's not like this was widely seen. HITH is like a reverse The Hand That Rocks the Cradle where an outside party works their way into the family in order to take what they feel is owed. You know what's really crazy though? I thought for sure Mimi's pottery hobby was a reaction to Ghost's popularity, but nope, that doesn't line up either. 

The performances, especially Rogers, were above board and grounded me enough to overlook the overall implausibility of the situation. For instance, I had no idea that loony bins had construction and electrical classes to facilitate their denizens building themselves accommodations upon release. Also, I assume most wives know what their husband's handwriting looks like? And that neighbour? He's always peeping on Julie, but somehow missed Busey climbing all over the roof and burying multiple bodies in the yard? That last one would have made sense if he got murdered for being a wtiness, but he didn't? How does a character who was even creepier than the antagonist survive?? Anyway, I digress.

Having said that, Busey actually showed restraint in this role, initially coming off as someone who really wanted to get better. In fact, his presence at the start was almost helpful. He prevented the daughter from drowning in the pool, taught the son how to defend himself against the school bully and shielded Julie from the aforementioned neighbour's advances. If he hadn't already murdered the family dog and an unfortunate exterminator by this point, I might have said this unknown tenant was almost a positive. However, it is also quite possible he was driven over the edge by the incessant chirping of that cricket that was stuck in there with him.

In addition to the usual shits and gigs you get from a man-in-the-walls movie, there were also a few other intriguing things going on. I noticed there was a shift where Busey's character went from looking at Julie as a mother figure to wanting to become the husband. I'm not sure if that was triggered by witnessing anti-social behaviour (like pyromania) in the son and wanting to help, but it offered more depth than I was expecting. 

Overall, this was quite entertaining and even if it did play out rather predictability (minus the almost Black Christmas-like nod at the end) there's some good stuff in here.