Bloody Moon (1981) starring Olivia Pascal, Alexander Waechter, and Jess Franco

Opening five years before the film’s main events, BLOODY MOON finds poor, disfigured Miguel (Alexander Waechter) stalking the babes at his aunt’s International Youth Club School of Languages. (Just think of it as the camp from FRIDAY THE 13TH or any other slasher setting filled with nubile teens running off to have sex in the woods.) Rejected by his sister Manuela (Nadja Gerganoff) with whom he has had an incestual relationship of some degree, Miguel steals a Mickey Mouse mask, fools some poor, dumb language student and brutally stabs her to death with a pair of scissors after she unmasks him in her boudoir.

Five years later Doctor Franco releases Miguel into Manuela’s care and they head directly back to the language school campus, despite the good doctor’s warning that he should avoid tension and any mention of the horrible events of “that night”. Savvy viewers who have seen, um, more than two slashers will be keenly aware that despite all suggestions to the contrary Miguel is, as they say a red herring.

The all-girl language school setting provides Franco and awesomely named scribe Rayo Casablanca with plenty of victims, not to mention countless opportunities for dressing, undressing, topless sunbathing and all manner of running about in hideous 80s fashions. Filled with catty, slutty, trim, big-breasted students, the language school also feature a staff that includes Christoph Moosbrugger as Alvarro, the school’s randy language instructor and Peter Exacoustos as randy handyman/gardener Antonio.

When Angela (Olivia Pascal) shows up a week into the school’s class schedule (despite the fact she was inexplicably on the same train as Miguel and Manuela), she learns than her bungalow was the site of the brutal murder shown in the flick’s HALLOWEEN-inspired opening. It’s not long before a black-gloved killer is stalking Angela, killing people in her room and then spiriting their bodies away in an attempt to make her look like a nut.

The script makes almost no attempt to disguise the mystery and even the laziest viewer will figure it out without much effort. I’m not sure if it’s due to the inept screenplay or Franco’s “who cares” attitude when it comes to logic (probably both), but BLOODY MOON is packed with so many nonsensical asides and dubious plot threads that it’s simply best to forget about the flick’s “mystery” elements and concentrate instead on what makes it such trashy fun – relentless nudity and several bloody set pieces, including an impressive stone mill power saw sequence that was finally shown complete when Severin put out the disc I screened.

While not on par with the insane brilliance of something like PIECES, I must give Franco credit. BLOODY MOON gives the dopiest of 80s slasher flicks a run for its money, thanks to its fast pace (the flick is barely 85 minutes long), topless babes, ridiculous dialogue, and enough gory mayhem to make up for the gaping holes in logic.

If 80s trash cinema and/or old school slasher flicks are what you desire, BLOODY MOON delivers more treats than tricks. – Dan Taylor

VENUS IN FURS (1969) - starring James Darren, Maria Rohm, Klaus Kinski

James Darren stars as Jimmy, a trumpet player who awakens one day and digs up the horn he'd buried on the beach ("It's like burying my life" he says in the film's noir-ish voiceover). As he fiddles with the instrument – which was exactly where he remembered burying it – he notices something floating in the surf and discovers the slashed, beaten body of a beautiful blonde.

At first he doesn't recognize her but eventually remembers that this is the same girl he encountered while performing at a jet setter party a few weeks earlier. There he stumbled upon a perverse trio – a sweaty art dealer (Dennis Price), a carpet-munching photog (Margaret Lee), and a sadistic playboy (Klaus Kinski) – whipping, assaulting and stabbing the girl.

Instead of stopping the shenanigans Jimmy walks away thinking that maybe it's "their bag" and avoids getting involved in their reindeer games. Escaping to Rio he encounters Wanda (Maria Rohm), a dead ringer for the girl he found on the beach.

Can this be the same girl? Is Jimmy's mind playing tricks on him? Or, is something more bizarre at work? Regardless, he strikes up a relationship with her, to the chagrin of his casual galpal Rita (Barbara McNair), a soulful club singer employed – like Jimmy – to entertain at swinging jet-setter shindigs.

In a series of hypnotic episodes, the three pervs who tortured the poor girl find themselves encountering their victim as well, though without the same results as the last time. With the body count piling up and the cops on their trail (the film wildly shifts from hypnotic erotic thriller to chase flick in an unexpected sequence), Jimmy and Wanda escape together while Franco circles back to the beginning of the film.

I could probably show VENUS to a dozen different people and get as many differing opinions about the flick's meaning. One friend described it as a painting that Franco put out there and each viewer can interpret the proceedings however they wish.

Kinski fans will be both delighted and disappointed by his miniscule, almost silent role. His limited dialogue is dubbed by another actor, but he's rarely looked so striking on screen. At one point Franco frames his face – chiseled features, ice blue eyes, blondish hair – against a red background (a dominant theme and color scheme throughout the flick) and it's simply one of the best uses of The German Olivier's features I've ever encountered. (It's up there with the "prayer grenade" sequence in A BULLET FOR THE GENERAL.)

A very trippy and hypnotic flick from Uncle Jess. – Dan Taylor

More on Lina Romay

The news of Lina Romay's death at the tragically young age of 57 has certainly had an impact on those who appreciate "genre" cinema. Facebook and various blogs/sites have been filled with thoughts, remembrances and reflections from writers, directors, historians, critics and fans alike about the passing of the charismatic charmer. (Just try watching her cabaret dance scene in 1976's JACK THE RIPPER with Klaus Kinski and not end up with a smile on your face.)

I won't pretend that I was a huge fan of Romay or even Jess Franco's. My feelings about Franco's work tend to run hot and cold and I've only seen a small sampling of the man's massive cinematic output, but I always had a soft spot in my heart for him thanks to what appeared to be a genuine appreciation for my boy Klaus. (I'll have to dig around for the great Shock Xpress interview in which he talks about making EL CONDE DRACULA with the German Olivier.)

As for Franco and Romay, theirs appeared to be a unique and inspiring relationship, thriving even after the two had passed their creative peaks. Not only was Romay the director's muse and partner, but also a creative collaborator who led more than one mourner to remark that the two had become like one over the course of their relationship. Frankly, one couldn't watch the footage of Franco receiving his lifetime achievement award a year or so ago without seeing the love, devotion and pride in Romay's eyes.

For a true fan's perspective be sure to check out our good buddy and longtime Franco/Romay buff David Zuzelo's appreciation at his Tomb It May Concern blog.

Lina Romay Passes Away

Never a good sign when you get home and see that several friends are using the same actress' face for their profile picture.

News coming out of Spain is that Lina Romay – Eurotrash star and the muse of Jess Franco – lost her battle with cancer back on February 15th. 

Romay was a fixture in Franco's flicks, appearing in everything from THE SINISTER EYES OF DR. ORLOFF and WANDA THE WICKED WARDEN to BARBED WIRE DOLLS and more recent efforts like SNAKEWOMAN and PAULA PAULA.

Kinski fans will probably best remember her as Marika, the comely cabaret dancer in Franco's JACK THE RIPPER.

12 REVIEWS OF XMAS: Giving Thanks I Don't Have to Watch Much Franco

At school a few weeks ago my daughter and some schoolmates were asked to name the things for which they were thankful. In true 4-year-old fashion she responded "holidays" and "kisses and hugs before bedtime". Whew. At least she knew better than to say "STAR WARS action figures" like some of the other kids in her afterschool program. Me? I'm thankful to have tireless reviewers like Crites – another longtime ER/Hungover Gourmet contributor who watches and eats things so I don't have to. And even at his crankiest (see below) the man delivers on the content. It may be late (sorry, I got distracted by Flyers/Rangers 24/7) but I bring you another piping hot installment of 12 REVIEWS OF XMAS. 

Whistling horribly, a female publishing agent, Carla, drives out to the villa of the Balasz family in an attempt to acquire the rights to a piece of their family history.

After a vision of the titular Snakewoman, seen dancing lethargically dressed in her double-headed serpentine tattoo (which, it must be said, looks more goofy than seductive), Carla lets herself into the mansion and confronts a pair of Euro-hippies. Telling them she's looking for Andros Balasz, father of Oriana Balasz, when Andros is not immediately available Carla helps herself to a bath. During which Andros magically appears, catching her in the nude, and invites her down to breakfast.

As Carla dresses, the Snakewoman jumps through her open window to pose and hiss ridiculously before vanishing. And it's here, over a quarter of an hour into the film, that you know for certain that your time is being wasted. That this 'erotic fable' is in fact a poorly conceived sex joke with no real point to it but to show off some shabby softcore lesbian love story. That, and to cash in on the name of a "cult" director whose 'genius' dried up long ago and whose status is debatable at best.

Anyway, at breakfast Carla is joined by a shady priest/doctor who tells her that Andros is the rightful heir to the estate of Oriana Balasz, who died in 1945. He also mentions that many others have tried to purchase the estate, but all have failed. What he neglects to mention is that he's keeping an hysterical woman who claims to suffer sexual visions and visitations from her 'mistress' locked up on drugs.

Returning to her room Carla finds the naked Snakewoman lying in her bed. When asked the tattooed girl says that she is the 87-year-old Oriana, and that Andros is her father-in-law. She then asks, "Do you like my ass?", the furry cleft of which Carla could not help but admire. Passing up this invitation Carla tells the Snakewoman that she would "Like to acquire all the rights to Oriana Balasz's catalog. The songs, the films, everything." Snakewoman doesn't seem interested in business however, offering instead the notion that, "The ass is the universal sex organ." There's some more back and forth, but instead of getting it on Carla goes off to get some sleep alone.

Dr. Priest and his young ward, Alpha, have another fruitless interaction in which the girl again raves about her magical lady. Drugged and confined, Alpha is visited by Snakewoman for a lengthy lesbian encounter.

Meanwhile Carla has a dream flashback to her initial assignment to secure Oriana's archives. This includes watching an old black & white Third Reich-era cabaret performance of hers, with no shortage of risqué beaver shots. As Carla dreams naked in her bed, Snakewoman again comes pouncing into her room and crawls into the sack with her where more simulated vampire lesbian action is had.

Breakfast the next morning is a queer affair, one which includes mother's milk in the coffee. Carla is informed by Andros and Oriana/Snakewoman that the Balasz legacy is not for sale at any price. However there was a final film made by Oriana, a masterpiece of perversion that has never been seen...

Carla winds up back in the city, confused and disorganized. She is told by her female psychiatrist that she has been missing for days, with the police looking for her, and has lost all of her belongings. The doctor ships Carla out to her lakeside estate for some much needed rest and relaxation, but while again dreaming naked Carla is visited once more by the Snakewoman for another bout of 'bloody' lovemaking.

Carla's writhing is interrupted the next morning by the doctor, who has Carla's publisher Tony on the phone. For some reason the Balasz estate has decided to release everything to them, including a love letter to Carla from Oriana. As the Snakewoman attacks Alpha's doctor, Carla and her doc head back to the publisher's office to watch Oriana's final film.

In the overly dark clip the starlet gets it on with another woman, then tears into a rubber phallus between a man's legs, reveling in the flow of 'blood' that her pointed teeth produce. As Carla stares at the video screen, hypnotized, she thinks she hears Oriana call her name. Suddenly the two are together again back at the villa, and the film is finally over.

Two words: utter shit. The most enormous waste of time I've been subjected to in recent memory. In every way. And my life is much the poorer for it; Franco has obviously been sucking from the same retarded turtle dick as Jean Rollin. I'd have said "Spoiler ahead" earlier, but with something this pretentious and lazy that's kind of a given.

The story is overly drawn-out and needlessly complex; the jumpy timeline that is utilized so often by directors attempting to fancify their substandard productions by making them seem deeper through timeframe manipulation is in full evidence here, and as usual it just doesn't help. Instead it just makes an interminable story seem that much longer.

Snakewoman doesn't appear to be so much an ageless sexual force as she does some stoned gypsy nympho. There are some mildly sexy scenes, true, but the softcore nature of the production makes them all look overly staged and fake. On top of that there's the poor lighting to contend with, glare alternating with shadow to provide an uneven visual experience which the jerky progression of the story does little to enhance. In Spanish with English subtitles.

SNAKEWOMAN comes with standard extras such as a stills gallery and preview trailers. But it also contains the bonus 1998 feature film DR. WONG'S VIRTUAL HELL. This flick is self-described by director Franco as "An all out farce," but as many of his films could be considered farcical this means one of two things: 1) It will be fucking hi-LAR-ious, or 2) To quote Killface, it will be "The absolute monarch of all bum-snackers." We're going to find out, but I think you can guess where I've got my money down.

A take-off on the Fu-Manchu films, VIRTUAL HELL begins on a difficult note with the narration being provided by some character with a lisp and a thick oriental accent. As there aren't any subtitles available the lead-in and much of the following plot description are literally foreign.

On top of this, portions of the film are approached in comic book style, with oddly colored still frames featuring shadowy figures and word balloons used to flesh out the story. Emphasized at times with what sound like Sesame Street voices.

You know, coming after the time-killing SNAKEWOMAN I really don't have a spare portion of my life to devote to another 97 minutes of poorly assembled experimental film, so I'm going to watch most of this rickshaw wreck on fast forward. And if I miss something at speed, well, chances are I would have missed it anyway. I'll tell you right now, clear and engaging this film is not.

So you've got some solarized scenery. More bad accents. Hey look, there's some tits. And a bunch of guys in 'Chinaman' glasses watching a burlesque act. Lesbian frottage and simulated rimming. Some spanking and whipping. Now a hefty middle-aged woman is showing her bush. There's a fake blowjob. The thought balloon for one of the stage show voyeurs says it best: "...zz zz zzz..."

Finally there's some sort of meeting or confrontation between Dr. Wong and private eye Nelly Smith, both with associates in tow. The result: the film is over. Thank fuck.

To summarize: bad coloration, bad accents, bad lighting, bad sex, bad plot, no point. Enough said.

Goddammit, I feel ten years older.

SNAKEWOMAN is available at Amazon.

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And the Award Goes To... My Best in Film and DVD for 2009

I'm not exactly sure how it got to be this late in 2010 before I got around to writing up my 2009 movie/DVD "best of" list. But I figured that if February 1, 2010 rolled around before it got posted there wasn't much sense in posting it.

When I posted this list on Facebook a week or so ago I was mildly surprised that people were asking me how I found the time to watch so many flicks. Frankly, I didn't think I'd seen that many and so I started digging into the numbers:

First Time Watches: 75
Rewatches: 30

While that number represents a slight increase over 2008 it still pales in comparison to the days when I'd see 200 new movies a year, including about 75% of the theatrical releases that hit the Delaware Valley. Back then, of course, I was a single zine editor who cared about movies, music and drink... and not necessarily in that order.

These days I'm a married, work-at-home dad with a precocious two-and-a-half year-old daughter so I guess it should come as somewhat of a surprise that I was able to squeeze in what amounts to two movies per week. But, upon closer examination, I realized that about one-third of everything I saw – roughly 30 flicks – came about thanks to three marathon viewing sessions: a weekend of trash viewing while my wife and daughter were in Florida; a weekend in Cleveland with pals from the European Trash Paradise; and, the annual Exhumed Marathon.

Take those 30 flicks – watched over a period of about six days – out of the mix and now we're looking at a much more realistic rate of one movie every 4.8 days. And with my daughter's aversion to afternoon naps I fear my 2010 total will be much, much lower.

That said, I'm happy to report that 2009 brought some pleasant surprises, a lot of flicks I'd recommend without hesitation and very few disappointments. Please keep in mind that I saw only three first-run releases in the theater (WATCHMEN, STAR TREK and THE HANGOVER) so almost everything on this list is not from 2009, these are just the things I watched in 2009. The full list will be posted below but first, some awards...

MOST PLEASANT SURPRISE
After the success of the DAWN OF THE DEAD remake and the public's apparent appetite for all things zombie, it came as no surprise that George Romero's DAY OF THE DEAD was tagged for a redo. Though it was handed over to horror hack Steve Miner I was looking forward to an updating of what I think is the underrated gem of Romero's zombie oeuvre. Unfortunately, word quickly spread that the finished flick was an unwatchable turd unsuitable for theatrical release. I caught up with it on Netflix Instant View one afternoon (Greatest. Invention. Ever.) and discovered it wasn't quite as bad as I'd heard though still nowhere near as good as I'd originally hoped. Miner's pedestrian direction lacks suspense, the storyline dispenses with most of the science vs. military plot of the original in favor of a CGI shoot 'em up and stars Nick Cannon and Mena Suvari make Lori Cardille and Joe Pilato look like Oscar nominees, but if you can overlook these things and check your brain at the door you might actually dig this in-name-only remake.

BIGGEST DISAPPOINTMENT
Like most horror fans I've been a fan of Bruce "The Chin" Campbell since he first threw himself around the cabin with reckless abandon in Sam Raimi's THE EVIL DEAD. Roles in that flick's two sequels cemented him as a B-movie star of note and I was always glad to see him pop up in something, whether it was a short-lived tv show, mainstream superhero flick or deodorant commercial. 2002's BUBBA HO-TEP reinforced the argument that Campbell, superb as an aging Elvis fighting a deadly mummy, was capable of greatness even when not playing Ash. Unfortunately, 2007's MY NAME IS BRUCE proved that even the great ones have their low-points... and this one was pretty low. Though I loved the concept of Campbell as a B-movie star with an overblown ego who gets mistaken for the heroes from his films, the whole thing is borderline unwatchable and easily a contender for the worst thing I watched all year. And I watched Rob Zombie's HALLOWEEN remake/massacre.

MOST AMBITIOUS EUROTRASH FLICK
These days, my love of Eurotrash knows no bounds. While I was once strictly devoted to Italian splatter and all things Kinski my horizons have been opened (thanks to the aforementioned ETP) and I find myself eagerly diving into every giallo, Spaghetti western and Eurospy I can dig up to go along with my never-ending love of gorefests, post-nukes, Naschy flicks, Kinski and more. Heck, I even watched four Emanuelle flicks this year and waded through some of what I call "The Forgotten Fulcis". But of all the Eurotrash that I watched (roughly one-third of my 75 new watches), the one I got the biggest kick out of may have been the wonderfully ambitious ISLAND OF THE FISHMEN. I remember this flick hitting US shores as SCREAMERS, whose newspaper ads promised I'd see "a man turned inside out". What I didn't know was that Sergio Martino's late 70s epic was an enthusiastic mash-up of nature run amok, Jules Verne, voodoo and DR. MOREAU all rolled into one crazy ball. Mya's recent DVD release of the flick excises the shot-for-SCREAMERS inserts (with Cameron Mitchell) and restores it to its original glory, complete with underwater cities, Barbara Bach in wet tops, drug addicted fishmen, a slumming Joseph Cotten, and Richard Johnson as the Snidely Whiplash of Eurotrash villains.

MOST OVERRATED REMAKE OF A SEAGAL FLICK
When I first started seeing the commercials for the Liam Neeson revenge flick TAKEN I quipped to a pal that I'd be more likely to see it if it starred Steven Seagal. He responded that I needed to see Seagal's BELLY OF THE BEAST. Sure enough I rented the ironically-titled BELLY and it's pretty much the same film as TAKEN, complete with Big Steve as a retired CIA op whose daughter gets kidnapped while on a Thai vacation with a senator's daughter. Faster than you can say "blousy kimono" Seagal is kicking ass and saying things like "Anybody who stands in my way it's them or me!". I'd probably have nicer things to say about TAKEN were it not for the distracting presence of Maggie Grace, who was more than a decade older than her 17-year-old character at the time of shooting. Grace runs about spasmodically, shamelessly overacting to the point where her arrival on-screen was met with outright laughter, ruining what should have been a highly entertaining "gotta get my daughter back" revenge-a-thon worthy of Cannon-era Bronson.

BEST USE OF BIG STEVE IN A MOVIE OR TV SHOW
Since we're on the topic of Big Steve I thought we'd segue right into this award, which I had initially hoped would go to the highly anticipated A&E tv series STEVEN SEAGAL: LAWMAN. For those who haven't seen the reality series, it follows Seagal (a 20 year veteran of the New Orleans PD... seriously) and his team as they ferret out crime in some of the worst sections of a post-Katrina Big Easy. Unfortunately, despite my high expectations for LAWMAN it falls into that sad reality category of "if you've seen one you've seen 'em all". The show tries to wrap each installment in some Big Steve Message (drugs are bad, guard dogs are good, Zen and the art of target shooting) but there's no drama, the black shoe polish on Seagal's hair is highly distracting, and you can only laugh at the doughy action star "oof"-ing his frame in and out of the SUV so many times. Granted, Seagal-Vision (TM) is a technological advance that blows Cameron's 3-D sci-fi flick out of the water, but I hate having to suffer through the actual show in order to see it. As egomaniacal reality shows go this one's more "real" than GENE SIMMONS' FAMILY JEWELS, but that show features better actors delivering the scripted "reality". And so, the award for Best Use of Big Steve in a Movie or TV Show goes to STEP BROTHERS, which features a hysterical scene of stars Will Ferrell and John Reilly bonding over Seagal's finest – and first – cinematic outing, ABOVE THE LAW.

BEST HOPE(S) FOR THE FUTURE OF HORROR
It can be a challenge to live life as an unapologetic horror fan. The flicks that end up getting the most press are often remakes of superior films from the genre's not-so-distant past or Americanized versions of tales of terror from Japan or Europe. When a truly entertaining genre effort does get made, the distributor frequently muffs it and shuffles the flick to the world of direct-to-DVD with little or no theatrical release. And that's too bad, especially in the case of at least four flicks I saw this year that I would have loved to see get a wide release instead of yet another installment of SAW or a wretched remake like MIRRORS. The best of the bunch was definitely SPLINTER, a claustrophobic and bloody re-imagining of Carpenter's THE THING largely set in gas station convenience store. Anchored by great performances from the film's three leads (including Paulo Costanzo of the hit USA series ROYAL PAINS), SPLINTER features tight, suspenseful direction from Toby Wilkins that kept me on the edge of my seat. Though I didn't think it quite lived up to the hype, I thoroughly enjoyed the Halloween-themed anthology TRICK R TREAT and will make a point of digging it out annually. My other two favorites illustrate both sides of the slasher genre... Robert Hall's LAID TO REST is a brutal and bloody slasher flick that starts fast and never takes its foot off the gas while HATCHET is a clever and loving homage to the slasher flicks of the 80s that deftly balances the blood and boobs with actual humor. To say I'm looking forward to more from the makers of these flicks is an understatement, especially FROZEN, the new flick from HATCHET director Adam Green.

BEST REASONS TO DELVE INTO THE 80s
Sometimes I have to remind myself that it only seems like I've seen every single slice of horror, sleaze, sexploitation and trash from the 80s. Thanks to the wonders of Netflix, the annual Exhumed Marathon and friends who I'm pretty sure have seen every single trash film from the 80s I keep discovering new and wonderful flicks that occasionally blow my mind. This year I happily enjoyed viewings of Jess Franco's FACELESS, JP Simon's SLUGS and Lucio Fulci's MURDER ROCK, all the while wondering how these flicks flew under my radar for the last two decades. Even films that failed to live up to my expectations despite enthusiastic endorsements (HARD ROCK ZOMBIES, VISITING HOURS) were still time better spent than watching DOOMSDAY, MY BLOODY VALENTINE 3-D, I LOVE YOU MAN or PINEAPPLE EXPRESS. Then again, pretty much every film on my list paled in comparison to AMERICAN HUNTER, BLOOD DELIRIUM, DEADLY PREY and RAW FORCE, an untouchable quartet of 80s Mindblowers... films whose viewing experiences left me aching with joy thanks to the passion and insanity thrown onto the screen. Without a doubt, seeing RAW FORCE – in which Cameron Mitchell and a cruise ship full of kung-fu champs and large breasted policewomen battle zombies, cannibals and a Hitler look-alike running a white slavery ring! – on the big screen was 2009's cinematic highlight.

Oh, I could keep going on handing out awards for things like Best Klaus Kinski Flick (FIVE FOR HELL), Bloodiest Mainstream Flick (the eye-popping RAMBO) and Best ALIENS Rip-Off Masquerading as a Zombie Flick (ZOMBIES: THE BEGINNING) or spend time debating the merits of EMANUELLE & THE LAST CANNIBALS vs. EMANUELLE & THE WHITE SLAVE TRADE, but I've probably prattled on long enough.

2009 was a surprisingly good year of viewing and with technology like Netflix Instant View bringing more and more trash straight into my living room (COLD PREY? GALE FORCE? BIG BAD WOLF?) not to mention a steady stream of DVD-R badness flowing from pals like David Zuzelo at TOMB IT MAY CONCERN, who knows what 2010 – and a new decade – has in store?

FIRST TIME WATCHES
---------------------------------
ADVENTURELAND
ALL THE COLORS OF THE DARK
AMERICAN HUNTER
BABY MAMA
BEHIND THE MASK
BELLY OF THE BEAST
BLACK EMANUELLE 2
BLACK EMANUELLE/WHITE EMANUELLE
BLACK MAGIC 2
BLOOD DELIRIUM
BLOODY HANDS OF THE LAW
CAT IN THE BRAIN
THE CHILDREN
DAY OF THE DEAD (REMAKE)
THE DEAD NEXT DOOR
DEADLY PREY
DEVIL'S NIGHTMARE
DOA: DEAD OR ALIVE
DOOMSDAY: THE DEATH OF SUPERMAN
DOOMSDAY
DOOR INTO SILENCE
EMANUELLE & THE LAST CANNIBALS
EMANUELLE & THE WHITE SLAVE TRADE
EVIL FACE
FACELESS
FAST & FURIOUS
FIRED UP!
FIVE FOR HELL
GREY GARDENS
HALLOWEEN (UNRATED REMAKE)
THE HAND THAT FEEDS THE DEAD
THE HANGING WOMAN
THE HANGOVER
HARD ROCK ZOMBIES
HATCHET
I LOVE YOU, MAN
ISLAND OF THE FISHMEN
JULIE & JULIA
JUNGLE HEAT
LAID TO REST
MONSTER HUNTER
MURDER ROCK
MY BLOODY VALENTINE 3-D
MY NAME IS BRUCE
THE NEXT VICTIM
NIGHTMARE CASTLE
THE OBLONG BOX
OUT FOR A KILL
PINEAPPLE EXPRESS
PLAGUE TOWN
PUNISHER: WAR ZONE
RAMBO
RATMAN
RAW FORCE
ROLE MODELS
THE SINFUL DWARF
SLUGS
SLUMDOG MILLIONAIRE
SPLINTER
STAR TREK
STEP BROTHERS
THE STEPFORD CHILDREN
SUPERMAN/BATMAN: PUBLIC ENEMIES
TAKEN
TALES OF THE BLACK FREIGHTER
TARANTULAS: THE DEADLY CARGO
TRAUMA
TROPIC THUNDER
TRICK 'R TREAT
THE U (30 FOR 30 Documentary)
VIGILANTE FORCE
VISITING HOURS
WATCHMEN
WEB OF THE SPIDER
WINTERBEAST
ZOMBIES: THE BEGINNING

REPEAT VIEWINGS
-----------------------------
THE BEYOND
BLOOD SURF
CITY OF THE WALKING DEAD
CONQUEST
THE CONVENT
CRANK
CREEPSHOW
CURSE OF THE DEVIL
FAST TIMES AT RIDGEMONT HIGH
THE FLY (REMAKE)
FRIDAY THE 13TH: PART 5
FRIDAY THE 13TH: PART IV
GODZILLA ON MONSTER ISLAND
GRADUATION DAY
HERCULES IN THE HAUNTED WORLD
LADY TERMINATOR
MANHATTAN BABY
MOTHER'S DAY
THE MUTILATOR
NIGHT OF THE LIVING DEAD (REMAKE)
ON DEADLY GROUND
THE PARTY ANIMAL
PIECES
PIRANHA
THE PSYCHIC
PSYCHO KICKBOXER
RE-ANIMATOR
SCREWBALLS
SUPER INFRA-MAN
THE VINDICATOR

Franco Friday... DRACULA Trailer and Interview

Taking a quick break from our 31 Days of Fright coverage to bring you a few Franco Friday goodies we've been turned on to.

First up, our favorite YouTube-er DocPhnoeker has posted a long German trailer for Franco's EL CONDE DRACULA featuring Christopher Lee, Herbert Lom, Maria Rohm, Soledad Miranda, Jack Taylor and, of course, Klaus Kinski as the silent, bug-eating Renfield. Check out the trailer below:



Then there's a new interview with Franco over at SoldedMiranda.com. Amy Brown was lucky enough to catch up with Franco and Lina Romay at the recent FantasticFest in Austin and chatted with the prolific director for her blog. Nothing revelatory about his frequent work with Kinski but tons of other info for the Franco-phile.

Thanks to David Zuzelo of Tomb It May Concern for the tip.