All The Vampire Girl Scenes From "BLOOD OF DRACULA" (1957)(video)

 

Sandra Harrison plays the new girl at a secluded boarding school...

...who falls prey to a demented teacher who turns her into a bloodthirsty vampire girl!

The result is one of the coolest makeups in any low-budget 1950s monster movie...

...in this companion film to I WAS A TEENAGE WEREWOLF and I WAS A TEENAGE FRANKENSTEIN.



I neither own nor claim any rights to this material.  Just having some fun with it. Thanks for watching!

All The Vampire Girl Scenes From "BLOOD OF DRACULA" (1957)(video)

THE BLOOD DRINKERS -- Blu-ray Review by Porfle

Originally posted on 4/22/22

 

(This Blu-ray disc is part of Severin Films' "Hemisphere Box of Horrors" Collection along with CURSE OF THE VAMPIRES, THE BLACK CAT/ TORTURE CHAMBER OF DR. SADISM, and BRAIN OF BLOOD.)


Another fun horror outing from Philippines-based Hemisphere Pictures, THE BLOOD DRINKERS (1964) is also another superlative low-budget thriller from prolific, talented director Gerardo de Leon (CURSE OF THE VAMPIRES, TERROR IS A MAN, MAD DOCTOR OF BLOOD ISLAND, BRIDES OF BLOOD).

His visual style here is pleasingly old-school, taking his limited resources and fashioning a Gothic horror tale which, like his later CURSE OF THE VAMPIRES, eschews gore and cheap sensation in favor of mood, fever dream visuals, and an atmosphere of growing claustrophobic dread.

This time we meet Dr. Marco (Ronald Remy), the bald, black-caped head vampire of a small group who, in their crypt headquarters, are trying to revive Marco's one true love Katrina (Amalia Fuentes, CURSE OF THE VAMPIRES).

 

But to do so, they need the heart of Katrina's twin sister Charito, who was raised by foster parents and is unaware of her twin.

Meanwhile, the tragically-conflicted mother of the girls (Mary Walter, who would give such an impressive performance as a raving vampire in CURSE OF THE VAMPIRES), is forced by the lovestruck Marco into betraying one daughter so that the other may live.

This basic plot serves as a springboard for a prolonged clash between good and evil with a venerable old local priest and a circle of loyal friends helping Charito battle not only Marco but her foster parents who were murdered by Marco's vile hunchback henchman and have risen from the grave as bloodthirsty vampires themselves.

Director De Leon pours on the consistently engaging visuals complete with spooky cemeteries and crypts shrouded in swirling fog.  Marco's lackeys are a repulsive lot, including a huge bat who growls like a wild animal and looks creepy in its frequent close-ups even though it's utterly fake-looking. 

The vampire attacks and other action, including some furious fistfights between Marco and his gang and Charito's staunch, oily-haired admirer Victor (Eddie Fernandez), are staged with flair and keep the movie moving along at a good pace between the slower dramatic scenes. 

Interestingly, Marco isn't played with the usual vampire mannerisms we're so used to from actors such as Bela Lugosi and Christopher Lee.  He's actually more of a Bond villain type, although his only motivation is a tragic love for his dying Katrina (who, technically, is already undead, but we won't go into that).

As in CURSE OF THE VAMPIRES, the eternal clash between the diabolical forces of evil and the power of religious faith, as represented by the old priest and his congregation, is conveyed in no uncertain terms as a very real and ongoing thing in which monsters such as Marco and his ilk must be conquered.

One thing which must be noted on the technical side is an interesting visual conceit, being that the film is shot mostly in black-and-white which has been tinted various colors--blue for night time scenes, red for scenes depicting vampiric activity, and so on--with the odd scene here and there in color.  Some may find this effect jarring, while others will no doubt be captivated by it.

The print is good, presumably the best one available.  Dialogue is dubbed into English, with English subtitles available.  As usual, Severin Films offers a full menu of enjoyable extras which are listed below.

THE BLOOD DRINKERS comes to a head in the exciting conclusion with Marco's final desperate push to vanquish Charito's allies and get his hands on her precious heart.  It's all wonderfully old-fashioned in a classic horror sort of way but with touches of the more garish Hammer influence of the 50s and early 60s, and horror fans should find this a pleasingly novel confection.


Buy the Stand-alone Blu-ray at Severin Films

Buy the Hemisphere Box of Horrors Collection


Special Features:

    Manong of the Philippines: Interview With Script Supervisor and Gerry De Leon’s AD Dik Trofeo
    Hemisphere Appreciation by Filmmaker David Decoteau
    Audio Commentary With Film Historians Nathaniel Thompson and Howard S. Berger
    Partial Audio Commentary With Hemisphere Marketing Consultant Samuel M. Sherman
    Deleted Scenes
    Blood Drinkers Trailer
    Vampire People Trailer
    Radio Spot

THE BLOOD DRINKERS -- Blu-ray Review by Porfle

CURSE OF THE VAMPIRES -- Blu-ray Review by Porfle

Originally posted on 4/21/22

 

 (This Blu-ray disc is part of Severin Films' "Hemisphere Box of Horrors" Collection along with THE BLOOD DRINKERS, THE BLACK CAT/ TORTURE CHAMBER OF DR. SADISM, and BRAIN OF BLOOD.)


Somber and absorbing, with the old-school Gothic atmosphere of a classic horror film, CURSE OF THE VAMPIRES (Severin Films, 1966) is satisfying stuff for those who enjoy the spirit of the old Hammer vampire flicks.

Not as top-drawer as the early Hammers or as visually sumptuous, this earnestly-told vampire tale, shot in the Philippines with Filipino actors, takes advantage of its Spanish villa location for added production value as well as a fine cast and able direction by Hemisphere Pictures veteran Gerardo de Leon (THE BLOOD DRINKERS, TERROR IS A MAN, MAD DOCTOR OF BLOOD ISLAND, BRIDES OF BLOOD).

The stately pace allows us to appreciate every element of the story as it unfolds around two aristocratic Spanish families, with fervent lovers Leonore Escudero (Amalia Fuentes) and Daniel Castillo (Romeo Vasquez) denied permission to marry by Leonore's dying father.

 

He gives no reason for his denial, but we soon find out that there's a history of vampirism in the Escudero family.  Very recent history, in fact, since a hidden underground chamber contains the coffin of Papa's living dead wife (Mary Walter in a stunning performance).

Mama, it turns out, is a snarling, bloodthirsty vampiress who will eventually escape her captivity and start spreading her hideous disease amongst her own family members, one bloody bite at a time.

Leonore and her headstrong brother Eduardo (Eddie Garcia) clash over their father's dying wish that the house be burned to the ground upon his death.  Eduardo also butts heads with Daniel, a clash that is intensified when Eduardo turns into a vampire, attacks Daniel's sister, and then forces her to marry him.

The whole "family vampire curse" thing also leads Leonore to call off her own marriage to Daniel, further adding to the film's enjoyably rich sense of pure melodrama. How their story resolves itself leads to a satisfying conclusion that reminded me a bit of "Wuthering Heights" of all things.

It's all quite lively and suspenseful, yet CURSE OF THE VAMPIRES maintains its old-school atmosphere by holding back on the blood and violence while offering plenty of stunningly staged vampire action. 

Mary Walter makes a particularly effective vampire (closeups of her during the opening titles are chilling), while Garcia's Eduardo comes to the fore as the film's chief purveyor of undead villainy.

The print itself looks good, especially for an old Eastmancolor film.  Dialogue was filmed in Filipino and dubbed into English, with English subtitles available.  As usual, Severin Films offers a full menu of enjoyable extras which are listed below.   

CURSE OF THE VAMPIRES eventually finds Eduardo and his creepy vampire progeny beseiged by an army of crucifix-carrying townspeople in a final clash between good and evil.  For those who enjoy their vampire tales in the Hammeresque old-school style, featuring snarling, fang-baring bloodsuckers stalking the living amidst classic Gothic trappings, this is one you'll definitely want to indulge in.


Order the stand-alone disc from Severin Films

Order the Hemisphere Box of Horrors From Severin Films

Special Features for Curse of the Vampires:

    Cursed Vampire: Interview With Actor Eddie Garcia
    The Market Of Hemisphere: Interview With Marketing Consultant Samuel M. Sherman
    Audio Commentary With Philippine Genre Documentarian Andrew Leavold
    Partial Audio Commentary with Sam Sherman
    Deleted Scenes
    Trailer
    Beast of Blood / Curse of the Vampires radio spot

 

CURSE OF THE VAMPIRES -- Blu-ray Review by Porfle

COUNT DRACULA -- Blu-ray Review by Porfle

 

(Originally posted 12/19/2015)

 

For prolific Spanish cult director Jesus "Jess" Franco, COUNT DRACULA (1970) was a welcome venture into classier territory than that found in his more exploitative efforts such as BLOODY MOON and THE HOT NIGHTS OF LINDA. 

Not only that, but it served as a vehicle for Christopher Lee to finally get to play the character of Dracula closer to the original Bram Stoker version, with more of the novel's dialogue (at least in the early scenes in Dracula's castle during which he tells Jonathan Harker of his family history) and a Dracula who more closely resembles the one described by Stoker. 

Shot in Spain, the film (now available on Blu-ray and DVD from Severin Films) benefits not only from some terrific found locations that add immeasurably to to its production values, but also from a top-notch cast headed by Lee and the equally venerable Herbert Lom as Professor Van Helsing, who now runs the clinic at which Dr. Seward (Paul Muller) works and where a grievously distraught Harker (Fred Williams) ends up after his ordeal at Castle Dracula.

How Dracula happens to move into the very estate that borders the clinic where Harker ends up after his escape is best left unpondered while we enjoy this dry and slow-moving, yet somehow involving retelling of the famous tale through Franco's restless lens.  As usual, his camerawork is largely fluid and informal, and rife with crude zooms that keep us up close and personal with the characters. 

In addition to American good guy Quincey Morris (Jack Taylor), we also meet his bride-to-be Lucy (exotic Soledad Miranda, later to star in Franco's VAMPIROS LESBOS and SHE KILLED IN ECSTASY) and her friend Mina (the beautiful Maria Rohm), who will both be targets for Dracula's nocturnal bloodlust while they stay at the clinic looking after Mina's ailing fiance' Jonathan.  (Franco himself plays a weaselly orderly). 

Of great interest to fans of eccentric actor Klaus Kinski, who would later sprout fangs himself as NOSFERATU THE VAMPYRE (1979), is his presence here as Renfield, the celebrated "fly eater" played in the 1931 version by Dwight Frye.  Kinski is allowed to indulge himself in the role, resulting in a lot of "Look at me, I'm acting!" moments in which he improvs aimlessly and fiddles with his hair a lot. 

 

The two leading ladies acquit themselves well, especially Soledad Miranda whose Lucy is Dracula's main interest early on and is the victim of several nighttime attacks.  Lom is his usual solid, dependable presence as our main representative of good and resident vampire expert. 

As for Lee, it's of great interest to see the differences between this and his earlier star-making turn in Hammer's 1958 DRACULA (known in the USA as HORROR OF DRACULA).  He's less imposing here than the frightening, feral Count of twelve years before, and looks a bit awkward without the flowing cape, yet there's a greater depth to the character which makes him interesting. 

Franco's staging of several scenes (edited by fellow cult director Bruno Mattei of such films as ISLAND OF THE LIVING DEAD, THE JAIL: THE WOMEN'S HELL, ZOMBIES: THE BEGINNING, IN THE LAND OF THE CANNIBALS, and MONDO CANNIBAL) is visceral and grotesque, especially the staking and beheading of the undead (including the Count's trio of not-so-bashful brides).  The ending is less frenetic than the confrontation between Christopher Lee and Peter Cushing's Van Helsing in the Hammer version, but is satisfying nonetheless and closer to that described by Stoker.

The Blu-ray from Severin Films is full screen HD with Dolby 2.0 English soundtrack.  No subtitles.  A commentary track featuring actress Maria Rohm and film historian David Del Valle is both informative and at times rather charming.  Extras also include an avant-garde behind-the-scenes documentary entitled "Cuadecuc, Vampir" (75 min.), directed by Pere Portabella, which reinterprets Franco's film in grainy black-and-white images that are often more eerie and atmospheric than the original.

In addition to this are interviews with castmembers Fred Williams and Jack Taylor, and director Jess Franco himself.  French filmmaker Christophe Gans gives an appreciative assessment of the film and its director in the featurette "Stake Handlers", while Christopher Lee himself offers an emotional reading of the actual Bram Stoker novel.  Rounding out the bonus menu are alternate versions of the film's opening titles in various languages and a German trailer.

Somewhat staid and even a bit dull at times, COUNT DRACULA remains one of Jess Franco's most involving and visually compelling films (of the ones I've seen, anyway) and will definitely prove fascinating to his many ardent fans.  For anyone who appreciates the classic tale of Dracula in whatever form, this is an intriguing, invaluable interpretation which should be seen. 


Stills used are not taken from the Blu-ray

COUNT DRACULA -- Blu-ray Review by Porfle

THE VAMPIRE'S GHOST -- DVD Review by Porfle

 Originally posted on 10/27/2017

 

Clocking in at 59 minutes and originally released on a double bill with "The Phantom Speaks", Republic's 1945 horror-thriller THE VAMPIRE'S GHOST is a short-but-sweet foray into the supernatural that owes more to that studio's jungle features and serials than to the sort of dark Gothic chills you'd expect from a vampire tale.

The setting reminds me of Republic's serial PANTHER GIRL OF THE KONGO but with somewhat richer production values. (Olive Films' DVD of this beautifully-shot black-and-white film looks terrific.) A small village in darkest Africa is beset by a series of murders which, to the superstitious, appear to be the work of a vampire. 

Roy Hendrick (Charles Gordon of SWAMP FIRE, here bearing some resemblance to Buster Crabbe), soon to marry his sweetheart Julie (Peggy Stewart, THE RUNAWAYS, BOBBIE JO AND THE OUTLAW), is having trouble keeping native workers on his rubber plantation as more of them flee the bloodsucking menace.

Julie's father, Dr. Vance (Emmett Vogan, THE MUMMY'S TOMB, THE MUMMY'S GHOST), is, in fact, baffled by the great loss of blood from the victims, which also has the local priest, Father Gilchrist (Grant Withers, FORT APACHE, RIO GRANDE), keeping a crucifix within reach at all times. 

The only local who doesn't seem overly concerned is cucumber-cool club owner, Webb Fallon (John Abbott, perhaps best known to TV fans from Star Trek: "Errand of Mercy" and The Man From UNCLE: "The Birds and the Bees Affair"), whose star attraction is an alluring dancer played by Adele Mara (SANDS OF IWO JIMA).  Fallon's luck on his own gambling tables is almost supernatural in itself, raising the ire of ship captain Jim Barrett (prolific Western actor Roy Barcroft) who accuses him of cheating. 

Barrett attacks him, but one piercing stare from the mysterious Fallon causes the man to back off in fear.  It isn't long before we're pretty sure Fallon is the vampire, a suspicion soon borne out when Roy comes under the mysterious man's mental control.  After that, the ailing Roy seems powerless to stop Fallon as the centuries-old vampire sets his sights on none other than Julie herself as his undead bride.

Gordon and Stewart play the typical romantic couple from a million adventure yarns, but Abbott's interpretation of the bloodsucking fiend of ancient lore is about as low-key and restrained as one could imagine.  In fact, even when he's exercising his insidious mind control over helpless victims or revealing his sinister intentions for the hapless Julie, Fallon barely ruffles a thread of his tailored suit or a hair on his neatly-clipped head. 

He doesn't even sleep in a coffin--a small box of native soil underneath his pillow suffices--and is capable of withstanding daylight in small doses.  And what with the constant native drums in the background (local tribes keep each other informed on local vampiric goings-on) and other familiar tropes of the jungle adventure--safaris, native carriers, huts, spears--the emphasis of the rather literate screenplay by Leigh Brackett (STAR WARS V: THE EMPIRE STRIKES BACK) is more upon characterization and a measured suspense than eliciting nightmares.  

Which, indeed, is the modest appeal of THE VAMPIRE'S GHOST, a "horror" tale that feels like an extended serial chapter in which the cliffhangers consist of quietly suspenseful moments rather than action thrills.  (It was helmed by prolific Western director Lesley Selander, responsible for several of the better "Hopalong Cassidy" entries.)  Even the climactic showdown between humans and vampire in a remote jungle temple is a pleasantly told diversion meant simply to entertain us, which it does. 

Order it from Olive Films

Subtitles: English (optional)
Video: 1.33:1 aspect ratio; B&W
Runtime: 59 minutes
Extras: none
Year: 1945

@OliveFilms
https://www.facebook.com/olivefilms/

THE VAMPIRE'S GHOST -- DVD Review by Porfle

THIRST -- Blu-ray/DVD Review by Porfle

 

Originally posted on 3/3/14

 

Blowing in on the great Oz-plosion of the 70s and 80s came the vampire thrilla from dan-unda known as THIRST (1979), which definitely would've been part of my VHS rotation if I'd taped it off of Cinemax or dubbed a rental copy. 

It isn't a great movie, but these resourceful Aussie filmmakers did a great job taking an outlandish horror story and whipping up a delightfully ghastly bit of entertainment to go around it.  The attractive and very expressive Chantal Contouri stars as Kate, a well-to-do career woman who finds out the hard way (being abducted by a vampire cult, that is) that she is the last descendant of Elizabeth Bathory and is now expected to join with her fellow vampires in order to enrich and extend the "bloodline."

Max Phipps, best known as the pathetic "Toady" from THE ROAD WARRIOR, is fellow vampire blue-blood Mr. Hodge, who is most excited about this joining since he'll be participating in the most "intimate" way.  Others interested in Kate's absorption into the cult are the vile Mrs. Barker (Shirley Cameron), the familiar Robert Thompson (PATRICK, ROAD GAMES) as Sean, ultra-awesome cult actor Henry Silva as Dr. Gauss, and a curiously reticent Dr. Fraser (DEEP RED's David Hemmings at his most David Hemmings-y) who appears to sympathize with Kate's desire to return home to her hunky fiance' Derek (Rod Mullinar, DEAD CALM).

They're all members of the board of directors of a kind of vampire resort located in a secluded manor (THIRST boasts some very nice actual locations) where passive humans known as "bloodcows" are raised like cattle and drained of their blood to be packaged in milk cartons for thirsty vampires everywhere.  Some wonderfully morbid touches include a tour group of excited vamp VIPs being led through the sanitary facilities and snapping photos of bloodcows hooked up to "milking" machines. 

Interestingly, director Rod Hardy (BUFFALO GIRLS) originally thought the film was intended as a spoof but discovered John Pinkney's screenplay to be dead serious, which, to the film's benefit, is exactly how Hardy shot it.  Thus, while much tongue-in-cheek sport could have been made of several over-the-top scenes featuring gleeful vampiric debauchery and giddy perversity (such as when, during an unholy ritual, we see an old lady insert a set of pointed choppers into her mouth and chow down on a helpless subject) it's all played deliciously straight.

This must have proven a challenge to Chantal Contouri's acting skills, especially since her character is onscreen for almost the entire running time and must remain absolutely convincing throughout.  Due to her continued rejection of the vampire life, Kate is subjected to marathon mind-control sessions  that are surrealistic nightmares of horror in which she never knows the real from the unreal.  Gouts of blood gush from shower heads, people suddenly turn into decaying corpses, and, in one rather icky scene, the man Kate thinks is Derek during their idyllic lovemaking session by a pond turns out to be the toadlike Mr. Hodge. 

Things really get intense when Kate finally stops trying to escape and seemingly gives in to her "destiny", which elevates an already bleak film to the truly horrific.  Her induction ritual in which she gets to don the pointy teeth herself and go for a prostrate subject's exposed jugular is richly decadent, enhanced by Contouri's glowing-eye emoting.  Overall, the film is reminiscent of the modern-day vampire flicks from Hammer or the kind of stuff companies like Amicus were doing in the 60s and 70s. 

At times THIRST even has a bit of a SUSPIRIA-like feel to it, and while Hardy is no Argento, his direction is solid.  The typically robust musical score by Brian May goes  from tragedy to thriller to full-tilt horror in his own inimitable style.

The Blu-ray/DVD combo from Severin Films is in 2.35:1 widescreen with English mono sound.  No subtitles.  Extras consist of an informative commentary track with director Ron Hardy and producer Antony I. Ginnane, an isolated music score, and a theatrical trailer and TV spots.  The film itself looks fine, taken, as the commentary track informs us, from a pristine print kept in storage.

Will Kate fully surrender to a life of vampirism and take her place among the elite bloodsuckers lording it over the rest of us lowly bloodcows?  Will she finally manage to escape and return to a normal life in which milk cartons actually have milk in them and false teeth are just for eating corn on the cob?  Or--and this is the one I'd put my money on--will THIRST have a bleak, downbeat ending which brings this gleefully lurid vampire romp to its most logical conclusion?  Either way, horror fans who like a satisfying taste of modern-day Goth with an Aussie flavor should sink their teeth into this bloodsuckers' tale.

THIRST -- Blu-ray/DVD Review by Porfle

Painful-Looking Stunt in Vampire Classic "NEAR DARK" (1987) (video)

In Kathryn Bigelow's widely-revered cult classic...

...Caleb (Adrian Pasdar) is a novice vampire still discovering his new abilities.

Such as being able to knock a man across a barroom with one punch.

The stunt man gets yanked backward by a (visible) cable...

...and is supposed to land flat on a pool table.

Instead, his spine sharply strikes the edge of the table.

Which looks much more painful than planned.


I neither own nor claim any rights to this material.  Just having some fun with it.  Thanks for watching!

Painful-Looking Stunt in Vampire Classic "NEAR DARK" (1987) (video)

BIKINI FRANKENSTEIN and TWILIGHT VAMPS -- DVD Reviews by Porfle

Originally posted on 1/30/10

 

 

As great as Universal Studios' classic "Frankenstein" movies of the 30s and 40s are, there was always one key ingredient curiously missing from all of them--beautiful naked babes having sex. Whether this was merely an oversight or, for some inexplicable reason, directors such as James Whale and Rowland V. Lee intentionally omitted this vital element, legendary "B" moviemaker Fred Olen Ray's Retromedia Entertainment has finally corrected this problem with the release of BIKINI FRANKENSTEIN (2009).

And rest assured, there's a veritable buttload of steamy softcore, simulated sex scenes in this film, with the story serving as a sort of connective tissue between them. It's kind of a shame, in fact, that we don't get to see more of that story since it's really fun and the actors all give exceptional comic performances. Unlike some preening 70s porno stud like Randy West donning a pair of glasses and trying to be "funny", Frankie Cullen is genuinely, cartoonishly amusing as Dr. Victor Frankenstein, a nebbishy scientist who gets booted (yes, "booted") out of his university teaching job for banging a buxom cheerleader on his desk.

Tony Marino is also funny as Victor's rival, Clive, who gleefully reports the Doc's carnal activities to Professor Van Sloane (actor-filmmaker Ted Newsom in fine comic form). As it happens, both Cullen and Marino happen to be a couple of pretty buffed-out hunks, which should keep the straight chicks and gay dudes in the audience occupied while the heterosexual males get an eyefull of the gorgeous female-type characters. These include voluptuous blonde knockout Brandin Rackley as Dr. Frankenstein's ditzy lab assistant Ingrid, exotic Christine Nguyen as Clive's sexy wife Claudia, and the delightfully winsome Alexis Texas as the aforementioned cheerleader, Debbie.

Retreating to his castle in Transylvania, Victor vows to prove his theories to his skeptical colleagues by bringing life to the dead, which in this case is the tall, lissom Jayden Cole as "Eve." She doesn't actually wear a bikini--more like two strips of gauze--but that doesn't matter since she gets naked pretty quick anyway. A carnal encounter with Ingrid reveals Eve's tendency to crackle with electricity whenever they connect the minus to the minus, so to speak.

Later, Victor returns to the States along with Eve and Ingrid, where, at a cocktail party attended by Clive, Claudia, Professor Van Sloane, and Dr. Waldman (Ron Ford with an enormous fake moustache), he plans to reveal Eve as his triumphant creation after she's sufficiently impressed everyone. Eve does this by having sex with Clive and then engaging in a three-way with Ingrid and Claudia (Claudia also finds time to get it on with Victor as well) which ultimately comes to an unfortunate and, to me, rather abrupt conclusion.

Nicholas Medina's direction is quite good and Sherman Scott's screenplay is stocked with fun references to the classic Frankenstein films. Aside from all the obvious name-dropping, the opening scene has Victor illustrating a scientific procedure that seems inspired by a certain Dr. Neimann from HOUSE OF FRANKENSTEIN (dog included) and Ingrid is obviously inspired by Teri Garr's character in YOUNG FRANKENSTEIN, albeit with even more impressive "knockers." One of the film's best features is its cinematography, which looks just plain great, and the musical score is also easy on the ears.

Personally, I find long, drawn-out sex scenes to be pretty boring after the first minute or so, but the ones in this film benefit from truly great-looking performers and skillful execution. Add to this a nutty cast, lighthearted script, and pleasing production values, and BIKINI FRANKENSTEIN, while lacking a satisfactory ending, is a creation that's more than the sum of its parts.

TWILIGHT VAMPS (2009), on the other hand, isn't quite as enjoyable comedy-wise but maintains the same high standards in regard to the sex scenes while boasting pretty much the same cast. This time Frankie Cullen and Tony Marino play Jack and Roger, a couple of office drones who decide to unwind at a flashy new strip club called Shadows, which just happens to be a front for a bunch of beautiful vampires who drain male customers of their money, sexual energies, and blood.

Having just been dumped by his girlfriend Louise after discovering that she was a dyke interested only in banging her girlfriends and emptying his bank account, Jack falls for sexy blonde dancer Tabitha (Brandin Rackley) while Roger is smitten with Angela (Christine Nguyen). Before long, however, Jack discovers the blood-splattered truth and is forced to become an amateur vampire hunter armed only with a bottle of holy water that's gone past its expiration date.

With the same above-average production values, cinematography, and performances as BIKINI FRANKENSTEIN, TWILIGHT VAMPS is breezy low-budget entertainment that's pleasing to the eye. In addition to the usual plethora of simulated sex scenes which are equally well-done, the strip club setting affords lucky viewers the opportunity to watch the leading ladies show off their considerable poledancing skills. Ultra-fabulous babe Brandin Rackley, who has instantly leapt into the top five of my favorite actresses of this week, is especially awesome in this department (although the exquisite Christine Nguyen offers her close competition in terms of hotness). The opposite of her goofy "Ingrid" character from BIKINI FRANKENSTEIN, Brandin's "Tabitha" is sublimely gorgeous and seductive. In fact, she should be receiving my marriage proposal in the mail any day now, and my fingers are crossed that she'll check the "yes" box. Wish me luck!

Ron Ford returns as Jack's unappreciative boss, Mr. Cartwright, this time sporting an outlandishly fake beard, while Ted Newsom shows up again as a terse, suspicious police detective who questions Jack in regard to one of the vampire murders. In addition to giving his usual solid performance, Ted gets to reprise one of the most celebrated quotes from Ed Wood's classic PLAN 9 FROM OUTER SPACE, and delivers the line with much relish. (Or whatever the craft services people were serving that day.)

Once again, Nicholas Medina handles the directing chores while also contributing the screenplay, which, according to the opening titles, is "based on the poem by Edgar Allen Poe." What poem by Edgar Allen Poe? I don't remember him writing anything called "Twilight Vamps." Maybe it's one of his lesser-known works. The associate producer is identified as one "Thorn Sherman", although it's unclear whether or not this is the same Thorn Sherman portrayed by actor James Best in THE KILLER SHREWS. If so, my hat's off to the guy for defeating those horrible monsters and scoring Miss Universe 1957 in the bargain.

Infinity Entertainment Group's DVDs of TWILIGHT VAMPS and BIKINI FRANKENSTEIN are presented in 16 x 9 widescreen and 2.0 Dolby Stereo. Special features include original trailers.

TWILIGHT VAMPS is filled with visual delights and, while not quite as much giddy fun, makes a fitting companion piece to BIKINI FRANKENSTEIN. Both films are worth checking out for the sex scenes alone, with the added benefit of talented actors and production values that are clearly superior to the usual low-budget fare. So the next time the guys are over at your place for the usual Saturday night drunken wing-ding, leave GIRLS GONE WILD on the shelf and pop one of these babies into the DVD player, and go nuts.

BIKINI FRANKENSTEIN and TWILIGHT VAMPS -- DVD Reviews by Porfle

The Coolest Scene In "Captain Kronos: Vampire Hunter" (Hammer, 1974) (video)

Kronos (Horst Janson) and his friend Grost (John Cater) stop at a roadside pub.

Kerro (Ian Hendry) and two other ruffians with swords decide to antagonize them.

Kronos brushes off the insults directed at him.

But when they harrass his hunchbacked friend...

...it's time for some quick, decisive swordplay.

Originally posted on 4/1/19
I neither own nor claim any rights to this material.  Just having some fun with it.  Thanks for watching!

The Coolest Scene In "Captain Kronos: Vampire Hunter" (Hammer, 1974) (video)

CAPTAIN KRONOS, VAMPIRE HUNTER -- Mini Review by Porfle

 

Originally posted on 3/27/21

Currently rewatching: One of Hammer's best films, "Captain Kronos" (1974) with Horst Janson and Caroline Munro. 

 

A big plus is its connection to my favorite TV show, "The Avengers" -- it's produced by Albert Fennell and Brian Clemens and written and directed by Clemens, with music by Laurie Johnson. 

 

Original "Avenger" Ian Hendry (who played John Steed's partner in season one of that show) appears as a bad guy who crosses swords with Kronos in a tavern scene that pays homage to spaghetti westerns.

 

 

Kronos is a former military officer who hunts vampires after his sister and mother fell victim to the curse and he had to kill them after being bitten by them himself.

 

Here, he finds himself and his hunchbacked partner Grost in a village where young women are being drained of their youth in a nearby dark forest by a mysterious cloaked assailant. 

 

The premise foreshadows that of the later "Blade." The blend of swashbuckler and Gothic vampire hunter works very well. The film is wonderfully atmospheric and well done in all respects.

 

 

CAPTAIN KRONOS, VAMPIRE HUNTER -- Mini Review by Porfle

SON OF DRACULA (1943) -- Movie Review by Porfle

Originally posted on 3/10/17

 

Universal's belated follow-up to DRACULA (1931) and DRACULA'S DAUGHTER (1936) is the richly atmospheric horror tale SON OF DRACULA (1943), one of the studio's finest supernatural films of the 40s. 

At first, Lon Chaney, Jr. may seem a bit beefy for the role of Dracula's son (some believe the title to be a misnomer and that this is actually Dracula, Sr. himself) but he gives the Count an aggressive physicality that predates Christopher Lee's similar portrayal in the later Hammer films.

Chaney's Count, however, augments Lee's aloofness with a manic emotionalism.  Having settled in the American South due to a shortage of "fresh blood" in his own little corner of Transylvania, Dracula falls in with the native tendency toward steamy melodrama (in fiction, at least) and surrenders to passions of both the flesh and the spirit when choosing tempestuous, raven-haired Southern belle Kay Caldwell (Louise Allbritton) as his bride.

 

Kay, it turns out, is more of a "monster" here than the Count, seducing and then manipulating him into vampirizing her so that she can then eliminate him and put the bite on her real love, Frank Stanley (Robert Paige, looking remarkably like Gomer Pyle in some shots), allowing them to flitter off into eternity together.

This, in fact, has been her plan all along, with the aid of an old gypsy woman who lives in a wagon beside a nearby swamp. It's during one of the old hag's crystal ball readings that she delivers one of my favorite (and most unabashedly morbid) lines from any Universal horror movie in foretelling Kay's future:  "I see you...marrying a corpse!  Living in a grave!"

With the doomed Count falling prey to the devious machinations of the conniving Kay, this atmospheric black and white film has a distinct noirish quality.  We see that the lovestruck Drac is definitely unprepared for someone like her, even giving in to such a romantic film trope as rousting the town's justice of the peace out of bed for a hasty wedding that will make the Count master of Kay's inherited estate.

 

Frank, naturally, is crushed, especially when his futile attack on undead alpha-male Dracula--in the mansion that he now owns--results in Kay's (temporary) death.  But in this uniquely offbeat vampire tale, this is just when things start to heat up for the unholy love triangle. 

Thanks to John P. Fulton's special effects, this is the first film to actually show a man turning into a bat and vice versa.  We also get to see Dracula seep under a doorway as a wisp of smoke and then rematerialize before the astonished eyes of Dr. Brewster (Frank Craven) and Prof. Lazlo (J. Edward Bromberg), a Van Helsing-like vampire expert summoned by Brewster to help combat the evil that has come to their humble burg.

The first chilling close-up of Chaney, in which he looks over his shoulder and glares directly at us, is giddy-cool.  I also like it when he shows up at the front door of the Caldwell estate that night but is refused entrance by a mournful butler since the master of the house has just died under mysterious circumstances.  "ANNOUNCE ME!" Dracula barks menacingly at the poor guy.

 

There's also a glorious sequence in which a beaming Kay watches from the bayou's edge as Dracula's coffin rises to the water's surface, and then, music swelling, he stands imperiously atop it as it glides slowly to the shore.  The effect is sublime, surely one of Universal's most memorable horror movie moments of the forties.

Evelyn Ankers (THE WOLF MAN, GHOST OF FRANKENSTEIN) is as appealing as ever playing Kay's unsuspecting little sister, who reluctantly helps Dr. Brewster sort out the mystery behind Kay and the Count. 

Paige gets to emote his head off for most of the film as tragic-hero Frank gets dumped by his fiance' for a vampire, is thrown in jail for murdering her, and then finds out she's a member of the undead who wants him to join her.

Allbritton plays her role for all it's worth, with Kay taking a mad delight in each phase of her descent into evil (unlike the earlier DRACULA'S DAUGHTER, in which Gloria Holden's vampire Countess Zaleska yearns to be a normal person.) 

She's stiff competition for Chaney, but SON OF DRACULA is nonetheless Lon's movie and he makes the most of this rare chance to play a monster who's suave, nattily dressed, and doesn't have six hours of makeup obscuring his face.

SON OF DRACULA (1943) -- Movie Review by Porfle

THE TRAIL OF DRACULA -- DVD Review by Porfle

 

Originally posted on 11/1/16

 

 

You know him...you love him...you want to know all about him.  And when we follow THE TRAIL OF DRACULA--a 2013 documentary now available on a brand-new DVD release from Intervision--we pretty much get the whole story, and more, about our favorite bloodsucking Transylvanian count, who just happens to be one of the most famous fictional characters of all time.

Writer-director David Mitchell has put together a history of the D-Man that's chock full of historical drawings, photographs, and film clips.  To augment the visual aspect of the story, we hear it told in exhaustive detail by a number of authors, historians, film critics, and other people who are both knowledgeable and enthusiastic about the subject.  

The story begins at the beginning, with the birth of vampire folklore in Middle Europe and tales of vile undead creatures who stalked the night feasting upon the blood of the living.  Then we trace the evolution and refinement of the vampire character into a more suave and sophisticated figure, thanks mainly to writer Bram Stoker and his novel "Dracula."

 

It's Stoker, we find, who is responsible for devising many of the modern variations of the ancient folklore as well as giving the character his birthplace (Transylvania would forever become known as Vampire Central).  The documentary also touches upon the influence upon the character of a certain Vlad "The Impaler" Tepes, or Vlad Dracul, a Romanian folk hero whose countrymen regarded his association with the evil Count to be rather less than flattering.

While the first half of THE TRAIL OF DRACULA is definitely interesting, it's a bit dry and "History Channel"-like compared to the second half when we finally delve into Dracula's many film incarnations.  That's where this documentary really comes to life for me, with a wealth of clips from early adaptations such as Murnau's incredible silent epic NOSFERATU starring Max Shreck, and of course arguably the greatest version of all, 1931's DRACULA with Bela Lugosi.

Many of the sequels and offshoots from the 30s to the 70s are covered, of which there are literally hundreds ranging from drama to Gothic horror to low comedy to, finally, pornography (DRACULA SUCKS, SEXCULA).  

Scenes from the original trailers are used whenever possible, giving us tantalizing glimpses of such films as DRACULA'S DAUGHTER with Gloria Holden, SON OF DRACULA with Lon Chaney, Jr., Bela Lugosi's Columbia outing RETURN OF THE VAMPIRE, Universal monster rallies HOUSE OF FRANKENSTEIN and HOUSE OF DRACULA with John Carradine as the Count, and Francis Lederer's excellent turn in the role in THE RETURN OF DRACULA. 

Lesser and sometimes obscure examples of the sub-genre include David Niven as OLD DRACULA, Andy Warhol's BLOOD FOR DRACULA, THE VAMPIRE LOVERS with Ingrid Pitt, ZOLTAN: HOUND OF DRACULA, Al Adamson's abominable (but fun) DRACULA VS. FRANKENSTEIN, drive-in favorite BLACULA, 7 BROTHERS MEET DRACULA, LADY DRACULA, Jess Franco's VAMPYROS LESBOS, and several more.

Special attention is paid, of course, to Hammer Studios' game-changing Dracula series starring Christopher Lee in what many feel rivals Lugosi's immortal interpretation of the character. 

Hammer's heavily atmospheric and relatively lavish 1958 adaptation of Stoker's novel, DRACULA (known in the U.S. as "Horror of Dracula") sparked a phenomenon that made a reluctant horror superstar out of Lee (as well as his frequent co-star Peter Cushing, already known as the new Dr. Frankenstein) and led to a lucrative, highly popular series.

Sequels would include BRIDES OF DRACULA (without Lee, but excellent nonetheless), DRACULA: PRINCE OF DARKNESS, TASTE THE BLOOD OF DRACULA, DRACULA HAS RISEN FROM THE GRAVE, SCARS OF DRACULA, THE SATANIC RITES OF DRACULA, and DRACULA A.D. 1972.  The films would gradually decline in quality with each installment until finally the cycle had played itself out. 

The DVD from Intervision is in widescreen with 2.0 sound. No subtitles.  Extras include audio interviews with Christopher Lee and Francis Lederer and video interviews with director Werner Herzog talking about his NOSFERATU remake with Klaus Kinski and BLOOD FOR DRACULA's ever-charming Udo Kier. 

My favorite bonus feature is a collection of all those wonderful trailers referred to in the documentary.  There are dozens of them--a full 94 minutes worth--ranging from DRACULA '31 and on into the 1970s.  Not just a bonus, this collection is equal to a full-length companion feature.

The uninitiated--those poor, mundane souls--may not get much out of THE TRAIL OF DRACULA.  But those of us who are devoted lifelong fans of the Count, no matter which incarnation of him may be our own personal favorite, will find plenty here to sink our fangs into.    

THE TRAIL OF DRACULA -- DVD Review by Porfle

BLOOD OF DRACULA (1957) -- Movie Review by Porfle

 

Originally posted on 7/6/21

 

Currently watching: American-International's BLOOD OF DRACULA (1957) starring Sandra Harrison as Nancy, a teenage girl who becomes a blood-sucking vampire while attending an exclusive girls' boarding school in the mountains.

After Nancy's mother dies, her father waits a mere six weeks before hooking up with a gold-digger and sending Nancy off to boarding school to get her out of their hair.

Nancy is understandably distraught and resentful, and her first days at the school find her clashing with a clique of spoiled bullies who call themselves the "Birds of Paradise."

 

Eventually, the headstrong Nancy wins their grudging acceptance and also the attention of an oddball science teacher named Miss Branding (Louise Lewis), who finds in Nancy a perfect subject for her weird experiments in bringing out certain supernatural powers inherent in human beings.

Under hypnosis, and with the aid of a mystical amulet she obtained in the Carpathian mountains, Miss Branding succeeds in turning Nancy into a horrific fanged creature who stalks the campus thirsting for warm teenage blood.

If you catch it in the right frame of mind, BLOOD OF DRACULA is just as much fun as it sounds. It helps to be a fan of producer Herman Cohen and director Herbert L. Strock's other teen monster classics I WAS A TEENAGE WEREWOLF and I WAS A TEENAGE FRANKENSTEIN. 

 

Except for the different-sounding title, this one fits right in with these and forms an ideal trilogy of teen variations on classic horror monsters. It also boasts a rock-and-roll song performance (Jerry Blaine's "Puppy Love") so awful that it rivals the ungodly "Eeny, Meeny, Miney, Mo" from TEENAGE WEREWOLF.

The isolated setting, with its shadowy surrounding forest and adjoining cemetery, adds considerably to the film's atmosphere, as do composer Paul Dunlap's characteristically downbeat, piano-heavy score and the moody black and white cinematography.

Performances are generally good, with Richard Devon, Malcolm Atterbury, and Paul Maxwell (HOW TO MAKE A MONSTER, ALIENS) as local detectives baffled by the brutal blood-draining murders that begin to occur whenever Miss Branding exercises her mental powers over the hapless Nancy. 

 

 

Louise Lewis gives a restrained performance as the psychotic Miss Branding, who, just like the great Whit Bissell's psychiatrist character in TEENAGE WEREWOLF, uses hypnosis to turn an unsuspecting teenager into a fearsome creature in the service of some mad perversion of science.

Sandra Harrison is quite good as Nancy, especially when overcome by the vampiric curse which, thanks to a cool transformation sequence that occurs three or four times throughout the film, turns her into a wonderfully weird-looking fanged vampiress who's way more bestial than her Hammer counterparts. 

 

 

In fact, I'm surprised that her monstrous visage isn't more well-known (I've only seen it a few times in monster magazines over the years) and that this film itself seems almost obscure compared to the others in the series.

While sparing in its scenes of horror and with a somewhat anti-climactic ending, the film as a whole should prove a satisfying view for fans of Herman Cohen and Herbert L. Strock's brand of low-budget chiller fare, especially those who appreciate a really cool monster makeup.  At any rate, BLOOD OF DRACULA was a treat for this old-school monster fan.

BLOOD OF DRACULA (1957) -- Movie Review by Porfle