We talk a bit about the actors with some time spent on the familiar faces from Universal’s roster of supporting thespians. The film’s attempt to craft a story to use the existing footage is pulled apart and examined for its various flaws including the evolution of the main character from dopey patsy to murderer and rapist. We stare longingly into the sightless eyes of the lovely Gloria Jean and wonder how such a perceptive young woman could miss noticing the obvious louse that blunders into her home. And while both of us wish the story had remained in FLESH & FANTASY (1943) where it belongs, we would still pay good money to see a crisp Blu-Ray of this strange effort to salvage money the studio had already spent.

What do you think of DESTINY (1944)? Drop us a note at thebloodypit@gmail.com with any comments or suggestions. Thanks for listening!

BLACK DRAGONS is probably the oddest of the nine films Lugosi made for Poverty Row film producers and certainly the one with the most unintentionally funny dialog. Just as it was about to go into production the decision was made to shoehorn in topical plot elements ripped from the headlines. This means that the original reason behind events in the script has been lost leaving bits of their probable supernatural nature flapping around in the film. This is the only explanation I can imagine for the never addressed ability of Lugosi’s Monsieur Colomb to seemingly teleport in and out of moving taxicabs! But David has an interesting take on the film as a bizarre treatise on the subject of ‘acting’ both onscreen and within the structure of the story. His idea is a bold way to look at the picture as a whole and certainly makes it more entertaining as you try to figure out what the hell is happening at any point in the film’s hourlong running time. Rarely has such a barely planned collection of quirks and gaffs been so mesmerizing!

If you have any comments about this movie or any other film we’ve covered on the show thebloodypit@gmail.com is the place to send them. Thank you for listening and we’ll be back soon.

I hope you enjoy these bits from my Patreon and if you want access to more than a hundred more such babble fests you can hand over $3 and check it out HERE. Thank you for listening and we’ll be back with fresh movie talk in March.

We discuss the film is painful detail and spoil it from head to toenail. We both suspect that one of the many reasons the movie wasn’t distributed outside its home country is that, unlike YONGARY, it was shot in black & white. Of course, the fact that the film looks like it had a $50 budget would have also mitigated against anyone wanting to give it a chance. Or spend the money for an English dub! The tone of the film is a strange combination of pre-marital anxiety and childish comedy sequences that play like poor improv bits. I argue that one of the few positive elements is the usually irritating punk kid character simply because he actually factors into the fight against the mildly destructive giant monster. His climb inside the ear canal of the creature is a unique sequence in these kinds of movies and is the best reason to see this below average example of the genre. Our advice is to not expect a forgotten classic and go with the flow. Luckily (?) it is available on YouTube so you can witness the madness. 

If you have any comments about this movie or any other film we have covered on the show thebloodypit@gmail.com is the place to send them. Thank you for listening. 

  For the most part Troy and John stuck to the assignment as stated with only a couple of honorable mentions added to their list of five. But I came with a list that stretched toward twenty and I feel no shame! I saw a lot of movies last year and, although there were a number of clunkers, I was pretty pleased with 2025. Let the debating begin!

  If you want to add your two cents or top five thebloodypit@gmail.com is the place to send them. We have a number of interesting movies up for episodes this year and we hope you enjoy the cinema paths we plan to tread. Thanks for listening! 

A major part of our discussion revolves around director Curtis Harrington’s memories of the movie and its cast. After years of holding my tongue, I finally air my complaints about his rather plodding directorial style and point to a scene that I feel needed a different sensibility behind the camera. Actors Micheal Gothard, Lionel Jefferies, Hugh Griffith and Ralph Richardson are dutifully admired with each adding unique flavors to this very odd holiday dinner. The stand out child actors are given their due with a prominent face from the 1970 version of SCROOGE making all of us fantasize about ending Tiny Tim’s life. We also marvel that unlike what is usually expected from the ‘hag horror’ genre Winters’ character isn’t a mean-spirited villain but instead a grief crippled mother too susceptible to conmen in her life. And then we debate the relative evil of the two main child characters with me leaning toward innocence more than malice. This is something best left to each viewer to decide on their own, methinks! 

If you have any comments about this year’s Holiday Horror or possible choices for the next thebloodypit@gmail.com is the place to send them. We hope everyone has a great end of year celebration and we will be back soon with a short episode about our favorite films of 2025. 

  We examine the genesis of the project and relate numerous behind the scenes tales from the director and the scriptwriter Ed Naha. John tells us of his longtime appreciation of Naha with a story from his childhood. We talk about the various fairy tale stereotypes that the film’s characters fall into and are amused by all the anti-ques. We discuss the excellent stop-motion special effects and the skill on display technically throughout the movie. I gush about the cinematography and point out some lovely visual moments. And we are all thrilled to have Mr. Sardonicus show up as a (relatively) good guy and use that film’s Punishment Poll as a guide for judging this movie. We have no shame.

  If you have any comments about Stuart Gordon movies or our plans to talk about which ones to cover thebloodypit@gmail.com is the address to send them. Thanks for listening! 

  Seen as part of the ongoing 1970’s journey of the science fiction story from the four sequel films, the POTA TV series is clearly a Cul-de-sac branching away from the established road. The first episode both negates a connection to the previous stories and tries to link it to the original film with an earlier astronaut landing spoken of by the leaders of Ape society. Mark makes a strong argument for how the show could take place in one of the two timelines set up in the films already but I am skeptical. We go through each episode pointing out the usually hackneyed plots and overused clichés that litter the stories being told. Often the scripts could easily have been written as installments of a 1960’s western show and simply repurposed for the world of the apes. But the few times the show leans on its science fiction premise are more interesting even if it inevitably leads to very little.  If you’ve never watched this series, I hope our spoiler filled podcast won’t put you off at least a partial exploration of our favorite episodes. We can’t claim it’s our most loved part of the franchise but it has its points of interest and entertainment.

  If you have any comments about the Planet of the Apes TV series or our plans to talk about the sequel films thebloodypit@gmail.com is the address to send them. And if you are interested in the projects Mark speaks about near the end of the show there are links below. Thanks for listening! 

SCREEM Magazine

Jack Hill book

Of course, this movie marks Boris Karloff’s return to the Frankenstein series but in a new role as a mad scientist. He is fantastic here with his short-sighted goals always overruling wiser choices. Stepping into the oversized boots of the Frankenstein Monster for the first time is Glenn Strange, causing us to look at the common use of his version of the character in products aimed at fans. John Carradine becomes Universal’s new Dracula in the episodic film’s first segment but I make the argument that he might be playing an imposter. “Is you is, or is you ain’t my Dracula?”

  J. Carrol Naish appears as the hunchbacked assistant to Karloff and the actor does his usual excellent job playing a character that swings wildly from brutal murderer to pitiable, lovelorn soul. We also discuss several of the returning bit players that always show up in these movies and lament that Goerge Zucco doesn’t get more screentime. At a certain point we realize that we have gotten lost on the brain swapping carousel trying to figure out which noggin should get which lump of gray matter. Luckily the film has a proper torches and pitchforks villager attack to bring things to a destructive end. Plus – quicksand!

  If you have any comments about this film or any of the Universal horror movies thebloodypit@gmail.com is the place to send them. Thank you for listening and Happy Halloween!

We ramble a bit but were trying to keep this show as brief as Adrian prefers the Wild, Wild Podcast episodes to be. We fail in the attempt, but there was a solid effort made, I promise! The history of cinematic Zorro adventures is touched on with favorite versions of the character listed. As I state in the show, most Zorro films seem to tell the same tale with a few variations so the joys here are noticing the choices made in casting and emphasis. American actor Frank Latimore plays our hero and the legendary Howard Vernon is the villainous Colonel Clarence. The cast of female actors includes Maria Silva years before she was a victim of the Blind Dead or clashed with a certain Spanish werewolf. We don’t spoil the film as it is easy to catch online but we do make a plea for a better-looking version to be made available. 

If you have any comments about Zorro or anything else we covered in this episode (we really did ramble) thebloodypit@gmail.com is the place to send them. Thank you for listening and we’ll be back soon!

We discuss the origin of the project and the various creators who brought this movie to the world. Sidney Pink and Ib Melchior get the biggest share of our attention as they were the writers and director of the project. We quote American International Pictures’ Sam Arkoff about his discovery of the major mistake in the English dialog that had to be corrected by looping the entire film. The monster special effects go under the microscope with both of us relating the style and form to the Gerry Anderson TV shows that were gaining popularity in the early 1960’s. The differences between the AIP English version and the version made for Danish consumption are touched on with special mention of the added musical number that drives Mark nearly insane. (Yes, I included it in the show.) Topping things off is my co-host’s reoccurring Swedish Chef impression which is either cultural appropriation, an insulting caricature or a confused cry for help. Or all three. And this entire affair goes on for two hours! That is clearly too long, but take heart in the knowledge that this is the edited version of our conversation.

  If you have any comments about REPTILICUS or any of the other things we’ve covered on the show thebloodypit@gmail.com is the place to send them. Thank you for listening and we’ll be back soon.  

We discuss the cast in some detail and relate a few behind the scenes anecdotes. Since this is one of only eight serials lead by a female character, we spend some time on how Nyoka both conforms to and breaks from the usual conventions of the format. It’s nice to have an action hero woman mixing it up in the fights and killing bad guys rather than finding new ways to be knocked unconscious! The lead villain is a woman as well giving us a driven Queen Vultura bent on destroying all who stand in her way. Dangerous females indeed! We also get the future Lone Ranger as one of the good guys ably assisted by the excellent stunt team that Republic always used. They will make you believe in leaping over tables and from great heights. And I can’t stop myself from pointing out how many members of the cast show up in various Poverty Row horror films with Bela Lugosi. Sorry about my fixations but you really should see the trainwreck that is BLACK DRAGONS (1942). And did we mention the gorilla named Satan? 

If you have any comments or suggestions about the show thebloodypit@gmail.com is the place to send them. We love hearing from you and hope you enjoy the podcast. 

Troy Guinn and I take a run through this humorous creeper and find ourselves having more fun than expected. The credit for that goes to the talented cast so we spend a lot of time talking about the stars and a few of the amazing bit players as well. Where else other than in this movie are you going to hear actor Ian Wolfe say the word ‘Zut’? The film has several great songs and I include Troy’s favorite tune in the show because it is far too catchy to ignore. We discuss the plot shenanigans and the script’s careful skipping past a subject usually forbidden by the Hays Code. Mention is made of the award-winning career of one of the screenwriters and we point to areas in the dialog where his efforts might be heard. Also, we point the curious to the first English language version of this tale, THE SECRET OF THE BLUE ROOM (1933), as a better source of horror thrills if not toe-tapping fun. This 1944 version might serve as a good pairing with that minor classic but only if we can ever get a better-looking print. Come on, Universal.

If you have any song recommendations from a scary film thebloodypit@gmail.com is where to send them. And let us know what you think of this film and the podcast in general too. Thank you for listening! 

  Troy Guinn, Bob Sargent and I (Rod Barnett) are the three intrepid film nuts that stutter-step their way through this Euro-madness. We wrestle this monster to the ground, fight off seagull attacks, ponder the eternal battle between good and evil and marvel at the cast of Hollywood stars the producer conned into being in this thing. What other movie of this type can boast John Huston, Franco Nero (playing a blonde, blue-eyed Jesus), Glenn Ford, Mel Ferrer, Shelly Winters (playing Mary Poppins’ cousin Mary Slappington), Lance Henricksen and an out-of-his-depth Sam Peckinpah? Is this the most bizarre film ever shot in Atlanta? Was the city’s mayor bribed to indulge the film’s production? How many times will we reference A Flock of Seagulls? Is the amazing prop that Troy dubs ‘Switch-Beak’ silly or brilliant? I cannot promise answers but we will at least pose the questions. Lots and lots of questions.

  If you have anything to say about THE VISITOR or any other film that we’ve covered thebloodypit@gmail.com is the place to send them. We thank you for listening and we’ll be back soon. 

For a film produced by a couple of special effects artists UNKNOWN WORLD certainly has a lot on its mind. It is one of the earliest examples of apocalyptic nuclear ‘doom warning’ movies and we wonder if that fact is why it is less well known than later movies of this type. We discuss the cast and crew of this nine-day wonder including the oddity of the primary actor not getting screen credit. We lament the very few acting roles of the female lead and ramble through the credits of several other actors as well. We point out the solid effects work and marvel over the fantastic matte shots. Of course, we do acknowledge the weaknesses of the film and how its (intentionally?) dull middle segment can make the running time seem longer than it actually is. So, strap yourself in the Cyclotram and lets go caving!

If you have anything to say about this film or any others that we have covered thebloodypit@gmail.com is the place to send them. We thank you for listening and we’ll be back soon. 

  Anyway. We dig into the production of the film and go back to the source story from Roger Zelazny to compare page to screen. Spoiler alert – page wins. But we take note of the various films that seem directly inspired by Zelazny’s tale and relate ways that this movie could have benefited from sticking closer to the story as written. We discuss the slashing of the budget and the commensurate drop in special effects quality. Neither Randy or I like one of the lead actors which is always a problem for entertainment value. Couple this with excellent character actors dying far too soon, as well as the female lead being given nothing to do and the printed version of this tale looks better all the time. No matter that the producers thought, a futuristic Convoy was not what the public wanted.

  If you like DAMNATION ALLEY, by all means, let us know why at thebloodypit@gmail.com – we are curious. Thank you for listening and we’ll be back soon. 

We dig into the cast and praise their work – for the most part. Troy puts forth an excellent alternate scenario that might have made the film more interesting while I complain that the first thirty minutes of the film plays like a tragic romance drama. Of course, once the corpse hits the floor things perk up with Thomas Gomez sliding into place as the police detective trying to find the killer. We wonder what director Reginald Le Borg thought of having to once again put Acquanetta through her stiff paces. And we debate the mystery the film is built around, arguing its merits and imagining different options.

If you have any comments about the Inner Sanctum films or anything else we might have touched on, thebloodypit@gmail.com is the place to send them. Thanks for listening!

The film sports a fantastic cast with Barbara Crampton and Jeffery Combs returning from REANIMATOR with the addition of Ken Foree they form a crime investigation team that gets far more than sane people are ready to accept. We examine the film’s story structure and the clever scripting that allows for escalating weirdness without compromising the characters. The wild cinematography is discussed as is the use of colored lighting to represent the shift into visions of the hidden monsters all around us. We talk a little about the film’s production as well as our reactions to the movie across the years. Hold onto your pineal glands and step into the attic with us, won’t you!

If you have anything to say about this film or any others that we have covered thebloodypit@gmail.com is the place to send them. We thank you for listening and we’ll be back soon.

I am joined by a pair of Marks – Mark Maddox and Mark Clark – to discuss STAR TREK: THE ANIMATED SERIES. Since episodes with either of them alone can stretch to more than two hours, putting them together with a subject this big was clearly tempting fate. We survive the show but this is easily the longest episode of The Bloody Pit ever! It might be best to listen to it in chunks.

We dig into the Star Trek Animated Series and talk a bit about all twenty-two episodes. After some confusion we use the original broadcast order and give our thoughts on each one. This takes time and I complicated things by rereading the Alan Dean Foster Log Books for several of the stories. This means I can’t stop myself from dropping in details that were used to flesh out the 22-minute shows until both Marks request that I stop. Rude! But then I bring up Spock Must Die by James Blish and Maddox gets reeled into the book-talk like the sucker he is! Before things are over we have chosen our favorite and least favorites from the series and pulled a couple of episodes apart looking for the tasty bits. If you listen carefully you will hear the moment we realize that this show will be far too long. You can also hear the individual moments when each of us gets our second wind and press on through the second season. You might also hear weeping. You have been warned.

If you have any comments or sympathy for me thebloodypit@gmail.com is the place to send them. The plan is to get another episode out in a few weeks so keep your fingers crossed. And thank you for listening!

Troy and I discuss THE CLIMAX (1944), Universal’s attempt to craft a follow-up to their 1943 hit remake of THE PHANTOM OF THE OPERA. They took a 1909 stage play, grafted on some Phantom elements and used the same sets from the previous year’s film to create a beautiful looking final product. They even carried over some of the cast in similar roles. But did they make a good movie?

We dig into the things we like and dislike about this often overlooked entry in the horror films of the 1940’s. Both of us marvel at the opulent sets while being impressed by Susanna Foster’s singing talents while wondering about the movie’s running time. We examine some of our favorite cast members including Gale Sondergaard and Thomas Gomez. The multiple audiences that the film was trying to appeal to comes under scrutiny as we lament the fact that the horror portion of the mix seems to get little attention. Sometimes striving for broad appeal results in a work that pleases no one. As the episode goes on we give voice to our many questions about the story’s details that require an almost supernatural suspension of disbelief.

If you have any comments about THE CLIMAX thebloodypit@gmail.com is the address. If you want to hear me ramble on about movies and media even more my Patreon page is active. Thank you for listening!

We discuss the production push to get this into theaters to coincide with the 25th anniversary of the premiere of the TV show. We praise the return of Nicholas Meyer to the director’s chair and point out the many touches that seem to stem from his involvement. This includes the joy of having the Wold Newton family tree brought into onscreen Star Trek, which is probably peak geekiness. The intricate nature of the film’s plot comes under scrutiny with us listing the various elements that are woven together perfectly to move the story forward. We discuss the dialog with a few clips to give a taste of the intelligence of the script. Our admiration for the performances gets plenty of time and we single out Christopher Plummer’s fantastic turn as Klingon General Chang. Just how much Shakespeare can be wedged into a Trek film, anyway? And is Chang the series’ best villain? Others may disagree with us but we make our case.

  If you have anything to add to the show thebloodypit@gmail.com is the place to write. We love hearing from you and if you want to work ahead it looks like we will be talking about the Star Trek animated series in the future. Thank you for listening and we’ll be back soon. 

The cast of FRANKENSTEIN’S DAUGHTER (1958) is examined with lots of love directed at the amazingly villainous Donald Murphy as a descendant of grandaddy Frankenstein. One could only imagine what his character might have accomplished if he could gain some control over his libido. We look at the various funding methods used by mad scientists and the ways that suburban homeowners can somehow forget entire areas of their house exist! We also lament the lack of Jack Pierce’s contributions to the monster makeup and wish he could have returned after his work on GIANT FROM THE UNKNOWN as the film’s monster look is oddly non-gender specific. As a science fiction/horror tale, the movie actually has a very rare pair of competent police officers, although their detective skills don’t mean they will live through the investigation.

  When our conversation turns to MISSILE TO THE MOON (1958) we praise the excellent rock monsters and a few of the performances but struggle to find more to love. Perhaps shifting from original screenplays to remaking a not very good film wasn’t the best idea for Cunha and his collaborators. Still, there are things to enjoy in the movie, especially if you have a soft-spot for 50’s science fiction tales told with more enthusiasm than fidelity to reality.

  If you have any thoughts about the four genre films directed by Richard Cunha thebloodypit@gmail.com is where to send them. We both love these movies and return to them regularly. With some luck the missing two can be rescued from YouTube by an enterprising Blu-Ray company soon. 

We both love these movies and have a good time digging into them. We end up discussing some production background and the casts as well as the reasons we think they are so charming. Each of them is a typical black & white 50’s monster movie but with some peculiar choices made in presentation. As independent productions these films show a quality we refer to as feeling ‘handmade’ that gives them a different vibe from other movies of the times. The stories are similar to the b-movie hits of their decade but a number of the creative choices made are what makes them unique. If you’ve never seen the Cunha films, two of them have been released on Blu-Ray recently and they are available on YouTube as well. Our next episode will focus on the final two films.

If you have any comments on the four Richard Cunha directed monster movies thebloodypit@gmail.com is the place to send them. Thank you for listening!

We dive right in and forego the usual plot synopsis in hopes that listeners will have seen the movie. We lament that we have never been able to read the 1976 novelization and note that a brand new one is coming out any day now. We talk about the actors quite a lot with Troy boldly stating that this is the best ensemble cast of any slasher film ever. Others may disagree. We take the time to point out that phone technology and the concept of an ‘obscene phone call’ seem to have gone the way of the 8-track tape. And we discuss the sure directorial hand of Bob Clark while lamenting his 1990’s career slide into profitable but inane children’s films. Also, we ask the serious question of whether John Saxon ever actually solved a crime onscreen. This will require research!

If you have thoughts on BLACK CHRISTMAS (1974) or any other Holiday Horror thebloodypit@gmail.com is the place to send them. Thank you for listening and beware of attic monsters.

THE PEARL OF DEATH (1944) is a movie that doesn’t spring to mind as one of the best of the Universal Holmes films but perhaps it should. The series’ regulars are in fine form and returning guest actor Evelyn Ankers gets a lot to do as the main female baddie. She seems capable of getting any job in London and can disguise herself effectively in the bargain. In fact, this film has her character, Sherlock and the lead bad guy Giles Conover so often pretending to be someone else that it plays like there is a contest between them! And the film also sports the first screen appearances of Rondo Hatton as The Creeper. We talk a good deal about the way the plot unfolds and take note of how the screenplay seems to be digging into a Holmes character flaw to drive the story. Of course, there are the usual odd asides including a Tolkien reference that is quite out of place and a short debate about the correct size of a Yamaka or skullcap. We try to use our meager deductive reasoning skills but we tend to be more Watson than Holmes.

Thank you for listening to the show and thebloodypit@gmail.com is the place to send any thoughts. Stay warm and we’ll be back soon.

STRANGLER OF THE SWAMP is actually a remake of a German movie made by the same director a decade before. We start the show by digging into the earlier film to compare the two and delineate their many differences. The American film is much more a horror tale than the 1936 German original with a dark foreboding hanging over the characters living in an isolated village. The 1946 film has the vengeful ghost of a wrongfully accused man stalking and strangling the men responsible for his death and extending his attacks to the male children of the families as well. Having watched this moody little gem repeatedly over the years we were surprised to only now take note of the heroic town mothers the movie presents. While the men flail around trying to find a ‘reasonable’ excuse for the horrific events the female population works to deal directly with the problem. We note that this story element might be related to the changing view of women’s place in society during the second world war and wonder if this was a conscious choice by the filmmakers. We may never know, but it shows just how intriguing this little film can be and points to how creativity can make a movie endlessly rewatchable. There are always thought-provoking things buried in this swamp to drag out of the muck!

Mr. Annandale and I last discussed THE MONSTER MAKER and that episode can be found here. If you have any comments about this film or any other Poverty Row horror film thebloodypit@gmail.com is the place to send them. Thank you for listening!

I am joined by John Hudson to talk about this amazing film. We touch on the original 1922 H.P. Lovecraft story ‘Herbert West – Reanimator’ and the creation of this adaptation starting as a possible television show to eventual big screen incarnation we now know. The cast is discussed with a general amazement at the near perfect choices made for each role. We note that even though this was Gordon’s first feature film, his years of stage experience seems to have allowed him to understand both actors and audience in ways that translate well to cinema. It would be difficult to find a more sure-footed first movie. We talk about the dark humor that permeates the story including what has been called the world’s first visual pun. Mostly we spend our time heaping praise on this one and explaining our love for it so be aware!

If you have any comments thebloodypit@gmail.com is where to send them. We’ll return to the films of Stuart Gordon as soon as possible. Thank you for listening!

  We discuss the three decade time jump from the previous movie and marvel at 1970’s technology. The age of college students becomes a source of amusement as does the ineffectuality of the local police’s attempts to capture the rampaging mummy. We talk a bit about the cast, noting where we’ve seen a number of the players before in Universal horror pictures. There is some speculation on the possible health effects of being shot at point blank range given that George Zucco’s character from the last film is still alive decades later. And we are pleased to point out the rare chance to physically emote that Lon Chaney is afforded in a few scenes. Is this his best performance as a mummy?

  If you have any comments on the Universal mummy movies or any other film we’ve covered thebloodypit@gmail.com is the place to send them. Thank you for listening. 

  We discuss the radio show Chandu the Magician, from which this was adapted and the 1932 film that preceded this production in which Lugosi played the villain, Roxor. Neither of us can think of another sequel that recasts the hero to be played by the actor who portrayed the bad guy in the original, but that’s what happened with Chandu. We talk about the director’s work in Hollywood and his other serials as well as his work with the great William Whitney. We point out the reused sets from KING KONG and marvel at the giant cat statue in the Lemurian temple set. Cool stuff! And we lament that Chandu’s family seems to have been put on this earth to serve as eternal victims in need of rescuing. You think he could have let one of them die just to get the others to stay home next time!

  If you are a Bela Lugosi fan or a fan of his various serials thebloodypit@gmail is the place to let that flag fly. And if you enjoy the show let us know. Thanks for listening. 

Our conversation starts with how we each discovered the show and our initial reactions to the ‘anti-Star Trek’ with the adult nature of the storytelling being our main focus. We discuss the dystopian universe presented and give a brief overview of the ‘rebels vs the federation’ structure of the story. The dark and often cruel tone of the characters and the events they have to deal with is a topic we return to throughout the episode. We also fit in an examination of some of the classic science fiction tropes that the show uses and the creative spin the writers employ to include them. We had a great time digging into BLAKE’S 7 and we hope you will enjoy what we have to say even if you’ve not yet seen the series.

We discuss the cast and crew as we examine the film’s rather relaxed pace. Mark lays the blame for most of the film’s faults at the feet of the director and I have a hard time disagreeing. I admit to being shocked at the naked upper lip of Sam Elliot and remain convinced his character’s name is significant in describing his place in the narrative. I mean, when the rich family being besieged by frogs is named Crockett the writers were clearly playing with descriptive nomenclature. Or they were just having a laugh. But the most interesting part of the show has to be Mark’s theory about why the movie is named Frogs instead of after any of the more deadly creatures that assault the humans in the story. He may have something there but it had never occurred to me before.

  If you have any thoughts on FROGS or any of the other ecological horror movies of the 1970’s thebloodypit@gmail.com is the place to send them. Thank you for listening! 

  Attempting to imitate the successful Val Lewton productions at RKO, the producers of this non-jungle epic seemed to feel that simply aping the structure of CAT PEOPLE and copying the memorable set-pieces from that classic would be a winning formula. Sadly, that is far from the case as JUNGLE WOMAN comes up short in every category. Troy and I try to puzzle out the reasons for certain choices and debate the qualities of the acting in the titular role. Of course, any film with J. Carrol Naish has points of interest just because of his talent, but he seems to have been given a number of obstacles to creating a memorable ‘mad’ scientist. A rushed production and a sub-par script are rarely a combination for a classic. On that point, we discuss the film’s dialog with a certain line becoming a reoccurring audio drop in the show. Sorry about that!

  If you have any comments about this film or any of the movies we’ve cover thebloodypit@gmail.com is the place to send them. Thank you very much for listening. We’ll be back soon. 

Troy Guinn, Jeff Nelson and John Hudson vigorously lay out a series of justifications for what I see as cinema crimes and finally manage to get me to admit to a few points of agreement. We examine the odd actions that characters in zombie film make for no discernable reason. We spend some time trying to figure out if the script was working its way through an exploitation checklist or if there was a less mercenary reason for the way things unfold. Each of us relates out history with the film and pick out favorite Bruno Mattei films from across his career. At some point we get lost in the possibilities of a 21st century BetaMax rental business but we retreat from that financially doomed idea soon enough. And we end the show with a unique musical contribution from Troy’s oft-mentioned brother!

If you have any comments about HELL OF THE LIVING DEAD or any Italian zombie films thebloodypit@gmail.com is the place to send them. Thank you for listening!

Hugely influential, the film stands as a still relevant template for post-apocalyptic cinema all the way up to the recent TV series FALLOUT. Made for less than half a million dollars it is the rare low budget science fiction film that doesn’t show its financial constraints and manages to turn some detriments into positives. Featuring a fine central performance from Don Johnson and excellent supporting work from his canine companion (voiced by actor/musician Tim McIntire) the movie brings the original story to life brilliantly. We discuss the differences from the novella and the reasons for them as well as the few smart improvements the script weaves into the tale. Randy and I share our histories with the film and our own encounters with the legendary Ellison over the years. We dig into the charges of misogyny and misanthropy that are often leveled at the movie pulling apart the details to search for defenses. We find a few.    

If you have any comments about A BOY AND HIS DOG or other 1970’s science fiction films thebloodypit@gmail.com is the place to send them. Thank you for listening!

  SONS OF STEEL (1988) is a film built out of bits & pieces of earlier films but without the budget necessary to pull it off. It seems to be assembled from random parts of The Rocky Horror Picture Show, Blade Runner, Back to the Future, Max Headroom and a little barbarian imagery for texture. The film follows Black Alice, a pompous singer strutting around a dystopian near-future momentarily mourning his dead girlfriend and trying to become a rock star. Strangely, he is also somehow an environmental peace activist – or at least we are told this by agents of the Oceana government. (Did I mention that 1984 is ripped off as well?) The movie is a series of music videos struggling to tell a tale of revolution, love and violence but the most memorable moments are the very 80’s songs scattered across the soundtrack. In Spiritus Wank’em!

  If you have any thoughts on Black Alice, SONS OF STEEL or the sequel novels penning by the writer/director, thebloodypit@gmail.com is the place to send them. Thank you for listening to the show! 

We use Shatner’s own story of the production from his Movie Memories book to supplement the usual sources. It adds a lot to know the genesis of the film’s basic story and emphasizes just how easily a poor central concept can cripple a project. Also, aspiring writers can take note of this film as a solid example of bad scriptwriting on nearly every level. Neither of us find much to admire in STAR TREK V but there are a few good moments. Sadly, those few quality elements have to rest side by side with insults to nearly every regular character and simply awful dialog. The film’s humor mostly revolves around laughing ‘at’ the characters and never ‘with’ them. It undermines so many years of goodwill built up by the franchise for the sake of bad jokes, dumb ideas and idiotic coincidences that we can only be grateful it wasn’t the last film to feature the original cast. Row, row, row your boat indeed.

Comments about this film, the podcast or Star Trek in general can be sent to thebloodypit@gmail.com and we’ll be happy to hear from you. Thank you for listening and we’ll be back soon.

GHOST CATCHERS (1944) stars a number of very talented actors and singers but it also stars Olsen & Johnson – or, as I will eternally think of them, Faster & Louder. Nearly none of their supposed gift for humor translates effectively from the stage if this film is any indicator. The movie’s silly plot is actually two different story ideas welded together with four songs and a lot of flat jokes. For both of us the film squandered what little goodwill we may have had for it in a certain horsey scene, but we’ll let you discover that along the way. We were surprised that a couple of the songs were pretty great but when a horror comedy’s highlight points out that it is more successful as a musical than anything else, there is a problem. (And we even get the title of the best song wrong in our discussion!) But funny is in the eye of the beholder so you may actually enjoy this odd Universal effort. And did we mention Lon Chaney’s very small role?

  If you have any comments about this film or vaudeville more broadly thebloodypit@gmail.com is the place to write. Thank you for listening. 

  We are months behind checking out the email account so some of these messages date back to 2023. I apologize about this but also think sometimes the wait is worth it. I mean what other show has a discussion of Bruno Mattei, Japanese comedy/drama film series Tora-san, WAR OF THE WORLD’s symbolism and the thousands of film appearances of actor Morris Ankrum. Clearly, The Bloody Pit is filling an important niche in the movie discussion podcast world! And did I mention we have a visit from Vincent Price? Or possibly his ghost. With a cold. It’ll all make sense when you listen to the episode. Maybe. 

And if you’re interested in the podcast mentioned in the show that dives into the Golden Age of Ninja movies, you can give it a listen at this LINK. 

For those who want to contribute to the next email episode thebloodypit@gmail.com is the place to send your thoughts. And thank you for listening! 

  We tackle the magnificent WAR OF THE WORLDS first, examining the elements taken from the source novel as well as from the classic Orson Wells radio adaptation. We discuss the story structure and the cast of amazing character actors familiar at the time from both radio shows and film. Design concepts and the faint traces of the book’s tripods are touched on before we dig into the film rushed to theaters to compete – INVADERS FROM MARS! The William Cameron Menzies production design is discussed as well as the ‘trashy science fiction magazines’ that seemed to inspire some the incredible images. We argue a bit over our preferred length but both of us wish there was less military stock footage slowing things down. The alternate British ending is brought up and I detail how I wish the American version ended. We do go on! 

If you have thoughts on either of these Martian invasion movies thebloodypit@gmail.com is the place to send them. Thank you for listening. 

  We discuss the film’s production including our thoughts on the Eddie Murphy connection and how it would have changed all future Trek films. I lament the deletion of the pregnancy detail and the possible stories that could have come from it. I question the odd visual choice for depicting the time travel sequence while Mark’s respect for me falls even further into a hole. Those hoping for the two us to argue will have a few moments of fun. The strangest of these comes from our discussion of cringy 80’s humor with Mark somehow unable to remember one of the most common derogatory terms of the period. That man’s mind is going!

  If you have thoughts on Star Trek IV or the series in general thebloodypit@gmail.com is the place to send them. We’ll be back soon to tackle V – oh, my! Thanks for listening. 

We jump into the discussion by detailing our history with Bartel’s work and what each of us find so appealing about his screen persona. All three of us bring some tales of the production history to the table with the start and stop nature of the filming process leading to information about locations and casting. We do eventually get to a synopsis of the plot and spoil most of the funnier moments so be aware that you should probably watch the movie before listening to us giggle our way though the many deaths by frying pan. Our peanut gallery has returned for this episode taking the time to laugh with and at us during the show. Long time podcast fans will recognize Beth and Steph from previous episodes but we also get some very funny contributions from Laura as well. Luckily, she keeps John in line and I will take any help I can get corralling the monkey-mad Mr. Hudson. Strap in for this one, folks and stay out of the hot tub!

  The show can be reached at thebloodypit@gmail.com where we’ll be thrilled to hear from you. You can also find the show on our Facebook page and wherever odder podcasts are downloaded. Thank you for listening. 

  We go (mostly) chronologically through the six films discussing each in turn. If you want to follow along at home here’s a list of the movies we talk about in this episode:

1. THE 1000 EYES OF DR. MABUSE (1960) 2. THE RETURN OF DR. MABUSE (1961)  3. THE INVISIBLE DR. MABUSE (1962)  4. THE TESTEMENT OF DR. MABUSE (1962) 5. DR. MABUSE VS SCOTLAND YARD (1963) 6. THE DEATH RAY OF DR. MABUSE (1964)

We touch on the cast members with extra attention to the ones that show up in multiple films even when their character’s names mysteriously change. Scriptwriter Ladislas Fodor’s impressive career is discussed as well as directors Fritz Lang and Harald Reinl who brought their many talents to the series. This series of films seems to have been forgotten over the past couple of decades, overshadowed by the original Lang films from 1922 and 1933. We hope to spur some interest in cinema fans curious to discover the hidden joys of these clever crime movies. They really are addictive!

  If you have thoughts on the Mabuse films or the krimi cycle that they parallel thebloodypit@gmail.com is where you can send them. We’ll be happy to hear from you. Thanks for listening. 

  This is an interesting film but mostly for the wrong reasons. We try to pinpoint all the spots where the original, nastier version of this story peeks through the softened final product. The amazing Gale Sondergaard is a victim of the alterations to the story and disappears after only two scenes – we were displeased by this! The timeline of the Robert Griffin character is confusing and neither of us can work out how he carried around a piece of paper with his name on it for five years but didn’t know his own identity. I spend time marveling at how unlikable Griffin is throughout the story. Jon Hall does a great job in the role but he is playing a man with no redeeming qualities and a hair-trigger propensity for violence. This is our hero? Following on from the previous sequels we get the series’ now standard irritating ‘humor’ culminating in a dart competition that goes on forever. Both of us found this to be the weakest of the Universal Invisible Man cycle and would be curious to find fans of the film to defend it.

  If you do want to stick up for THE INVISIBLE MAN’S REVENGE drop us a note at thebloodypit@gmail.com – we really are interested in hearing a defense of this one. 

As usual with this trio we let Bob pick the film and this time he hit a home run. It turned out to be a first viewing for Troy and it was fascinating to have his fresh take on this old favorite. We talk about the film’s genesis with star/producer Damon shopping the script around for a long while before getting it financed. The film is very much an R rated version of the Roger Corman Poe films done with a little less style and a lot less clothing. We pick at the story as we go along but each of us enjoyed the twin roles from the lead and sly, sexy performance from Neri. She is a sight to behold with her electric screen charisma registering here in gigawatts. Her abilities are impressive when just the slightest shift in the tilt of her head can communicate paragraphs of information.  We talk a bit about some of the anachronistic elements in the film and puzzle for a long time over where those satanic henchmen spend their time between virgin sacrifices. And we end up lamenting that this sleazy classic spawned no sequel! How did that happen?

  If you have any comments on the film thebloodypit@gmail.com is the place to send them. Thank you for listening and we’ll be back soon. 

We keep the conversation almost completely spoiler free with only a few third act details being alluded to as we go along. We talk about the possibility that Shatner might have ad-libbed some of his dialog as DJ Dangerous Dan and marvel at his ability to bend a syllable. Each of us picks our favorite of the stories presented and Troy points to some paths he thought the narrative might take that were skipped past. The darkly humorous nature of elements of the film are discussed with attention to how the laughs add to the entertainment level. We also bring up a couple of other recently seen Christmas horror movies as examples of our annual desire to see more of this subgenre. Toshi the cat visits us to rub up against the microphone and disrupt our trains of thought, such as they are. And the show ends with a brief tale about Mr. Hudson having been recognized as a recently published Cinema Sewer interviewer. Cool stuff!

We hope everyone has a Happy Holiday season and if you have any comments about the show thebloodypit@gmail.com is the place to send them. Stay safe and hug your loved ones. Thank you for listening.

We discuss the novel and its original title as well as the changes Christie made to her bestselling story when she adapted it for the stage. This beautifully photographed black and white movie is a stylish and well-cast progenitor of the slasher horror genre in which the mysterious killer murders his victims in darkly humorous ways, whittling the cast down for our entertainment. The cast is fascinating and we dig into the careers of several of them touching on their high and low points. Troy’s appreciation of Dennis Price surfaces with me teasing him about a possible future writing project. Fingers crossed! I point to a couple of small things that stand out as ill-fitting or overlong but we both think highly of this strong revisioning of this always intriguing tale. I’m just not sure I’m ready for the Frank Stallone version.

  If you have a favorite screen adaptation of this story let us know at thebloodypit@gmail.com – we’ll be glad to hear from you. Thank you for listening and we’ll be back soon. 

We look at the many cinematic influences the film’s story draws from including THE NAKED JUNGLE (1954), THE ANROMEDA STRAIN (1971) and 2001: A SPACE ODESSEY (1968). We marvel over the ant photography that allows the film to so clearly show us the world of these newly altered insects traveling into their hives and, at times, seemingly into their minds. We discuss the small cast even as I question why they bothered to give the characters proper names at all. Given Saul Bass’ background as a visual artist it is no surprise that the film produces a dozen or more unforgettable images and we try to point out as many of them as possible. The choice to use a voiceover is put to the test with Randy’s dreaded ‘professor with a pointer’ serving as our classic example of going too far! We dig into the ways the human living spaces are presented in comparison to those of the ants and how a break in that alignment shows a specific communication change in the story. Of course, we occasionally veer off topic as things point us toward other subjects but I’m happy to say we always find our way back to the film under the magnifying glass. 

Do you have thoughts about PHASE IV or other films that stuck with you even though you weren’t sure if you liked them? If so, thebloodypit@gmail.com is the address to send those comments. Thank you for listening! 

I have picked three interesting episodes that I think will give you a good idea of the tone the program trafficked in and there is even a performance from Boris Karloff to get us started! He is the main character in an adaptation of Poe’s The Tell Tale Heart while Richard Widmark stars in the second grisly story about man’s lust for immortality. The final story I chose because it fits the October season with the title A Corpse for Halloween. Enjoy!

If you have any comments or suggestions thebloodypit@gmail.com is the place to send them. Thanks for listening and Happy Halloween! 

We talk about the production of the film which started out as a potential return of Moriarty but eventually became ‘Sherlock Holmes in Canada’ before the final bloody title was chosen. The story pulls heavily from The Hound of the Baskervilles but also seems to crib elements from the MGM film LONDON BY NIGHT (1937) as well. Of course, it also has a touch of Edgar Allan Poe evident in the name of the murder-stricken village. This is where the series leaves behind most of the modern details that were so much a part of the first three films Universal made. The traditional Holmesian Victorian period reasserts itself here with only the occasional 1940’s feature entering the frame to remind us of the real world. We point out several problems we have with the film including the need to show Holmes being a bit of a doofus on more than one occasion. There has to be a better way to extend the mystery than making the great detective seem incompetent! Of course, we love the cast and have a lot of fun trying to remember the names of the movies and obscure serials in which certain actors had memorable roles. For the record, Virginia Horne played a Chinese villain in SECRET AGENT X-9 (1945) but neither Beth or I could pull that title from our fevered brains!

  If you have any thoughts on the Rathbone Sherlock Holmes films thebloodypit@gmail.com is the place to send them. Thank you for listening and we’ll be back soon. 

  We dig into the genesis (he he) of the story with Leonard Nimoy’s desire to step into the director’s chair leading to several interesting choices. We discuss what it means to be the middle chapter of a trilogy with Mark claiming that The Undiscovered Country is part of the story as well. I bring in details and story additions from the excellent novelization of the film by Vonda McIntire that enhance the story and the secondary characters. The casting of the Klingons is a point of contention with Doc Brown as an alien bad guy becoming an amusing cinema crossover I had not considered before. We lament the stage bound nature of the Genesis planet segments and agree that some location filming would have improved things overall. The special effects get some attention with the destruction of the Enterprise being singled out for praise and we also express our pleasure at having another performance from Mark Leonard as Sarek. This is turning into a fun revisit to this series of movies!

  If you have any comments about Star Trek or anything else we’ve covered on the show thebloodypit@gmail.com is the place to send them. We’d be thrilled to hear from you. Thank you for listening and we’ll be back soon. 

  We talk about the history of bad VHS prints of the film and make a defense of the foggy, misty visual style of the cinematography. We do not defend the furry nunchakus, though. The film’s main characters and the mythological stereotypes they fall into causes much discussion with the older mentor and younger student reversal becoming our focus. Of course, considering the period of Fulci’s career in which this was made, we can’t help but notice the movie’s fascination with violence and depictions of the damage to the human body. We examine the puzzle of the villain’s odd choice of hallucinatory substance to snort and wonder how this odd effect was discovered in this cruel world. The various cool monsters and dangerous creatures in the film get some love from us but the inclusion of zombies is questioned as a possible late addition. It’s a lively conversation and we hope you’ll enjoy it!

  If you have anything to say about CONQUEST thebloodypit@gmail.com is the place to send your thoughts. Thank you for listening! 

  CALLING DR. DEATH (1943) presents Chaney as a successful psychologist who uses hypnotism as a treatment method. His marriage is falling apart but his cheating wife has no wish to be divorced causing him quite a bit of mental stress culminating in a blackout weekend and murder by blunt instrument. Did the good doctor kill his wife or is something more nefarious going on? We wade through lots of whispered voiceover from Lon and watch a Columbo prototype played by J. Carroll Naish hound the obvious suspect until the guilty party makes the wrong move. This is a very well-directed film and we talk about the director’s clever visual choices as we go through the story.

  WEIRD WOMAN (1944) is the first screen adaptation of Fritz Leiber’s story ‘Conjure Wife’ and gives us Lon Chaney miscast as an academic genius who returns from a book writing trip with a wife he robbed from the cradle. OK – the film doesn’t seem to want us to think about that fact except that Lon keeps referring to her as a child and they sleep in separate bedrooms. The 1940’s were a strange time. The film has an amazing cast with the great Evelyn Ankers cast against type as a mean-spirited ex-girlfriend. The misogyny levels are cranked pretty high and this is the start of the Inner Sanctum series’ cliché of Chaney’s character being the most desirable male on the planet which means there is some ‘cringe’ involved in watching this one. But the film is very good and we discuss the surprising hatred directed at it from some fan quarters.

  If you want to give us your opinion of the Inner Sanctum movies thebloodypit@gmail.com is the address to send your notes. We’d love to hear from you and thank you for listening to the show! 

I am joined once again by Bobby Hazzard and John Hudson to roll around in Italian sleaze! This time I chose the film and, since I was in a post-apocalypse frame of mind, we end up talking about our first Bruno Mattei film. RATS NIGHT OF TERROR (1984) is probably my favorite of Mattei’s efforts, which some will claim is damning it with faint praise – I can’t disagree. 

We talk about how we first encountered this mad movie and its regular video companion HELL OF THE LIVING DEAD (1980). Tied into that, Huson notes the strong similarities of this film’s plot to the classic NIGHT OF THE LIVING DEAD (1968) siege scenario. Other post-apocalypse exploitation movies are used for comparison with this one coming in as a lesser effort in some way but not in others. The portentous ‘Star Wars’ inspired opening voiceover has us trying to square the supposed 225 years ‘After the Bomb’ timeline it provides but we do have a lot of un noting that the world ended in 2015. Actress Geretta Geretta has talked about this film on several occasions and we relate a few of her more interesting tales of working in Italian cinema without speaking the language. Other topics include dodging iguanas, buckets of rats and well-done fire stunts complete with some unfortunate animal cruelty. We do eventually end up spoiling the excellent ending, so you have been warned.

  If you have any comments about this film or any other we’ve covered on the show thebloodypit@gmail.com is the place to send them. We thank you for listening and we will do our best to avoid audio problems in the future. 

  We each relate our personal history with the film starting with theatrical viewings and then we dig into the details that make this one a classic. The selection of Nicholas Meyer as director is pointed to as the choice that probably guaranteed the project’s success with his melding of the various script ideas into a cohesive whole. The cast is discussed with Shatner, Nimoy, Kelley and Montalban singled out for praise for their excellent performances. Mark recounts his discouraging encounter with an odd form of homophobia when seeing the film for the first time and we compare the first film’s special effects to the smaller budgeted sequel. The story’s commentary on aging comes under scrutiny as both of us think about the changes in ourselves since this film came out. We ain’t getting any younger, that’s for sure!

  If you have any comments about Star Trek thebloodypit@gmail.com is the place to send them. We’ll be back in a few weeks to continue this journey with Kirk and the gang and we hope you’ll join us. 

Because Mr. Sargent has a soft spot in his heart (and head) for this bizarre Italian production we examine it for signs of sanity. None were found, but along the way we learned a little about ourselves. Sort of. And for some reason we also talked about 70’s rock group StoneGround. I can’t understand why.

For the curious, KING OF KONG ISLAND (1968) is a movie of many parts. It is roughly 20% jungle mercenary movie; 20% mad scientist tale; 20% revenge story; 20% jungle girl adventure and 20% family melodrama. It is also 100% nuts! While much of the advertising for the film centers around the jungle girl sections of the story we come to the conclusion that Eva (or the Scared Monkey as she is referred to most often) could be removed from the film with little detriment to the story. Of course, this would have eliminated the film’s nudity so I don’t think anyone involved would have agreed to do this. But the film has so much going on that it is difficult to stop watching as the madness unfolds. We see stuntman turned actor Brad Harris beefcake up the place with his exciting dance moves and flinty abs. We see veteran Hollywood tough guy Marc Lawrence play a mad scientist/Bond villain using surgically altered gorillas to control a jungle cave. We witness plenty of animal stock footage. It all adds up to a featue length movie. Really.

Even if you haven’t seen this cinematic epic there are things in the episode to entertain you. Troy’s alternate title suggestions are inventive and arguably better than any of the ones actually used. Bob’s attempts to explain his lifelong fascination with this whacky film lead us from a sweaty apartment in the 1980’s to modern 21st century life – pity his poor wife! And bonus points to the listeners that can pinpoint the moment when I gave up on presenting a plot synopsis. Eventually you have to accept that things have gotten away from you.

If you have seen KING OF KONG ISLAND and have something to add to our discussion thebloodypit@gmail.com is the place to send your thoughts. Thank you for listening!

Thank you for listening and we’ll be back on track with a normal episode soon. If you want to contribute to the email-bag thebloodypit@gmail.com is the place to write. 

We dig into this one pointing out our likes, loves and various concerns about the story. We point out the numerous elements taken from several of the classic Arthur Conan Doyle stories and revel in the reference to the giant rat of Sumatra! We discuss the logic behind Holmes faking his own death and the inherent cruelty of that move. Of course, THE SPIDER WOMAN is the first of the series to feature a female villain and the casting could not have been better. Gale Sondergaard is brilliant in the title role with her sly smile and her expert delivery of the sharp dialog putting her well above other baddies that have faced Holmes.  Fully half the fun of the movie is watching her glide her way through her evil schemes. The other actors get fine moments too with Nigel Bruce and Dennis Hoey especially given scenes that show their characters under emotional strain. This is a tight, well-made film but we do find some things in it that don’t work as well as we might wish. 

If you have any comments on this film or any other we’ve covered thebloodypit@gmail.com is the place to send them. Thank you for listening and we’ll be back soon. 

STUNT ROCK can be called many things but it can’t be called boring. It feels like two different movies clumsily mashed together forcing each viewer to decide which half they prefer. Is it the hard rocking magic stage show of Los Angeles band Sorcery or watching Australian stuntman Grant Page defy death in about two dozen different ways? I know which way I lean but this movie is a bit of a Rorschach test so you end up seeing what your expectations lead you to see. And that is more philosophy than I ever thought I would attribute to STUNT ROCK. It has to be a mistake. But you should check it out for yourself. 

If you have any comments or suggestions thebloodypit@gmail.com is the place to send them. Thank you for listening and we’ll be back soon. 

Although it is a mad scientist film THE MAD GHOUL (1943) stands out from the other films of its type in many ways. It’s literate, mature script weaves interesting adult relationships into its fantastical narrative of college student zombification and graveyard surgery. Troy makes the claim that the film would be worth seeing even if the titular Ghoul was not part of the story but I think we all know why people were buying tickets – cardiectomies! Still, the more adult nature of the romantic complications in the story are interesting and the script gives the great George Zucco many chances to utter dialog that is a cut above the usual level of horror tales of the period. Often his delivery of a line is what makes a scene both believable and entertaining. 

We discuss the cast and crew with an eye toward what the actors thought of the process and each other. We revel in the nasty details of the story and talk about the surprisingly dark stuff the film gets away with. Robert Armstrong as the comic reporter character gets some time in the spotlight as we fight the urge to call him by his KING KONG character name. And we express disappointment that although Evelyn Ankers gets a lot more to do in this movie than in SON OF DRACULA we still don’t get the chance to hear her sing. 

If you enjoy THE MAD GHOUL or even if you don’t thebloodypit@gmail.com is the place to send your opinions, comments or suggestions. We’d be glad to her from you. Thank you for listening! 

I have always lumped the giant bug movies in with the other giant monster films of the decade but that is a sloppy way to think about these films. The big surprise is that when you separate out the films with various kinds of bugs it turns out there were only eight. Eight! The always ambitious Mark suggested doing a single show about all of them, and I thought it was a great idea. So, even though we might have bitten off more than we can comfortably chew, that is what we did. For those playing along at home here is the list –

Them! (1954)

Tarantula (1955)

The Deadly Mantis (1957)

The Black Scorpion (1957)

Beginning of the End (1957)

Monster from Green Hell (1957)

Cosmic Monsters (1958)

Earth vs the Spider (1958)

As you can see, we spend a lot of time in 1957 but rest assured that we talk about all eight films in some detail. We dig into the things about each that we enjoy and the places where they fall down with Mark using some interesting classic rock comparisons along the way. He’s a little odd. Along the way we decided to rank them from least to most favorite and we were shocked to see that there isn’t much difference in our opinions. What is the world coming to?

If you want to rank the Big Bug movies of the 1950’s thebloodypit@gmail.com is the place to send your list. We’d be glad to hear from you. Thanks for listening!

We discuss the years long genesis of the film touching on the planned ‘Phase II’ concept that was supposed to bring Star Trek back to television. Mark talks about seeing the film theatrically in 1979 and his reaction to the big screen sight of the Enterprise. He then relates his love of the wormhole sequence and we examine its function within the story. Jerry Goldsmith’s magnificent score is heaped with praise by both of us while Mark laments the use of the theme for The Next Generation television show. The production problems the film encountered get some attention with the foolish choice to lock in a premiere date before the film was even started coming under scrutiny. And the decision to begin shooting without a finished script can’t go unremarked either! It’s a miracle a coherent movie came out of this process in the end. Or course, it took a couple of decades for the thing to be really completed by the director but now we can see the film in the best light, flaws and all. 

If you have any thoughts on the first Trek movie thebloodypit@gmail.com is the place to send them. We hope to cover more the series in the near future so thoughts on those are welcome as well. Thank you for listening! 

The show is bookended by email reactions to our PUFNSTUF show with regular correspondent Kurt’s Burning Man tale being a must-hear trip into unreality. Those Krofft creations are still able to conjure the most interesting flashbacks to a 1970’s childhood! Other emails include a list of favorite sword & sandal movies from one writer and a question about the level of detail we can now find in UHD and Blu-Ray discs. Is it always a good thing? We discuss that at length along with a few extra topics that branch off naturally. As you might realize, the show goes on much longer than I expected!

If you would like to add your voice to the next email show thebloodypit@gmail.com is the place to send your comments. Thank you for listening!

We talk about the production including the reason this long delayed sequel finally went before the cameras. The behind the scenes wrangling that saw one Siodmak brother exit the film as another one entered is a topic along with a detailed look at the very ‘film noir’ filter that the story places over its horror tale. We discuss just how ‘Deep South’ the setting really is and ruminate on the oddly vague midwestern feel of the movie. Just where is that swamp? Troy asks many questions about the film that I cannot answer including a long list of possible first time appearances of several vampiric cinema ideas that we all simple accept these days. I need to do more homework!

We hope you enjoy our discussion which concludes with a relevant email from a loyal listener. If you want to be a part of our next Email Show thebloodypit@gmail.com is the place to send your thoughts. Thank you for listening and we’ll be back ASAP.  

I am joined by Beth, Troy Guinn, John Hudson and Steph to talk about the biggest hit of Sid & Marty Krofft’s many Saturday morning TV programs. Each of us relate our history with the various shows and what we thought of them as kids before diving into the specifics of the big screen version. We dig into the Krofft brothers’ background as puppet performers, their early successes on the stage and the genesis of Pufnstuf as a character. We take note of a fun Universal Horror related song from their early 1960’s adult puppet show and then turn things toward the amazing songs created for the film. We talk about the cast with Jack Wild’s place in the hearts of young girls becoming a subject of some amusement while Billie Hayes’ immortal Witchiepoo is lauded as the best reason to watch either the film or the television show. Favorite lines of dialog are quoted and we wonder aloud if some of the best bits were adlibbed by Miss Hayes or not. We also talk about Mama Cass Elliot’s excellent performance as Witch Hazel and single out her song as a highlight. This really is a delightful movie!

If you want to share your own memories of the old Sid & Marty Krofft shows thebloodypit@gmail.com is the place to send them. We hope you enjoy this slightly chaotic trip into Saturday mornings past. Thank you for listening!

We start with a look at the first of the 1960’s film series, MACISTE IN THE VALLEY OF THE KINGS which was released in English speaking territories as SON OF SAMSON (1960). It stars Mark Forrest as the legendary strong man and Cuban dancer Chelo Alonso as the villainous Queen making things very difficult for the people of Egypt. We talk about the gorgeous location shooting and the film’s bigger than average scale for a small budget effort. The film has several spectacular sequences of action and some surprising violence. It’s a big colorful comic book of a movie!

The second film is an even more impressive adventure. Former Tarzan actor Gordon Scott steps into the hero role for MACISTE AT THE COURT OF THE GREAT KHAN which was retitled SAMSON AND THE SEVEN MIRACLES OF THE WORLD (1961). This one has Maciste pop up in 13th Century China to rescue a Chinese prince and princess from the Tartars and then lead the population in a revolt. There are many stand out scenes with the amazing bar fight being my favorite. Watching Scott use part of the building to bash opponents as the place crumbles around him is what I call entertainment! But the showstopper must be the action set piece involving a horse-drawn chariot and our hero’s stunning way of applying the brakes. Incredible!

Of course, there is the occasional side road in the discussion but we amble back into the proper arena before we get attacked by lions. Thank you for listening and please review the show on your pod-catcher of choice. If you love the peplum genre too thebloodypit@gmail.com is where you can send us a list of your favorites. See you next time!

Troy and I return to the Universal horror films with a true outlier this time. FLESH AND FANTASY is easily the most expensive production on our list of these 1940’s films with its large budget and cast of major movie stars being just the most obvious differences from the monster sequels surrounding it. The movie uses all its resources wonderfully to present a dazzling series of visuals and at least one of the best (possibly) supernatural stories the studio would ever make. The cast is fantastic and filmmaking a delight! It is a shock how underseen and underappreciated this excellent movie has been but with a Blu-Ray release just around the corner we hope that is about to change. Join us a for an interesting conversation about the production, structure and underlying themes of this hidden gem.

The show’s email address is thebloodypit@gmail.com and we’d love to hear your thoughts on FLESH AND FANTASY or any of the movies we’ve covered. Thank you for listening and we’ll be back with an email episode very soon.

Mr. Annandale and I discuss the film’s cast at length with my guest’s appreciation of Wanda McKay being most interesting. We make a defense of J. Carrol Naish’s slightly underplayed central performance as the villain of the piece although why we would need to defend an actor with two Oscars to his credit is beyond me. We praise the excellent makeup effects used to transform Ralph Morgan into a misshapen, monstrous looking victim. And we dig into the section of this very short film that seems unnecessary and possibly was included to pad out the running time. Not that either of us dislike seeing a man in a gorilla suit but to have Ace, the Wonder Dog’s action sequence absent from the movie seems a shame! Mr. Annandale was a good sport to be part of the show and I’m glad to showcase his love of this film.

The email address for the show is thebloodypit@gmail.com so send any comments or ideas to us there. If you have any favorite Poverty Row Horror that you’d like to hear discussed let us know as we are keen to return to the subject. Thank you for listening!

John Hudson and I join Troy for this trek down Evil Child Lane. We take note of the subtle ways the threat is communicated before the mayhem explodes. We heap much praise on the film’s smart dialog and understanding of family dynamics that make the entire scenario feel like a slice of increasingly tense reality. Truly, by being specific in its details this movie hits some terrifying universal notes about the ties that bind. We discuss the fact that film never spells out the reason for the children’s violence with understated hints as our only clues. I bring up a wonderful essay by Andrea Subissati about the film and it’s comments on the destructive nature of the lies we tell our kids and how they can infect other parts of our life. And I can’t stay away from talking about the story’s thread of financial concerns that surface at the film’s intense dinner scene. There’s a lot going on in this short, violent tale and we recommend it. Luckily it is currently streaming on Tubi for free! 

Questions, comments or Holiday messages can be directed to thebloodypit@gmail.com where we’ll be jingle jangled to hear from you. All three of us hope you have a fantastic Holiday season and a Happy New Year. Santa knows we all need one. Thanks for listening and sorry for the Bonanza sidetrack. I can’t help myself. 

  Of course, I can’t have a discussion that touches on the Universal horror films without the conversation spiraling out to other movies in the series. We dig a little into favorite entries including defenses of some of the underpraised films of later years. As expected, Mr. Stone is a Monster Kid from way back and his love for these film shines through. We had a great time talking and I can highly recommend It’s Alive!

  If you have any comments or questions thebloodypit@gmail.com is the place to write or send voice messages. Thank you for listening and we’ll be back soon. 

CODE NAME: WILD GEESE (1984) was the first of trio of jungle action movies Margheriti made with British actor Lewis Collins in the lead and it is easy to see why Collins was briefly considered to play James Bond. He projects ‘tough guy’ hardness well and is a solid actor to boot. This film surrounds him with an international cast including an Oscar winner (Ernest Borgnine) and a couple of classic screen bad guys playing nice (Lee Van Cleef and Klaus Kinski) giving everything a sweaty sheen of near-respectability, even if Kinski is very oddly dubbed. Throw in a ridiculous car chase, a few dozen explosions, gratuitous Mimsy Farmer, a surprise villainous turn and it is easy to overlook the regularly disappearing plot, ill-defined motivations and bizarre effects choices. This one is fun in all the over-the-top ways that 1980’s action cinema aimed to be. So, hop into that small helicopter and let’s torch some opium fields for exciting but vague reasons! Woo hoo!

  The show’s email is thebloodypit@gmail.com and we’d love to hear your thoughts on this or any of Antonio Margheriti’s films. And join Adrian and I on our other program Wild, Wild Podcast as we start a season focused on Luigi Cozzi! Thanks for listening! 

Recently rescued from dodgy video presentations by Mondo Macabro, this Spanish oddity is one of the stranger examples of Euro-Horror. We start our discussion remarking that the story behind the making of the film is probably more interesting than the film itself, but that doesn’t mean there aren’t a lot of onscreen elements to puzzle over. While the movie does sport a standard Lugosi-style vampire lurking around gothic places, the majority of the killings are handled nontraditionally. By that I mean that this vampire can somehow render himself invisible! Was this a stylistic choice on the filmmakers’ part or a budgetary one? It hardly matters as it creates one of the more memorable aspects of the movie. Watching victims flail about fighting someone that isn’t there is sure to keep you staring at the screen wondering just how crazy things will get.

  Mondo Macabro’s Blu-Ray has a few excellent extras that give an explanation for how and why this film was made. The most interesting information involves the star of the picture how he started an acting career. This disc proves that any film can be made fascinating the more you know about it. I can only imagine what viewers in the past thought of this bizarre movie with no frame of reference for what went on behind the scenes. This is the kind of thing I live for!

If you have any comments or questions thebloodypit@gmail.com is the place to send them. Cort and I thank you for your time and attention! Happy Halloween. 

  SHERLOCK HOLMES FACES DEATH (1943) is based on an original Holmes story by Doyle, ‘The Musgrave Ritual,’ and has our favorite detective investigating what might be a cursed family. Pressed into wartime service Doctor Watson has been helping out at Musgrave Manor which is serving as a convalescent home for shell-shocked Allied officers. His young assistant, Dr. Sexton, is attacked with a knife and nearly killed. Watson travels to London to bring Holmes back with him, but upon their arrival they find the head of the household, Geoffrey Musgrave, dead. The lead suspect is an American airman, Vickery (returning Universal horror player Milburn Stone), who is in love with the youngest Musgrave, Sally (Hillary Brooke making her second appearance in the series) and was planned to marry her against Geoffrey’s wishes. The always-befuddled Inspector Lestrade shows up and quickly arrests him but Holmes knows there is more going on than such a simple murder. Might there be supernatural shenanigans afoot? Is there really a curse on the Musgrave family? And how does the game of chess factor into everything?

  We dig into this nicely creepy film that shows a decided swing away from the espionage storylines of the first three of the series. All three of us are happy to finally have a scary Holmes tale to discuss even as we point out how many of the gothic touches don’t amount to much in the final analysis. After all, when is a broken clock just a broken clock? Beth brings up the story of Universal’s brilliant costume designer Vera West which adds some unexpected mystery to the conversation. I express my dislike of one element in the movie that presents the audience with false information. Troy takes note of how long Lestrade is lost in the secret passages in Musgrave Manor’s walls which is less time than I would have guessed.

  We hope you enjoy our conversation and thebloodypit@gmail.com is the email address for comments on the episode. Thank you for listening and have a happy October! 

  RED SONJA (1985) is a film that gets very little respect even among hardcore cult film fans. Cort and I feel this is an oversight and we take about two and half hours to make our case! Hopefully you will join us on our quest.

  Both of us are coming off of seeing the film on high-definition disc which enhances our appreciation of the visuals, especially the old school special effects craftsmanship. Who cares if that strange giant spider doesn’t really work! Wheel that sucker out there and photograph it correctly for the desired effect.

  We discuss the movie’s strange production with last minute casting of the lead and extended participation from Arnold Schwarzenegger bending the story into different shape. I lament the lack of a novelization but I do point out some fascination information that can be gleaned from the Marvel comics adaptation. We discuss the multi-ethnic cast, the gorgeous cinematography and the incredible production design that shows off every penny of the budget. We talk a bit about the slight differences that make for a PG-13 rating rather than an R with this film flashing enough blood to make us wish for a more violent cut. The film’s stunt coordinator is given his due as we praise the visceral feel of the sword fights as well as the many ways that the wonderful score brings the entire movie to life. This really is a fun adventure film and I’m glad to see that it has aged well.

  If you also love this odd sword & sorcery film thebloodypit@gmail.com is where you can send your memories of seeing it for the first time. Are you like Cort who caught it between HBO screening s of BEASTMASTER? Or did you get to see it in the theater in 1985? Podcasters want to know! And thanks for listening. 

John Hudson joins me to discuss BOOGIE NIGHTS (1997) but that is only half the fun. We also got the chance to talk to actress Jane Hamilton who appears in the film as a judge. Under her stage name Veronica Hart, Miss Hamilton was a major star of adult movies in the period depicted in BOOGIE NIGHTS and is therefore the perfect person to answer questions about the industry and its onscreen Hollywood portrayal. She has many stories to tell and not just about the pornography business either. We had so much fun talking with her that the conversation went on for nearly an hour and a half with more than a few digressions! Hopefully you’ll enjoy her tales as much as we did.

  We end the show with some classic adult film recommendations from Mr. Hudson which might send you off to your favorite DVD/Blu-Ray retailer to satisfy your curiosity. If you have any comments or suggestions thebloodypit@gmail.com is the place to write. Or you could join us over on the FaceBook page but keep it clean or the Zuck will get us for sure. I’ve added a song from The Exotic Ones and thank you for listening! 

  Typical of exploitation cinema of the 1970’s this is a grimy, mean-spirited tale of crime and consequences. The story follows a trio of not-quite-as-smart-as-they-think low lives as they kidnap a jewelry store manger’s daughter. Expecting an easily scored diamond ransom their scheme goes sour and, when they start trying to turn their busted plan into a success, things get quickly worse. The sweat, fear and desperation combine to make for a tense, uncomfortable film experience with an ending that stamps this as one of the darkest American films of the period. I once thought of this as a one-time watch but my opinion has changed.

  We briefly discuss the terrible crime that inspired the film and how the long-term details point out the folly of most criminal activity. We talk about the cast and crew with some fantastic information from the two main female actors. Writer/director Guerdon Trueblood is also on the record about the entire history of the production and we share a few of his amusing tales as we go along. Bobby expresses his dislike of the reoccurring theme tune and neither John or I can really disagree with his assessment. Of course, that means you get to hear it as part of the show. Sorry.

  If you have any comments or suggestions or comments thebloodypit@gmail.com is the place to write. We’ll be back to cover STUNT ROCK eventually. We end the show with a new song from Chagall Guevara. Thank you for listening! 

Troy joins me to respond to a couple of emails addressing some questions about THE MECHANIC. This includes some fascinating insight into director Michael Winner’s reputation from someone who has interviewed him! Exciting. We hint around about some of the projects that have been occupying our time recently without giving away any information we shouldn’t. I think.

  I also make public my plea for a certain genre of adventure films to get more love and attention from Blu-Ray companies. We dart off in odd directions a few times with Ken Russell movies and lesser known Michael Caine films getting some discussion.

  If you want to be a part of future mailbag segments thebloodypit@gmail.com is the address. Let us know what you think and we’ll be back soon. 

  THE GREEN ARCHER (1961) came pretty early in the cycle and is a good example of the black & white period of the series. At this time the scripts were trying to stick as close as possible to the adapted novel’s content which can make for an often confusing number of characters and subplots. Luckily, the film’s fast pace and sly humor keep the many strange happenings from feeling overwhelming with most loose ends wrapped up in the ‘ende’. Mr. Schlegel and I range across the krimi output of Rialto productions discussing the changes the series went through including moving to color and the gradually increasing horror elements incorporated into the scripts. We touch on the production history of the films and their evolution into another genre altogether. Eventually we compare lists of favorites with some concern for how to break the films down for newcomers or the mildly curious. We both hope that bringing attention to these entertaining gems will encourage more people to give them a try.

  If you have any comments, suggestions or ideas thebloodypit@gmail.com is the address. Let us know about your favorite krimi and how you discovered the genre as well. If you could, please rate and review the podcast wherever you grab it. And thanks for listening! 

  I was honored that Mr. Talbot agreed to join me on the show to talk about one of my favorite 1970’s Bronson movies. I’ve long been a fan of Bronson’s long string of crime movies and THE MECHANIC (1972) is easily one of the best of the lot. We discuss the lengthy gestation period of the script, the major changes that it went through over time and the various actors that passed on playing the titular character. We also look at the location shooting on skid row in Los Angeles and how it offers modern viewers a window to another time and place. Director Michael Winner’s multiple collaborations with his star are touched upon and Mr. Talbot’s insights are backed up with his interviews with the sometimes controversial filmmaker. Of course, when you get two movie nuts talking it is difficult to stay on a single topic so a number of Bronson’s other vehicles are dragged into the conversation with both of us naming our three favorite Bronson films for comparison. These slightly off-topic sideroads are frequent but we do usually circle back to THE MECHANIC – I promise.

  If you have any comments or questions thebloodypit@gmail.com is the place to send them. Thank you for listening to the show and I’ll be back soon with more. 

Troy Howarth returns to the show to defend the film that was many people’s breaking point with Argento. We forgo an in-depth synopsis and simply dive straight into picking apart the various points of disagreement about the film’s quality. Strangely enough, we find several details and scenes that we both admire but mostly our discussion involves me bringing up the elements I dislike and Troy providing a defense. I’m impressed with his resistance to my repeated appeals to sanity and logic but since neither of those things usually factor into an Argento film, he has cinema history on his side. Luckily, I think our conversation is pretty lively and might even make fans that hate this odd film give it a second look.

If you want to put in your two cents about this film or any other that we’ve covered on the show thebloodypit@gmail.com is the place to send messages. Thank you for listening and we’ll be back soon!  

  Join Troy and I as we swing on the giant opera house chandelier! Say what you will, but it gives us a good view of the film’s successes and failures. This often-derided film is one of Universal’s Oscar winners and on Blu-Ray it is a gorgeous thing to behold. We never thought we’d use words like opulent or big budgeted or colorful to describe a ‘horror’ film from the 1940’s but here we are! Of course, comparisons to the 1925 version can’t be avoided and we also briefly touch on a few of the more well-known adaptations over the past eighty years.

  We spend a lot of time digging into the question of Christine’s relationship with the Phantom and wondering why having him be her father was excised from the story. At least one review from the time indicates that there might have been something left in early prints that made this very clear. We talk about the cast and the director with attention paid to some poor staging that undercuts important moments. Complaints about the comedy elements of the film are voiced as are questions about the difficulty of assembling a music room in the Paris sewers. A good time is had by all with music leading the way!

  Near the end of the show, we respond to a couple of emails sent to thebloodypit@gmail.com and I have a mini-rant about the sad tendency in film fans to hate all new things. It’s a brief spasm and the phrase Doppler Effect is tossed out but I recover quickly and get things back on track. Hell! I almost forgot about the emails. Thanks Troy. And thank you for listening. We’ll be back soon! 

We take a look at several aspects of the film that are rarely discussed including the excellent cinematography and the script’s clever red herrings. It’s standard for a murder mystery to throw suspicion on most of the cast but several of the suspects in this case are real nasty pieces of work! How often do you have one character falsely confess to the killing and another try to use the murder method to cover their own desire to be rid of a rival? It certainly keeps things lively even if it makes for a difficult knot to untangle.

We discuss the cast while marveling at the number of actors/dancers that don’t get screen credit. The central dream sequence comes under scrutiny as part of the mid-80’s intrusion of music video style into cinema. We mull over the nearly bloodless nature of the murders as a possible concession to the angry response Fulci received for his previous New York set thriller. We also give our opinions on the often-derided score from the legendary Keith Emerson who seems destined to be insulted for his contributions to this film for eternity. In all, it is a fun ramble through an often-overlooked giallo.

If you have any comments, questions or suggestions thebloodypit@gmail.com is the place to write or drop a recording of your thoughts. We love hearing from you so jump in! Thank you for listening.

CAPTIVE WILD WOMAN is an attempt to build a mad scientist horror film out of a lot of exciting circus footage. It is more effective than you might expect but the ratio of horror stuff to circus stuff is probably weighted in the wrong direction. Troy and I chew our popcorn while watching the spectacle! Deciding which parts work and which ones are very strange occupy most of our time but we discuss the cast and director with some detail too.  We only get a short period of time with Acquanetta’s silent wild woman/gorilla character but the 1932 animal act footage is skillfully integrated into the film almost making you forget this is supposed to be a horror tale. Luckily, John Carradine is one of the smoothest mad scientists of all time so it’s a joy to watch him slither across the screen.

The show can be reached at thebloodypit@gmail.com if you have any questions or comments. We would love to hear from you and we do wonder who you would name as best Jungle Girl or most impressive Mad Scientist. Thank you for listening!

Mark Maddox and I discuss the film and our history with it as we look at what we like and/or love about this bizarre piece of cinema. The movie was produced without a full script while the director composed pages on the way to Cinecittà Studios every day of its three week shoot. This creates a strangely meandering story about Baron Frankenstein (Udo Kier) attempting to bring about a Serbian master race by creating a perfect mating pair. As you might expect, things do not go as planned. Scattered about the story we find the mad doctor’s sister/wife, their creepy children and the lower-class servants who are asked to participate in some grisly experiments. It’s a bloody, nudity filled madhouse of a movie and is sure to please or anger an almost equal number of viewers. Our talk ranges from the very talented cast and the opulent sets to the well-done gore effects and the disgusting visuals. Of course, by the end we are off track and talking about other things but we start with good intentions. Forgive us!

The email address is thebloodypit@gmail.com and we’d love to know your thoughts on this odd work of cinema or any other subject we bump up against in our discussion. Thank you for listening.

BEYOND DARKNESS (1990) was directed by the man responsible for the astonishing TROLL 2, Claudio Fragrasso. That should let you know what kind of ride the movie will provide but it might not prepare you for the sheer madness. Consisting of ideas, characters and entire sequences cobbled together from at least six earlier films BEYOND DARKNESS serves up a low budget variation on the haunted house concept that must be seen to be believed. A Catholic priest and his family (!?) move into a home in his new Louisiana parish and are almost immediately assaulted by spectral nonsense. There’s a glowing otherworldly hole in a closet, ghostly witches creeping around and the lingering presence of a recently executed child murderer making a full night’s sleep pretty difficult to get. A sane family would leave but then we’d have no movie. 

The three of us try very hard to stay on topic but we each seem determined to run off onto side discussions that have only tenuous connections to the film. We start off well talking about the Otis House location BEYOND DARKNESS shares with Fulci’s THE BEYOND and the number of cast members that are also in other horror movies of the times. But eventually I’m babbling about alternative poster art for vintage films while Hudson drags us on another ‘Porn Talk’ sideroad and all of us are giggling about the haunted lamp in AMITYVILLE 4! What is wrong with us? Things repeatedly go off the rails as should be obvious by the fact that we end up referencing Zamfir, the Master of the Pan Flute, Gilligan’s Island and The Doors. Dive in and hang on – this one is a little crazier than usual.

  We end the show with a tune from The Cocktail Slippers and you should check out their fine music wherever you listen to cool stuff. If you have any comments or suggestions thebloodypit@gmail.com is the place to send them. Thank you for listening to us go on about things and we’ll be back soon. 

Taking a look at this exceptional little ghost tale was long overdue and it is a shame that THE UNNATURALS (1969) is so difficult to see. It’s one of the director’s best gothic chillers and that is saying something. It feels very much like an early version of Bava’s LISA AND THE DEVIL (1973) and even shares some of the score from Carlo Savina who was clearly not above getting paid twice for the same music! Hopefully some Blu-Ray company will bring this excellent little film to a larger audience soon.

Adrian and I discuss the period setting and finely detailed interiors that were borrowed from a more expensive movie. The film is a classic example of the Old Dark House tale with bits of the James Whale 1932 movie of that title featuring heavily in the open act’s plot mechanism. Just how stuck in the mud was that car, really! Since this is a German co-production we look at the cast with an eye toward the inclusion of several familiar faces from the krimi cycle that was still thriving at the time. Happily, the wonderful Luigi Pigozzi (a.k.a. Alan Collins) has a major part in this film. Often called the Italian Peter Lorre he was a frequent collaborator with Margheriti and THE UNNATURALS may mark the most significant screen role of his career. He makes the most of it! So, with gorgeous widescreen photography, some surprising nudity and a slowing unfolding series of revelations this is a great little film. Certainly it is an attention grabbing look at lust, greed and murder as a catalyst for possibly supernatural revenge.

If you have any comments or questions thebloodypit@gmail.com is the place to send them. We’d love to know what’s on your mind. Thank you for listening to the show!

  Beth has chosen two excellent audio versions of Arthur Conan Doyle tales with the connecting theme being that they involve an American character stirring up trouble. First we present The Noble Bachelor from the long running BBC Radio series starring Carleton Hobbs as Sherlock Holmes and Norman Shelley as Dr. Watson. This program aired from 1952 to 1969 and became the way an entire generation of British listeners became fans of character. We talk a little about the two main actors known primarily for their radio and stage work including the somewhat controversial work that Mr. Shelley was rumored to have done for Queen & Country. We then check out the CBS Mystery Theater’s 1977 version of A Scandal in Bohemia with Kevin McCarthy as Holmes and Court Benson as Watson.  It’s another fine adaptation and this time I’ve left in several of the commercials from the original broadcast to give you a sense of what it would have sounded like when aired. I snipped out the ExLax ads for your mental health!

  Thank you for listening and if you have any comments thebloodypit@gmail.com is the show’s address. We’ll be back soon with a new episode! 

  I am joined by Beth Morris and Troy Guinn for a detailed look at the third in the Universal Holmes series, SHERLOCK HOLMES IN WASHINGTON (1943). This is one of the few that we all dreaded as memory told us we were in for a weaker entry. Imagine our surprise to find a much better movie than we expected. Exciting!

  We dig into the production with some neat information culled from my ever-expanding pile of reference books on the subject. Beth finds some highs and lows in the deductive reasoning the script gives Sherlock and Troy finds his first viewing of this one to be his favorite of the run so far. We talk about the excellent cast and spend some time on the great George Zucco’s career as well as heaping some deserved praise on the screenplay. This being the first of the series with a completely original story Universal was wise in its choice of screenwriter Bertram Millhauser who went on the pen four more Holmes scripts for the studio. We lament the limited screentime of Henry Daniell and question the steady cruelty of Holmes to Watson throughout the story. We were all pleased to see Clarence Muse given a solid supporting role as a train porter where he gets to play directly with Rathbone as the search for clues ramps up. And, because I have a dirty mind, I spot a subtle sex joke that was sly enough to get past the production code. Busy, busy!

  We end the show with three emails from listeners one of which pushes us into a long discussion of favorite actors in the Watson role. The email address is thebloodypit@gmail.com and we’d love to hear from you too. Thank you for listening to the show and we’ll be back soon. 

  John Hudson, Troy Guinn and I discuss the amazing French Christmas film DIAL CODE SANTA CLAUS (1989). Although we had never even heard of this movie until Vinegar Syndrome released it on disc last year it has become a fast favorite for all three of us. It’s an amalgam of horror, action and coming of age stories that manages to hit nearly every emotional beat that it targets. On Christmas Eve, ten-year-old Thomas is determined to get evidence of Santa’s existence so he sets up his high-tech equipment to videotape him on his rounds. Unfortunately, the lad has accidentally gained the attention of a crazed man who dresses himself as the jolly old elf and makes the little boy the object of his homicidal curiosity. With his mother working late it is up to Thomas alone to protect his aged grandfather and stop the deadly St. Nick from killing all through the house. Who will survive?

Simultaneously beautiful to look at and tensely suspenseful DIAL CODE SANTA CLAUS is a worthy addition to the list of scary stories centered around the year end holidays. Filled with Christmas atmosphere and luminous visuals it checks all the boxes for candy colored feel-good sentiment but then drops its likable characters into a vicious home invasion scenario. The killer Santa’s motivations are never revealed which makes his actions all the more terrifying and unpredictable. And although this film plays out a story similar to 1990’s HOME ALONE, there are real consequences to violence in this movie and truly deadly stakes if Thomas fails to defeat his nearly silent adversary.

  We talk about the film’s production taking note of the combination of real locations and elaborate stage work. The director’s ability to seamlessly meld the real and unreal allows the film to achieve some surprising moments and it’s not a shock to learn he went on to do high quality work in Hollywood. We have a good time discussing this great little movie with only a few short tangents about illegal VHS tape dubbing along the way. Oh! And at one point we are interrupted by a stack of my new Blu-Rays tumbling over into my chair. Sorry. I’ve been too busy to put them away.

  The show winds down with an email from a fan of the show and a text from another co-host. They’re trying to wear me down, folks! If you have any comments or suggestions thebloodypit@gmail.com is the address. Thank you for listening! 

  Mr. Muir and I discuss the show from the perspective of a novel he wrote several years ago that uses the first season episode ‘Space Brain’ as a starting point. Along the way we talk about our own history with Space: 1999 and how our opinions have changed over time. The stark differences between the first and second season are debated and we certainly engage in the age-old conversation about favorite and least favorite episodes. The scientific implausibility inherent in the show’s set-up are hashed over with a number of details explained about how various writers acknowledged the biggest one within the body of their scripts. We discuss the philosophical approach taken by the show’s creators and how it differs from what people expected from sci-fi TV in the 70’s – and possibly today. We do get off track at one point and talk about a few horror movies, but we are soon back onto MoonBase Alpha – I promise! 

If you have anything to say about Space: 1999 or any other subject we talk about in the show thebloodypit@gmail.com is the place to send your emails. We’ll be thrilled to hear from you. Thank you for listening to the podcast. 

With FRANKENSTEIN MEETS THE WOLF MAN (1943) Universal’s monster films took off in a radical and cinema altering direction. For the first time the studio combined characters from two different series into one new story regardless of the things that have to be ignored to make this work. In what decade are we supposed to think this movie is happening? It’s a sequel to THE WOLF MAN (1941) which took place firmly in the 1940’s but it’s also a sequel to THE GHOST OF FRANKENSTEIN (1942) which seemed to be happening in the early 1900’s. And dialog clearly states here that four years have passed since Larry Talbot was killed by his father, so mid-1940’s would seem to be accurate. But everything feels like WWI never occurred and certainly like WWII wasn’t a factor in anyone’s thinking. Welcome to the alternative world of Universal Land where several European decades are mashed together with bits taken from any time and place to create a habitat where monsters can come together to work toward shared goals. And then try to kill each other! 

We plunge immediately into our long-awaited discussion of this classic, pulling on every loose plot string we can find and marveling at the bizarre changes from the previous movies. Was the last film’s finale set in a modern hospital or an ancient ancestral castle? Who cares! We just need to get a massive amount of dynamite into the hands of the local hot-headed pub owner so we can drown everyone and a castle looks much cooler being ripped apart by water. Fire last time so water this time! How did they never end one of these movies using an earthquake? It seems like the obvious next step. And then a tornado. But, I digress.

  In just under two hours we talk about the fine cast, the wonderful atmosphere, the decision to edit out all of Bela Lugosi’s dialog and some subtle moments that are often overlooked even by fans. To us it seems clear that the written work of Doctor Frankenstein must be destroyed if for no other reason that it has the power to turn even most mild-mannered physician into a mad scientist. I mean, damn! Has there ever been a faster turn to the dark side than Dr. Mannering? Were there any warning signs at all?

  We hope you enjoy the show and thebloodypit@gmail.com is how we can be contacted. The next film in this series is another Sherlock adventure and we’ll have a new NaschyCast episode up soon too. Thanks for listening. 

  EVILSPEAK (1981) is an independently made supernatural tale of teenage bullies and the righteous revenge eventually visited upon them. It introduces us to poor charity case Stanley Coopersmith (the great Clint Howard) attending a California military academy where he is the target of verbal and physical abuse from most of his classmates. Oddly, he is also insulted and demeaned by the faculty as if he is somehow repulsive to their vision of who should be allowed in this school. What is a miserable misfit to do? Of course, any and all similarities to CARRIE (1976) are completely on purpose. But is it any good?

  John Hudson makes his case for this often-maligned horror movie with more than a little pushback from the rest of us. We all agree that the film is character actor heaven with R. G. Armstrong, Richard Moll, Claude Earl Jones, Charles Tyner, Joe Cortese and Hamilton Camp lending their skills to the slow destruction of Clint Howard’s sad loser, Coopersmith. But the film has a number of points of interest beyond the cast. For cinephiles curious about movies that present early 80’s computers being used to accidentally invoke a centuries dead Spanish Satanic monk so that hell on earth can be unleashed – this is your film! If you have ever wondered what an attack of satanic pigs erupting from the netherworld would look like – this is your film! If the sight of a sweaty Clint Howard makes you happy – this is your film! If you are working your way through a list of the British Video Nasties – this is one you have to see. And if you are curious to see what one million dollars and a three-week shooting schedule can give you in 1981 – here you are! We can’t promise a smooth ride or that you won’t spot the flying-harness wires but we do all agree that the pig and sword violence infused finale is well worth seeing. It’s debatable that this is good, but it certainly is EVILSPEAK good!

  If you have any comments or concerns for our sanity thebloodypit@gmail.com is the address. Let know what you think! We’ll veer back into covering European films shot in America next time out. 

  Beth has chosen these two as representative of the scary end of the classic radio format featuring the great detective. The first is from the 1940’s and is titles The Adventure of the Carpathian Horror so you know it’s going to be fun – with a splash of vampires! It has Nigel Bruce continuing his run as Dr. Watson and Tom Conway taking over from Basil Rathbone as Holmes. The second features Kevin McCarthy in the role for the CBS Mystery Theater and was originally broadcast in 1977. I think it is a solid version of that tale of a spectral hound! You know – the one that haunts the Baskervilles. I’ve edited out most of the commercials from the show but I left in one to give you a taste of what radio sounded like in the late 1970’s. Forgive me!

  If you have any comments or suggestions thebloodypit@gmail.com is the address to which you can send them. We’d be glad to hear from you! 

SHERLOCK HOLMES AND THE SECRET WEAPON (1943) is - as you might have guessed – another World War II tale full of intrigue and subterfuge. The story allows spy-master Holmes the chance for a few interesting disguises and the opportunity to match wits with his long-time rival Professor Moriarty! It seems that the Napoleon of Crime has hatched a plan to profit from the war regardless of the damage it will do to good old England. Is there nothing that villainous snake won’t get up to in his quest for monetary gain? Surely it is time to put an end to his nefarious plots. 

We dig into the film to examine the success the studio had converting the Victorian detective to a soldier in the fight against the Nazi. I have been reading two books that focus in different ways on this series and use them to broaden our discussion a bit. Amanda Field’s ‘England’s Secret Weapon’ is especially interesting, pointing us toward several topics that lurk under the surface of these fast, entertaining movies. We are repeatedly brought back to how fascinating it is to watch these movies with the knowledge that the filmmakers had no way to know how this devastating war would turn out or how dark the future might be. Of course, that doesn’t keep us from babbling praise for the fine actors including our last chance to see Basil Rathbone and Lionel Atwill paired together onscreen. What we wouldn’t give to have seen many more.  As you might expect, our love for the movie doesn’t keep us from cracking a few jokes including our alternate title of SHERLOCK HOLMES AND THE DANGEROUS PUB CRAWL. When you go hunting for Moriarty in London during the Blitz you end up doing some risky things! Thank goodness for Watson. 

If you have any Holmesian comments or suggestions thebloodypit@gmail.com is the place to send them. 

We dig into Bob’s inspiration for the film’s story including his childhood monster fandom and his dreams as a young director. The production of FRANKENSTEIN AND ME is examined as well as the original version of the story and the freewheeling times in which an independent Canadian film like this could come together. We talk about the great cast that includes Burt Reynolds, Louise Fletcher and the first film role for a teenaged Ryan Gosling. The conversation turns into what you might find after hours in the bar at a monster movie convention with topics such as Robert McCammon’s novel ‘Boy’s Life’, the writing skill of Peter Straub and the joys of comic books as a medium. We dart off onto several barely related tangents with one of the most satisfying being our mutual love of the DVD of Monster Kid Home Movies put together by the great Joe Busam.  That collection of Super 8 homemade films of Monster Kids showcasing the mad energy of the childhood creative impulse shows the clear beginnings of Bob Tinnell’s path to this film. And finally, we discuss the fact that the film has never been released on DVD or Blu-Ray and the possibilities of that happening one day soon.

  If you have any questions or comments thebloodypit@gmail.com is the place to send them. We’ll be thrilled to hear from you. Thanks for listening to the show! 

We start by relating our history with WILD, WILD PLAMET (1966) and first impressions from our younger days. After some fumbling with the titles of the other three Gamma One films, we talk about the relative merits of the various Antonio Margheriti science fiction films and even loop in THE GREEN SLIME. Part of the discussions revolves around the character stereotypes that the film uses and what they represent both as tropes and storytelling shortcuts. Mark makes note of a 1960’s German television series (Raumpatrouille – Die phantastischen Abenteuer des Raumschiffes Orion - literal translation: “Space Patrol – The Fantastic Adventures of the Spaceship Orion”) that reminds him of some of the better attributes of space opera stories and this film too. I have to find English subtitled versions of that show!

  The film’s strong body horror elements are put under the microscope as we relate it to the public fascination with the then emergent field of organ transplantation. This leads us into dissections of several of the special effects and especially the variable quality of the miniatures. Fire gives the game away nearly every time! And then we point out the several threads the movie leaves dangling including the fate of the room of mad scientist experimental mistakes. Were they drowned in the blood flood? We may never know. 

If you have any questions or comments thebloodypit@gmail.com is the podcast’s email address. Thank you for listening! 

Mark Maddox joins me to dig into our mutual fascination with this much criticized epic of American madness and wartime paranoia. Told before production that they should make a serious World War II film on the subject instead of a comedy, Spielberg and his team forged ahead with their warped vision of post-Pearl Harbor attack fears. It’s an ambitious tale with dozens of characters and multiple storylines that slowly escalates into a long December night of chaos and violence. I’m sure that a serious movie about this historical incident could be made but I’m so glad that this farce exists in its place. 1941 is one of my favorite comedies of all time and I never cease to laugh at the insanity every time I watch it. 

Using the sprawling template of IT’S A MAD, MAD, MAD, MAD WORLD (1964) we are given a scenario ripe with potential sparks while the plot scatters metaphorical open barrels of gasoline around to how they explode in flames. Combining oddball comedic characters with characters that are taking the spiraling events seriously keeps the entire affair grounded enough to seem believable and suspenseful enough to be thrilling. The nutty folks’ antics never overpower the forward momentum of the wild story even in the extended version of the film that Mark and I discuss. We talk about our first encounters with the film, its effect on us at the time and how popular opinion of it has changed over the years. We dig into the huge cast of amazing actors and debate some of the performances. The topic of the John Williams score is broached with a snippet or two of the music inserted into the show and we marvel at the amazing miniature work in the film’s climax. We do get off-track at least once trying to decide what Spielberg’s worst movie might be. As usual, Mark is wrong! 

If you know which Spielberg film is the weakest the email address is thebloodypit@gmail.com where we’d love to hear from you. And if you think Mark and I should just bash in each other’s heads and call it a day – let us know that too! Thanks for listening to the show. 

NIGHT MONSTER (1942) has two ‘horror stars’ first billed in the credits – Bela Lugosi and Lionel Atwill – leading first time viewers to expect them to feature heavily in the scary tale being told. But both actors are relegated to supporting roles which gives unexpected players the chance to step forward and take the position of possible villain. This sidelining of Lugosi and Atwill has been cited for years as the reason this is less well known than it might otherwise be, but I would argue the opposite should be true. By allowing actors not usually associated with the genre to step forward and take on the prime roles NIGHT MONSTER becomes a rare thing in Universal’s horror output on the 40’s – a real mystery! And, to make it more impressive, the film attempts to create an entirely new screen monster that the studio could have used in the future. That the choice was made to continue producing Frankenstein, Dracula and Mummy sequels probably speaks more to making safe money decisions than to a desire for new, creative monsters and that is a shame. 

We enthusiastically dive into this film asking all the usual questions horror movie fans have posited for decades. We don’t have all the answers but we do have some solid speculation and a few guesses. We remark on the casting choices including having a female doctor play such a prominent role. The treatment of Hindu mysticism in the story without the expected condescension for such ‘foreign’ religions is surprising, as is the relatively adult tone of the entire affair. The film strikes a more modern attitude in several ways even if it still seems to take place in a time oddly unaware of the then current war. We also note that the film seems to drop at least one character (Lugosi’s!) from the finale without ever letting us know if he was complicit in the crimes taking place in and around the crazy old dark house. The oddest point in the show might be when I conjure a fictious Three Dog Night song out of thin air leaving only a little blood on the floor! 

If you have any comments or questions about the show thebloodypit@gmail.com is the email account and we’d love to hear from you. Thank you for listening to the show! 

Directed by Sergio Martino, AMERICAN RICKSHAW (1989) surely would not be nearly as entertaining or as coherent if it had been handled by someone with less experience behind the camera. Juggling enough disparate elements for two movies Martino somehow makes it all come together in a mad mishmash of sex criminals, televangelists, magical fires, mysterious ladies and the stolen pig idol that starts the whole crazed affair. Along the way we are witness to Donald Pleasence drifting in and out of a Southern American accent which might be worth the price of the Blu-Ray all on its own. Our hero is played by Olympian Mitch Gaylord and, for some reason, his performance gets better the more unshaven and sweatier he becomes. Maybe desperation breeds more believable acting in professional athletes?

Our conversation meanders all over the film and its various strange elements as we attempt to come to grips with the way that the plot is both insane and – eventually – straightforward. Of course, it is impossible from the start to realize that this tale of a poor college student working as a rickshaw driver in Miami will transform into the endgame of a decades long mystic war between rival sorcerers so I think it is understandable that we can’t maintain a straight-line plot discussion. In fact, it might just be impossible to talk about AMERICAN RICKSHAW in a completely linear fashion. There are simply too many things going on all at the same time! Luckily, I think we only lose track of what we’re doing a couple of times with the worst moment being when we are nearly derailed by tales of small-town strip clubs. And Hudson is still obsessed with transparent simians. Of course.

If you have any comments or questions thebloodypit@gmail.com is the email address where notes or recordings can be sent. Thank you for listening to the show and please let others know if you enjoy what we do here.

  THE MUMMY’S TOMB (1942) has always been the film in this series that is the easiest to dump on. It begins with almost ten minutes of flashback footage from the previous movie THE MUMMY’S HAND (1940) and with a running time that barely breaks the one-hour mark it is one of the shortest features Universal ever released. Add to the film’s perceived crimes the decision to advance the story thirty years and bump off the first film’s cast and you have the foundation of decades of fan sneering. But is this film truly as bereft of horror thrills or as ridiculous as the carping has claimed? A deeper look may reveal some hidden qualities. 

In this episode Troy and I follow Kharis through his change of actor and his change of address to Middleton, USA as the undead Egyptian monster stalks those who dared to violate the tomb of Ananka. We talk about the addition of Lon Chaney to the cast, the mysterious survival of the previous film’s High Priest and the fact that the 1970’s look a lot like the 1940’s. We use Thomas Feramisco’s book The Mummy Unwrapped to explore the alterations made from script to screen complete with the details of a few choice bits that should have been left in the film. I lay out my preferred version of this story and we discuss how some of the changes make for a less involving return for the characters. I think longtime listeners will be shocked by our final assessment of this entry as well as our ratings near the end. 

We are joined by Beth in the final show segment for some feedback about our recent Sherlock Holmes episodes. It seems that some radio shows are not so accurate in their geological descriptions of England! And then we wrap the episode with a song from Nashville’s amazing punk band Peachy, giving us a blast of rock coolness for the summer.