Three previously published Teleport City reviews have been revised and spruced up with brand new, larger screencaps.
Much of Dagon‘s running time is comprised of Paul’s desperate flight through the seemingly inescapable labyrinth of the crumbling village, mobs of bug-eyed, tentacled creatures always close behind. Most of this sticks pretty close to The Shadow Over Innsmouth. While it changes the motivation for arriving in the decrepit old village (a ship wreck instead of general curiosity) and the location of the village (somewhere along the coast of Spain instead of somewhere along the coast of New England), and adds a girlfriend into the mix, once arrived in town the action is more or less the same.
|Count Yorga, Vampire
Despite erroneous claims that this was originally going to be a porno film, I assume The Loves of Count Iorga, Vampire would have ended up looking like Hammer’s saucier 70s vampire fare like Twins of Evil and Vampire Lovers. It wouldn’t have harmed the film any to indulge in a little sexy, but ultimately I think it works pretty well in the final form as a very low-key, slow-moving, but hypnotic study of a jaded vampire that doesn’t lapse into either self-indulgent pity or over-obvious satire.
Much is made about the inherent unfilmable nature of most of Lovecraft’s stories, though I think to some degree this is overstated. The number one stumbling block is always the question of how you depict nightmares so foul that they become incomprehensible, or how you create a color that does not exist in our universe, or a structure with geometry that does not adhere to the laws of physics as define our space.
Three old reviews have been saved from the rubbish bin in which they mistakenly got thrown.
|Face of Eve
If jungle adventure movies have taught us anything, it’s that modern man, with all his so-called “refinement” and “civilization”, is the most dangerous animal of all. Whatever perils the jungle may hold, it is those city folk — greedy, thoughtless, and cruel — who step within its borders who pose the greatest threat. Even though those city folk ultimately fall prey to quicksand, cannibals, and hungry wild animals.
|Creature of Destruction
“There is no monster in the world so treacherous as man.” So we are reminded at the beginning of Larry Buchanan’s Creature of Destruction and, just in case we forgot, at the end of the film as well. I like a film with a message, but the message is considerably less interesting if the film has to print it out for you. But hey – at least the guy was trying, which is more than can be said for most films.
|Murders in the Rue Morgue
Murders in the Rue Morgue is also a good example of how important Vincent Price was to the success of these films. His special talent was making bad movies good, and making boring scenes interesting simply because he’s so much fun to watch. Even The Oblong Box, which is heavy on Price sitting there and talking, is made more enjoyable simply by virtue of the fact that Price is doing the talking.