Salutations, Students of the Macabre! Today is an eXXXtra special day for us Kinky Krees! We’re skull-ebrating the birthdays (and pure amazingness) of a peerless Triple Threat of Classic Ho-rror Greatness: the abominable Vincent Price, the vampiric Christopher Lee, and the madly scientific Peter Cushing! Yessiree, Blob! Vinnie P. and Chris Lee were born on this day and Peter C. was born yesterday! We’ve ho-nored the un-ho-ly heck out of these Princes of Darkness many times before, but they deserve it! These three gentle-monsters represent the very best that ho-rror cinema has to offer. Even in the goofiest, ho-kiest picture, these gentleman brought a supernatural grace and dignity. They made our collective nightmares pleasant ones and gave the Creatures of the Night a cool elegance. If there were a Mount Rushmore of Ho-rror (Mount Blood-Gushmore? Mount Rushgore?), you better believe these ghoulish gents would be on it! For their Birthdays, we’ve put together the very first Kinky Horror Virtual Drive-In! We’re giving you a spooky-cool drive-in eXXXperience from the (dis)comfort of your tomb! There’s just no better way to ho-nor our Birthday Boils than to show off the ghoulish performances that stole our hearts and turned our hairwhite!. First, a cartoon starring Mr. Price! After all, it is Saturday morning (somewhere ;)), so let us do it up right! The cartoon is an episode of 13 Ghosts of Scooby-Doo and it features Vincent Price as… well, Dr. Strange! A legally safe knock-off, that is. Since Vinnie P. inspired Dr. Strange, I suppose we can’t get TOO mad. 🙂 Besides, anything that features Vincent Price fighting ghosts and demons with black magic (and the Scooby Gang! :)) is spooky-cool by me!
Next, a friendly word from our sponsor and Mr. Cushing. (#GushingForCushing :)) You’ll have to pardon Peter… he’s having a guest DROP in! 🙂
Now, an important educational short from Mr. Lee. If you’re going to stay in this crazy game called Life, you’re gonna have to do The Time Warp! You may even need to The Time Warp… again! Mr. Lee is here to show you how it’s done! 🙂
Hammer Films gave history the (severed) finger with Rasputin – The Mad Monk! Christopher Lee gives one of his best performances as the maniacal mystic. If you ever wanted to see the story of Rasputin done as a Dracula film, this one’s for you!
The Doctor is In… Sane! Vincent Price slays again in this Art Deco nightmare! (Not to be confused with the Kinky Ho-rror writer of the same name…That’s totally a coincidence! ;)0
And for the last of the trailers, Peter Cushing is one of eight potential werewolves in The Beast Must Die, a ho-wlin’ whodunit from the folks at Amicus. The only film with the WEREWOLF BREAK, an inserted 30-second break that asks YOU to guess the werewolf’s identity! (So. Freaking. Rad!!! :))
And now it’s time for our…
Our first film is The Satanic Rites of Dracula, the last of the Hammer Dracula films. It’s nowhere near the quality of the earlier films, but it’s an interesting mix of spy thriller and Gothic ho-rror. Dracula really thinks big in this one. Instead of biting the necks a few buXXXom maidens, he plans on destroying the world! No, Drac! It’s best place to find awesome ho-rror films!
Horror of Dracula (1958)
While it’s not their best film, Satanic Rites of Dracula features Christopher Lee’s Dracula and Peter Cushing’s Van Helsing together again for the last time. Heck, Chris Lee’s Drac even gets some decent lines in this one! It ain’t perfect, but it does showcase two greats doing their freaky thing!
For a bit o’ Lee and Cushing, check out the film below:
We’re back! Our last attraction is The Last Man on Earth with, you guessed it, Vincent Price! The film is the first adaptation of Richard Matheson and the closest to the source material. Vinnie P. goes a full-blown stake-out here, eXXXisting as the only human in a world of vampires. What’s great about this film is that it’s one of the few times Vincent Price got to be the hero in a fright film. In this film, he’s not the monster… or is he!?!!? 😉
To see that the Price is Fright, check out the film below:
Here’s toyou, gents! Thanks for making the world a creepier place! 🙂
(aka the ‘C’ is for Cookie edition…#getit?? 😉 Big hugs to Smutmaster Eric for this pube-tastic post! 🙂 xoxo)
Featuring: Kristen Wiig, Kate Winslet, Tiffany Shepis & Monique Parent
Welcome to Me (2015)
When Alice Klieg wins the Mega-Millions lottery, she immediately quits her psychiatric meds and buys her own talk show.
A stonemason steadfastly pursues a cousin he loves. However their love is troubled as he is married to a woman who tricked him into marriage and she is married to a man she does not love.
Sarah is a young American from New York City who travels to Italy to join the New Order convent as a cloister nun and to prepare for an arduous spiritual journey.
Blonde Heaven (1995)
A coven of vampires operates out of a modeling/escort agency known as Blonde Heaven. A young woman named Angie (Raelyn Saalman) arrives from Oklahoma to find her way into the movie business, followed by her boyfriend Kyle. Head vamp Illyana (Julie Strain) takes a liking to Angie and convinces her to do escort work for the agency, but has other recruiting plans for her as well.
Bonus Frontal w/ Trivia:
Michelle Bauer (circa 1986)
Began her film career in X-rated hardcore movies as “Pia Snow,” including the classic Café Flesh (1982), before moving into mainstream movies.
Amber Lynn (circa 1985)
Became a hugely successful featured entertainer from her fame created through her work in adult films, earning up to $25,000 a week.
Ginger Lynn (1984)
Served a jail term related to tax-evasion, which was a case she insisted was politically motivated by anti-porn elements in the Ronald Reagan and George Bush “41” administrations.
Kaitlyn Ashley (the ’90s)
Author Jacob Held argued that Kaitlyn Ashley, along with Jill Kelly and Jenna Jameson is considered to be one of the most iconic adult stars of the 1990s.
Ho-stess’s PS– A #FullFrontalFlasback from lil’ ol’ me… 😉 Have a Happy Ho-rrorday weekend, Kinky Ho-mies!! 🙂 xoxoxo
A long time ago in theaters far, far away…. That’s right, pervy Padawans! Yesterday, Star Wars celebrated 40 years of lightsabers, space action, and gold bikinis! In a mere 40 years, this space epic FORCED its way into the hearts of countless of film-lovers everywhere and continues to to be cultural juggernaut. But, like all things, it had to start somewhere… In the Christmas season, of 1976, audiences were given their first delicious taste of Star Wars with a tempting teaser trailer. The film was nowhere near completion and 20th Century-Fox had seen very few results from the $10 million they invested. Heck, not even the movie’s own crew had seen much of it by then! Understandably, everyone was pretty concerned about this funky space movie from the kid who did American Graffiti. At a cost of $3,915, the trailer was created to eXXXcite and inspire Fox executives, audiences, and the crew. While it did properly motivate the crew, everyone else was left cold. Fox eXXXecutives were still nervous and audiences apparently laughed at the unfinished footage. When Gene Wilder saw the footage, he said to Fox exec Alan Ladd Jr., “Laddie, they’re laughing at your picture.” It’s eXXXtraordinary to think that this picture that nobody had any faith in would become the giant that it is today. The trailer that inspired dread in the studio and the ridicule of moviegoers actually does have hints of what would make the film a beloved classic today. Sure, it lacks the John Williams theme, features unfinished effects (white lightsabers), ends with a ridiculous(-ly awesome) explosion, is considerably more ominous in tone than the film itself, and has a logo that is foreign to modern eyes… but it sells what is truly important about Star Wars. It promises “aliens from a thousand worlds” and a “big, sprawling space epic.” In essence, that’s Star Wars: an eXXXciting space adventure with eXXXotic creatures, uneXXXplored worlds, and tons of sci-fi wonder. Sure, it’s not a perfect teaser, but it did introduce the world to one of its most beloved franchises. Feel the Force and check out the teaser below:
A fine Alien: Covenant Day to all you XXXeno-ho-mies out there! We’re celebrating this glorious day with a cold, refreshing can of vintage terror! It’s your friendly neighborhood XXXXenomorph in a gut-bursting commercial for Pepsi! To promote the release of 1992’s Alien 3, Pepsi unleashed the beast on the most radically ’90s teens imaginable. After being cornered by the eXXXtra-terror-estrial, the XXXtreme dudes resort to their most powerful weapon: the crisp flavor of Pepsi! How magical is that? Coke may cause “Mean” Joe Greene to give you his jersey, but Pepsi keeps movie monsters from eviscerating you! I’d say on usefulness, the point goes to Pepsi… with no offense to Mr. Greene. Can you imagine how many horrible deaths would have been prevented had Ripley just given the beast a Pepsi? It’s not like she wasn’t aware of the awesome power of Pepsi! Here she is having a Pepsi Day without a single care for the fate of humanity! YOU’VE DOOMED US ALL, RIPLEY!
Without any further ado, here’s the commercial. Just remember…
In Space, No One Can Hear You Say “Pepsi, Please.”
Can we all agree that rats have been treated more than unfairly in films? They are always portrayed as filthy, disease ridden, hell spawn with a lust for blood and devastation. They are looked at as these solitary creatures you just toss in a cage and only take out when you want to monologue to something. In actuality, they are social creatures that are incredibly smart and friendly and make amazing friends. I have two guinea pigs myself and I couldn’t have asked for better buddies. I realize it doesn’t help my point when I basically have no friends and talk to my piggies constantly, but I’m not spewing plans for revenge or training them to gnaw off people’s faces, like the tit-ular character from Willard!
At a glance, Willard is often viewed as a killer rat movie and while there are deaths caused by the rats, it’s hardly that. It’s focus is on the aforementioned tit-ular character, Willard, a socially awkward misfit who befriends a large group of rats, trains them and then when things don’t necessarily work out in his favor, he turns to his friends for help and that leads to darker things as Willard’s state of mind begins to slip. While watching the movie, I really wanted things to work out for the guy, but he makes some really dark choices and I became resentful of the guy. Bruce Davison (Senator Kelly from the X-Men films) plays two sides to Willard; his playful and charming side, which we rarely get to see, and his broken, beaten down side. That’s the side you see more often in the film, because you are with him on his journey of unintentional self destruction and it gives him reasons to do the precarious things he does. We are left wanting more of the well intentioned side of Willard, but it’s used sparingly to show you how damaged he’s become. How he got to become so sympathetic may be pretty standard on paper, but you still feel for the guy.
Martin works at a company for the nefarious Al Martin played by Ernest Borgnine (Escape From New York, BASEketball) who had stolen the company from Martin after his father’s passing. Now the young lad spends his days essentially being the office punching bag by having worked dumped in his lap, forcing him to work nights and weekends while Al mocks him and plays grab ass with some of the office gals. Willard’s home life doesn’t seem to fare much better. He lives with his mother and cares for her in a dilapidated house surrounded by her elderly friends that are constantly berate the boy about how he should be living his life. Between work and tending to all his mother’s needs and wants, the poor kid can’t catch a break and has no friends. He’s basically what every emo kid wishes their life was really like. This all changes when Willard’s mother commands him to take care of the rats that are hanging around the house which he then attempts to drown, but he can’t bring himself to do. Instead, he realizes how intelligent the creatures are and quickly admires them, especially a little white rat he names Socrates.
Willard soon begins teaching the rats commands, like “food” and “empty” and the rats are proving themselves to be smart. Things change with the arrival of a bigger rat that he names Ben, seemingly harmless at first. With the help of his rats, Willard crashes one of his boss’s party and has a laugh from the bushes while his rodent friends send the party goers running and screaming. While Willard seemingly loves all of the rats, that affection isn’t nearly as strong for the affection he has for Socrates, who becomes somewhat of his sidekick. Willard brings him to work in his satchel and even cuddles up with him at night and has conversations with him. Ben takes notice of this love and, as any creature does, wants some of that shared love. You get the feeling as if Ben wants them all to be a happy family, but Willard only cares for Socrates and this is what I believe is his biggest flaw.
You see, I’ve always viewed Willard as the, well not villain, but antagonist of the film. He’s not intentionally a bad person, but he’s been molded in such a deformed way that he focuses all his love onto Socrates. Not to the fault of Socrates and I think Ben realizes this, but Ben wants the same affection Willard gives to Socrates and works hard for it, even finding ways to sneak into the bedroom to bunk with them even if Willard ends up throwing him outside the door multiple times. Ben doesn’t want to give up on Willard and believes that he could one day earn that same love. Unfortunately Willard, possibly having been damaged by his relationship with his own mother, seemingly can only give his attention to one being and that’s Socrates. It’s really tragic in my eyes, because this is the beginning of the preventable downfall.
We come to the inevitable point in the movie when Willard’s mother dies and leaves him the house. Unable to afford the home, Willard’s boss is pushing him to sell the place so that he can buy it at a low cost and demolish it to build an apartment building. In desperate need of money, Willard learns of a secret stash of cashHo-ste and sends in his army of trained rats to steal it, but this isn’t the end of the escalation. While hiding Socrates and Ben in the closet after bringing them to work, another employee spots them and the unthinkable happens to poor Socrates and I actually had to stop the movie here to take a breather. As I said, I have a strong affection for rodents that even simulated abuse or death is hard for me to watch, especially for an endearing, sweet creature like Socrates. I know what it’s liked to be attached to an animal and to have that animal show you that it cares back and to have it stripped away horribly is heartbreaking. Unfortunately for Willard, he cannot show his pain, because then his boss will find out all about his misdoings. Alone with Ben, there’s a gaze in the rat’s eyes that says he knew this would happen if the love wasn’t shared and that he’s ready to Socrates place at Willard’s side (or maybe I’m reading too much into this). Realizing what Ben is trying to tell him, Willard readies his friends for some well deserved revenge, but even Willard may not be ready for what follows.
Ernest Borgnine is usually known for playing lovable characters, be it good or bad and here you really get to see him be a bad guy. He’s disgusting and even though you hate the bastard’s guts, you still enjoy seeing him on screen. The performances of rivalry between Bruce Davison and Ernest Borgnine really give you an underdog to root for and a scoundrel to despise. Their performance styles, however, are much different. Ernest Borgnine, along with a majority of the cast, play up the fact that they are in a horror movie about rats and overperform, like they are trying to chew more scenery than their rodentia co-stars. Bruce Davison, on the other hand, gives a much more grounded performance that I’m sure all geeks can relate to, because at one point in our lives we all have been outcasts. We’ve all been shunned by society and you feel alone until that moment where you find a friend in place you least expected. It really adds three dimensions to the character of Willard and it’s that much more heartbreaking when the character finally snaps and turns on his friends. It makes you feel frustrated and angry at how he could do such a thing, but that’s what makes him flawed and relatable.
Willard is a film that wasn’t very well received by critics upon its initial 1971 release and to my surprise has a seemingly small fan base, but that was enough for Scream Factory to release the film in a brand new transfer. The 4K scan of the original camera negative looks phenomenal. There’s some noise and grain, but that’s comes with the territory and is welcomed. It’s just astonishing that for a film of Willard’s caliber with a seemingly absurd plot that it would get a restoration that makes it look brand new makes me smile. However, there isn’t much in the way of special features. Aside from the conventional trailer, TV spots, radio spots and still gallery, there is only a new interview with Bruce Davison (who also recorded a new commentary for the film) who briefly talks about his experience with the film. He’s actually very funny and entertaining in the short time the feature runs and I say “thank you” to him for coming back and talking with the fans about Willard after all these years.
But it really doesn’t matter that Willard isn’t packed to the gills with special features. That’s not what it’s about. It’s about finally having this heartwarming/heartbreaking mildly horror film available on DVD and Blu-ray and looking sharp. I don’t think every horror fan is going to like the movie, in fact even those who love the “when animals attack” movies may not like it. Maybe because it’s more about a mistreated, socially awkward young man’s descent. Willard is so much more than just a killer rat movie.
I have to say I really love Ben and I wish we could see more of him. Of course, I will be eating those words after seeing the sequel, 1972’s Ben.
Ho-stess’s Note: I thought it was worth pointing out that Willard’s mother was played by Ms. Elsa Lanchester, the Bride of Frankenstein herself! Ho-stess’s Other Note: I also thought it was worth pointing out that Crispin Glover is ridiculously hot. 😉 #MCM
Ho-stess’s Final Note: Here’s my own little Socrates. (Real Name: Rat Murdock ” #proudratmama:))
Before Richard Matheson brought a robot into the ring and Toho had one rough up an ape, Disney gave us both of those wonderful things in 1933’s Mickey’s Mechanical Man, a knockabout cartoon caper that pits machine against beast. The short is about Mickey Mouse training a robot to fight an ape in a boxing match and… do I need to say anything else!? I mean, that’s pure monster movie magic as it is! Disney has produced more sophisticated shorts, but who needs sophistication when you have beastly brutes monster-mashing each other in glorious black-and-white?! Mickey’s Mechanical Man is a fairly one-note short, but it plays that note so magnificently! There are gags aplenty and enough machine-on-monster action to satisfy all you creature-craving crazies out there. Mickey and Minnie are always welcome, and the ape is as perfectly monstrous as one could hope for. As for the animation, it’s fluid, lively, and… well, Disney! While there’s much to love about this ‘toon, the highlight is the tit-ular Mechanical Man. I’m a sucker for vintage/retro robots, and this affable automaton certainly fits the bill. Every bit of animation for the ro-boxer is brilliantly herky-jerky. The spasmodic, robotic pugilist moves like a wind-up toy with very little use for physics. It’s this kind of character and animation that make these cartoons such a blast to watch! Domo arigato, Mr. Roboto!
(Submitted by his Goon-y Greatness, Mr. Andrew Peters…Thanks, Ho-rror Ho-mie! 🙂 xoxo)
When Benjamin Franklin discovered electricity, I don’t think he would have imagined that it would give people superpowers or even become sentient and go on a killing spree. As we all know, electricity is basically like radioactivity in comic books; you’re pretty much guaranteed super powers. Electricity grants Horace Pinker god like powers in Shocker and can even transform a serial killer into living electricity that can travel through any current in your home, like in Ghost in the Machine. Hell, it even turned regular earthworms into carnivorous killer creatures in Squirm, but what if electricity itself was the killer? No reason, no logic, no remorse, nothing. There would be no way to stop it! Goddamn you, Ben Franklin!
And that’s the idea behind 1988’s Pulse starring Joey Lawrence, the teenage heartthrob from Blossom who would later make “woah!” a catchphrase. Of course, this is a few years before that and he’s almost unrecognizable, but once you see it, there’s no unseeing it. Although to be fair, he actually gives a good performance as a kid visiting his dad in LA when the evil electricity decides to cause mayhem. That’s basically the premise of this PG-13 horror film and I know from what I just said I am making it seem like it may be bad just because it’s PG-13, but it really isn’t all that bad even if there isn’t much going on beyond the one sentence description I gave it. The film nearly relies solely on Joey Lawrence’s performance as he spends a good majority of the film alone in the house leisurely investigating noises and so on, but you never feel like he’s in any real danger.
Joey plays young David, the child of divorced parents, so you know he already has some turmoil. Rather than bog itself down in it, the film omits any of the messy divorce baggage, but you get the idea David and his father Bill’s (Cliff De Young) relationship has weakened a bit, like friends that are growing apart. David doesn’t act out against his dad or his stepmother, Ellen (Roxanne Hart), like you see in most films about a child of divorce. David is actually calm and understanding, making him much more relatable and you kinda root for the kid. Being in LA away from his home, he has no friends or anyone besides his dad and Ellen to talk to and with his dad being too busy with work for the few scenes they attempt to have them interact. It’s a staple of the divorced-kid-visiting-one-of-his-parents kind of movie. Everyone is adjusting to the best of their abilities and it certainly doesn’t help that the neighbor is mysteriously murdered the night before David’s arrival. At least they’ll all have something to talk about right away. No awkward dinner silence.
Who or what could have done it? Nobody seems to have a clue except the good ol’, typical prophet of doom character who, by the way, is only referred to as “Old Man.” He begins spitting off stories about how the electricity is responsible for the murder, as it once tried to kill him. Understandably, everyone thinks he’s crazy. His character adds no weight to anything, not even as a motivation for David. David’s motivation comes from a neighborhood kid named Steve, played by Joey Lawrence’s real life brother, Matthew and this kid… hoo boy, lemme tell ya, this kid here. With his high pitched, scratchy cartoon voice and over the top enthusiasm, he brings a big eyed, charmingly whimsical cartoon like performance to the role, but like with most of the other characters, he has a very minimal screen time. He’s essentially there to try and give David someone about his own age to connect to and to drop some exposition on what happened in his neighbor’s house. Curious, David decides he should explore the house, but it doesn’t amount to anything.
Apparently already having selected its next victim, the electricity begins to torment David by screwing with all the electronics when he’s alone in the house. Lights flicker, the thermostat goes up and there’s an eerie blue light that darts around on the TV like an ECG and, yeah, that’s about it. There’s not much else it can do, so it screws with David’s comfort. Apparently, this is enough for him to call his mother and cry that he wants to go home, because he doesn’t feel safe. This is solidified once Ellen is nearly burned alive by hot water in the shower, leaving David and his father, who is still skeptical at this point, alone in the house. This is when the movie gets really intense and interesting. The electricity has decided it’s had enough fun and it’s time to kill them. David’s father becomes stuck in the house after nearly everything has tried to kill him. It’s up to David to rescue him, and there were moments where I wasn’t sure whether something bad was going to happen to them.
Pulse is a really simple movie with not much going on and at times it can feel like it’s dragging or perhaps a bit underwhelming, but there are other times when that works to the film’s advantage and creates tension, mostly in the final act… if you’ve managed to make it that far in the movie. It’s really not a bad movie, but I think most horror fans will find it boring and probably will have shut it off before the film’s climax. Giving the idea behind the film is somewhat absurd, I hate saying this, but I feel like this is a film that could have benefited from accidentally being unintentionally cheesy. However, some may find Joey Lawrence’s surprisingly great performance worthy of sticking around.
I think where the film suffers the most from is not having more of a relationship between David and his father, since obviously these two are going to be fighting to survive in the climax, depending on each other to make it through it. They only share a few scenes together, and you do get the idea that they are drifting apart. David is desperately trying to connect with his father who is too busy with work. Surprisingly, David builds a stronger relationship with his stepmother that the film touches on more, but again, it could have used a little more work. Roxanne Hart was fantastic as the compassionate stepmother. It seems like she’s never had to deal with kids, but manages to connect with David and is really sweet to him. Plus, she’s really easy on the eyes which isn’t a bad thing. If I were in David’s shoes, all I would be able to think about is all the pornos about your stepmother coming on to and since dad’s not home… well, maybe not at that age, but you get what I mean, right? Moving on.
There isn’t much else to say about Pulse. It’s not terrible by any stretch of the imagination, there just isn’t all that much going on, like I said earlier. Obviously, the gorehounds won’t be interested in a film that has but a mere few drops of blood and if you’re looking for a body count movie, you should look elsewhere. The single death scene that claims one victim takes place at the beginning and that’s off screen. The most visceral attack to be shown on screen – or should I say at all – is when Ellen is taking a shower and the electricity somehow manages to lock the shower door (which is not electrically locked, so… how?) and turns the heat up, causing some nasty looking blisters and nearly killing her. Cool plan and all, the effects looked great, but if the electricity really wanted to kill her, why wouldn’t it just send a current through the water? As you may be gathering from my nitpicking, the premise is extremely silly and could easily be defeated by simply unplugging stuff, grounding wires or just using common sense. It’s much like having your character do the stupidest thing imaginable in order to move the plot along, only here it’s with electricity. I found my copy of Pulse for only $6 on Blu-ray from Mill Creek. Yes, the same Mill Creek that puts out all those 50 films on a handful of DVDs released a fairly decent looking copy of this movie and at that price, it’s worth watching. Just don’t expect anything extravagant.
It’s often said that two heads are better than one (hehe ;)), but I’d wager that the unfortunate victim in The Manster would strongly disagree.
Also known as The Split, The Manster is a peculiar tale of DEAD & shoulders. It concerns an American foreign news correspondent who has been working out of Japan for the last few years. His final ass-ignment in Japan is to interview a reclusive scientist who, like all great scientists, lives atop a volcanic mountain. Needing a guinea pig for his unholy experiments, the bad doctor drugs the hapless reporter and injects him with a serum that causes a second head to sprout from his shoulder. I suppose that’s one way to grow on someone. 😉
What’s truly impressive about The Manster is that it’s one of those rare films that manages to be both unintentionally goofy and genuinely creepy at the same time. The film was shot in Black-and-White and makes excellent use of shadows to heighten the lurid atmosphere. While The Manster himself is a wonderfully silly thing, the sequence in which the reporter rips off his shirt to reveal an eye growing out of his shoulder is honestly nightmarish. It’s a gloriously gut-wrenching effect, especially for a low-budget fright fest from the late ’50s. The Manster was the first film to play around with the theme of the two-headed man-made monster. Other examples of this heady trope include The Incredible 2-Headed Transplant (1971) and The Thing with Two Heads (1972). The Simpsons parodied this idea in their second Treehouse of Horror special and again in the 2013 edition, making two segments for two heads. Sam Raimi directly referenced The Manster in an infamous scene in Army of Darkness, even going as far as to include the “shoulder eye” gag. I guess you could say that The Manster was a-HEAD of its time. (*insert Cryptkeeper cackle here* :)) For two heads of terror, check out The Manster below:
Happy Cinco de Mayo to all you Cool Ghouls and Groovie Ghoulies out there! The date is observed to commemorate the Mexican victory in the Battle of Puebla, but it has also become day to celebrate MeXXXican culture. In that spirit, I would like to take a moment to ho-nor El Santo, one of history’s greatest masked men.
Santo was born Rodolfo Guzman Huerta in 1917 and went on to become a real-life superhero. Santo’s wrestling career spanned nearly five decades, and he appeared in dozens of movies and comic books. Through his many appearances, he became a modern folk hero and, as Google put it, “a cultural icon, representing justice and the fight against evil.” The veiled victor went to great lengths to keep his face hidden away, even going as far as to have a special “mealtime” mask made for eating. The only time he removed his mask was in 1984 as a final goodbye to his fans. He died just a week later and was buried in his legendary mask.
To ho-rror fans, El Santo will always be known for his numerous monster films. The wrestling wonder went hand-to-claw with vampires, aliens, wolfmen, The Phantom of the Opera (El Estrangulador), zombies, cyclopes, and just about every fiend imaginable. Best of all, he bested every one of them with his fantastic wrestling skills! El Santo is Batman and Van Helsing rolled into one unstoppable monster-punching machine. No creature of the night stands a chance against the camel clutch of Santo!
In ho-nor of Cinco de Mayo and The Silver Maskman, we have Santo vs. las Mujeres Vampiro for your viewing pleasure! This is the definitive El Santo adventure, with its blend of whacked-out wrestling weirdness and deliciously Gothic atmosphere. While this version refers to El Santo as “Samson,” there’s no doubt this is the same butt-kicking luchador we all know and love. El Santo, by any other name, is still hard to beat.