The Friday Night Horror Movie: Vengeance of the Zombies (1973)

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As it is Foreign Film February, I wanted to do a non-English language film for my Friday Night Horror flick. It has also been a long day, so I grabbed the thing closest to me, which was my Paul Naschy boxed set. There are five films in that set, and I hope to watch and review them all over the next couple of months. I love the idea of reviewing all the DVDs I own, but that is a monumental task.

Vengeance of the Zombies is an absolutely bonkers film. In the booklet that came with this set, Naschy (who wrote the film) is quoted as having probably been on hashish when he sat down at his typewriter. That definitely checks out.

It also checks out that this was a chepie exploitation flick. Technically there is a plot, but it is so haphazardly put together it is impossible to make sense of.  

Someone is killing a bunch of women in London. Then someone else, a voodoo priest named Kantanka (Paul Naschy), is bringing them back to life as part of his zombie horde.  Naschy also plays Krisna an East Indian mystic.

Elvire Irving (Romy) thinks Krisna is one cool cat and follows him to his big mansion out in the country. The big mansion was once the home of an evil family who were eventually murdered and hung upon the trees in the yard.

There are a lot of dream sequences where Kantanka and some other foul faced fiends attack Elvire. In one particularly groovy dream sequence, Paul Naschy plays Satan, to whom various others make sacrifices.  Another sequence (which may or may not be a dream; it is difficult to tell), a lady wearing a big box painted like a man’s face dances around while Kantanka pours blood onto corpses to turn them alive.  Or something.

Scotland Yard gets involved but is mostly useless. 

Seriously, I just watched this film, and I’m having a hard time remembering anything about the actual plot.

There is lots of murdering. Plenty of ladies wearing sheer nightgowns. And loads of gratuitous sex.

I do love the sex scenes in these types of films. During one scene, the housekeeper is upset over something. Krisna tells her everything is going to be ok. Then he looks at her, the music starts up, and he then pulls down the covers, pulls down her top, and gropes her breasts three times. She then sits up and passionately kisses him.

In another scene, Elvire goes into a barn only to find a woman with her head nearly chopped off. Then she is attacked by a dude with a scythe. Krisna jumps in and saves the day. They then go to the house, where she tells him that he should call the cops. He brusquely says “no” to which she responds by making out with him.

I’ve been doing my seduction techniques all wrong, I guess.

The music is a wild mix of popular rock and funk. It is so crazily inappropriate for most of what’s happening on screen.

This is a ridiculously bad film in every imaginable way. But it’s also a lot of fun to watch. It is the kind of film you want to watch late at night with a group of friends while getting loaded. Check your brain at the door and get ready for ridiculousness.

Foreign Film February: Five Deadly Venoms (1978)

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Welcome back to Foreign Film February. This is one of my longest-running movie themes. I think it is second only to 31 Days of Horror,in terms of longevity. I’ve been doing it since February 2022.

It is the 6th of February, and this is my first post to Foreign Film February, which feels a little late, but also reminds me of how much I’ve been stepping back from my movie themes.  My original theme month was 31 Days of Horror, and I initially tried to write about one movie per day. But that is difficult, and all my other themes quickly became less than that. 

Still, I always tried to write as many posts as I could with each theme.  Some did better than others. But now I write a Friday Night Horror column, and a Pick of the Week, plus I do Five Cool Things every other week, and I’ve been writing a lot of reviews for Cinema Sentries. None of that is going to stop, and so there is a realization that I won’t be writing as many posts about each month’s theme. I’ll still try to do a theme each month; just don’t expect so many posts.

I thought I’d start this month’s FFF with something fun. I’ve written about the Shaw Brothers films numerous times, and I am a big fan of the studio’s kung fu output. This film comes from Arrow Video’s first big boxed set of Shaw Brothers films and is one of their most popular films.

Five Deadly Venoms is a clear favorite of Quentin Tarantino’s. It likely influenced the fictional TV show that Mia Wallace from Pulp Fiction starred in, The Deadly Viper Squad, and certainly influenced the Kill Bill films (there is a fan theory that the events of Kill Bill are actually part of that series, which makes it all a fictional TV series within the real Pulp Fiction universe, but I digress.)

It is a strange film within the Shaw Brothers filmography, as it relies more on story than most, with the action sequences taking a bit of a back seat. At the heart of the film is a mystery, or rather multiple mysteries, as we’ll see.

It begins with the dying master of the Five Deadly Vipers clan sending his last pupil, Yang Tieh (Chiang Sheng), on a mission to stop the other clan members dead in their tracks. The Vipers, it seems, have been up to no good; they have become an evil clan. It is unclear whether the master set them up this way (probably) and now that he’s dying he wants to set things right, or if they went wrong somewhere along the way.

Either way, Yang Tieg is now charged with finding them and stopping them from getting some mysterious treasure. Finding that treasure and giving it to charity will put karma on his side.

The trouble is each of the five clan members (and the dude who has the treasure) is a mystery. When they left the master’s teachings, they took on new identities. 

They are all likely in one village where the treasure should also be. When Yang Tieg arrives in that village, he finds a family has been brutally murdered. The treasure may have been stolen from them.

So, Yang Tieg must find the treasure and figure out who each of the five clan members are. The five clan members are all trying to find the treasure. And now the police have a murder to solve. 

I’m not against convoluted mysteries, but this one stays confusing and not all that interesting. The script never leans into one of them. Instead we wander from one clan member to the next, and then hang out with the governor and the police trying to solve the murder.

What is cool about this movie is those five clan members – the Five Deadly Venoms—follow a specific style of fighting:  Centipede, Snake, Scorpion, Lizard, and Toad. The clan master introduces them early in the film.  Each of them wears totally rad masks and demonstrates their fighting style (Centipede is so fast with his arms it looks like 1,000 punches come at you at once – Snake crawls on the ground, etc.). Each fighter fights like his namesake. 

That stuff is so much fun. Unfortunately, because each clan member is hiding from the other, they hardly wear their masks, and they rarely use their special techniques. This film would be 1,000 times cooler if it was just Yang Tieh discovering each of the Vipers one by one and fighting them in their full regalia.

There are moments of interest throughout. At one point the evil governor puts one of the Vipers into an Iron Maiden like device with a thousand nails that is suppossed to find his one weak spot. Another guy gets a thin knife stuck into his brain through his nose.

But mostly we get a convoluted mystery. The finale does give us some cool fighting, and that is worth the price of admission. But it sure is a slog getting there.

The Sin of Nora Moran (1933)

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I love it when a low-budget film that should have been forgotten about weeks after its release and completely forgotten by time manages to do something completely different and become a classic. Remembered nearly one hundred years after it was released.

The Sin of Nora Moran was a poverty row drama whose story was a dime-a-dozen, but they did something in the editing room that made it interesting and different, and here we are with a new Blu-ray release of it in 2026. You can read my full review at Cinema Sentries.

James Stewart Collection

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James Stewart is one of my favorite classic actors. He made a ton of great movies and is always good in them. I recently reviewed a boxed set of four of his films – The Naked Spur, The Shop Around the Corner, How the West Was Won, and The Mortal Storm – for Cinema Sentries. It is a great set and I mostly loved the movie. You can read the full review here.

Fackham Hall (2025)

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Don’t tell anyone, but sometimes I request review copies just for my wife. I’m on record as stating I’m weird about comedies. I don’t like movies or shows that are just joke factories. I want a story and characters first and then jokes.

But she’s a fan of silliness, and she had mentioned wanting to see this film, so when I got offered a Blu-ray, I took it. 

It took me a little while to warm up to Fackham Hall, but once I got into its groove, I found it to be very funny. You can read my full review at Cinema Sentries.

The Movie Journal: January 2026

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I watched 41 movies in January. 34 of them were new to me. 18 of them were made before I was born. I completely failed at my new theme – New Year, New You. I watched a few films that could be categorized as that, but I only wrote about three of them. I really am going to have to just stick to genres or decades for my themes.

It is always exciting to me to come into a new year with my movie journals. Every January I reset everything. I start fresh with my most-watched actor and director lists. It feels like I can just watch whatever I want.

I always enjoy watching those lists slowly solidify as the months roll on.

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For my most-watched actors category, James Stewart has taken the lead. I got a four-film boxed set of his films to review this past month, putting him in first place. Paul Walter Hauser is a guy I’d never heard of until a few months ago when I watched him in a TV series called Blackbird. Now I keep finding him in all sorts of things.

I’ve apparently not watched any director for more than a single film, so that list doesn’t even exist yet.

Favorite new to me films I watched in January include Send Help, The Shop Around the Corner, The Vast of Night, Sleeping Car to Trieste, 28 Years Later: The Bone Temple, and Barry Lyndon.

Here’s the ful list.

The Naked Spur (1953) ****1/2
Fackham Hall (2025) ****
Send Help (2026) ****
How the West Was Won (1962) ***1/2
The Mortal Storm (1940) ****
The Shop Around the Corner (1940) ****
Black Phone 2 (2025) ***
Manpower (1941) ***
The Verdict (1946) ***1/2
Relay (2024) ***1/2
The Fantastic 4: First Steps (2025) ***
The Lord of the Rings: The Fellowship of the Ring (2001) ****1/2 Catherine Called Birdy (2022) ***1/2
The Vast of Night (2019) ****
Operation Amsterdam (1959) ***
Death Is a Caress (1949) ***
Sleeping Car to Trieste (1948) ****
The Man on the Eiffel Tower (1949) ****
Wrong Turn (2003) *
Good Boy (2025) ***
Death on the Nile (1978) ****
Americana (2023) ***
Doctor Who: The Power of the Daleks (1966) ***1/2
28 Years Later: The Bone Temple (2026) ****
Deadline at Dawn (1946) ***
Alice Doesn’t Live Here Anymore (1974) ****
The Sign of Four (1983) ***
Horror Rises from the Tomb (1973) ***1/2
Blood for Dust (2023) ***1/2
Murder on the Blackpool Express (2017) **1/2
Barry Lyndon (1975) ****1/2
Illustrious Corpses (1976) ****
Evil Under the Sun (1982) ****
What’s Up, Doc? (1972) ****
Cronos (1992) ****
Girl with Hyacinths (1950) ****1/2
The Naked Gun (2025) ***1/2
Boogie Nights (1997) ****
Lost in America (1985) ****
Dr. Jekyll & Sister Hyde (1971) ***1/2
Catch Me If You Can (2002) ****

Exorcismo: Defying a Dictator & Raising Hell in Post-Franco Spain is the Pick of the Week

During Franco’s reign of Spain from 1939 to 1975, the government controlled all forms of artistic expression. After his death, movies once again began to express themselves as their creators desired. Artistic expression was political freedom. These films, which were suddenly able to explore sexuality, violence, and horror in ways that had been censored for decades, became a kind of cultural exorcism.

Severin Films is now releasing 19 of those films in a boxed set they are calling Exorcismo: Defying a Dictator & Raising Hell in Post-Franco Spain. I’ve not heard of any of these films, and my film knowledge is severely lacking in all Spanish cinema, but this sounds like a marvelous place to start. I’m happy to make this set my pick of the week.

Also out that looks interesting:

Keeper: Osgood Perkins’ latest has gotten very mixed reviews, but I always find his films at least interesting. Tatiana Maslany stars as a woman left alone in an isolated cabin only to discover an unspeakable evil.

3:10 to Yuma: Criterion is giving this classic western starring Glenn Ford and Van Heflin about a mild-mannered rancher who is tasked with shepherding an outlaw back to prison the UHD treatment.

Friday the 13th (2009): Arrow Video is giving this terrible remake their special treatment.

The Verdict (1946)

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Peter Greenstreet and Peter Lorre starred in nine films together including two absolute bangers – The Maltese Falcon and Casablanca. The Verdict was their final collaboration, and sadly it isn’t great. But it isn’t terrible and it was the first film ever directed by Don Siegel so it has that going for it. You can read my full review here.

The Friday Night Horror Movie: Black Phone 2 (2025)

When I first began writing these Friday Night Horror columns, back in 2022, I didn’t really write full reviews of the films. They really were Friday night movies. After supper, me and the family would go upstairs to my bedroom and watch a Doctor Who episode, and then I’d write my Five Cool Things column (which was published on Fridays back then), and then I’d start watching a horror movie. But by then it was usually pretty late. Many times I’d actually fall asleep on the couch before I’d finished the movie. Even if I did make it to the end, it would be way too late for me to be able to write a full review.  So usually, somewhere in the middle of the film, I’d dash off my column with promises to write my full thoughts the next morning (usually this didn’t happen.)

At some point my daughter got older and started having friends over on Friday nights (or she’d go to their house), and the Doctor Who watching kind of stopped. Then I stopped writing Five Cool Things on Fridays, and suddenly I had a lot more free time to start my weekend. Truth be told, I often watch my horror movies on Friday afternoons. 

Short thoughts on movies I hadn’t even finished became full-on reviews, and here we are. I say all this to admit one thing: I can barely remember watching Black Phone (2021). When trailers started dropping for Black Phone 2, I remembered I had seen the first one, but I couldn’t remember anything about it. I was pretty sure I had written about it, so I searched my site hoping to find a review to refresh my memory. I found my Friday Night Horror column on it, but then had to face the fact that it was written at that time when I wasn’t writing full reviews. And in the case of this movie, I was so spoiler-avoidant I hardly said anything about the plot.

I started to watch it again because I wasn’t interested in the sequel, but I’ve got a stack of Blu-rays on my desk that need watching (and reviewing), so I didn’t feel like I had time.  So I watched a couple of trailers and refreshed myself with the basic premise of the films and sat down with the sequel. 

Black Phone 2 takes place four years after the original film. The hero of that film, Finney Black (Mason Thames), the only survivor of the Grabber’s (Ethan Hawke) reign as a serial killer, is haunted by his experience.  His sister Gwen (Madeleine McGraw), who helped find Finn when he was trapped in the Grabber’s basement, is now haunted by  nightmares featuring young boys being murdered at the Alpine Lake Christian Camp. When she receives a phone call from her dead mother and discovers that she once worked at Alpine Lake, she convinces Finn and her friend Ernesto (Miguel Mora) – whose brother was killed by the Grabber – to visit Alpine Lake and investigate.

They tell the camp they are interested in becoming counselors in training. The camp agrees, but by the time they arrive, a great blizzard has rolled in. Most of the staff went home to stay out of the storm, and none of the other counselors (or campers) have arrived.  This leaves our heroes alone with Armondo (Demián Bichir) the camp supervisor; Mustang (Arianna Rivas), Armondo’s niece and assistant; and Barbara (Maev Beaty) and Kenneth (Graham Abbey) two employees of the camp and staunch Christians. 

As someone who grew up in a conservative Christian environment and who attended a Christian summer camp for several years, I have a little complaint to make. Our heroes – two boys and a girl – arrive at this camp in the midst of a terrible storm in the middle of the night. They are greeted rather coldly and then immediately separated – boys in one cabin, Gwen in another. When Gwen asks about this arrangement, not wanting to be left alone in this strange place in the middle of a storm, she’s told by Mustang that there is a law against underage boys and girls sleeping in the same cabin. Furthermore, while Mustang would like to stay with Gwen, she also is not allowed by law because she is not a licensed counselor. 

What the what? I’ve been to numerous Christian camps and retreats, and while it is true they don’t allow boys and girls to bunk in the same house as each other, it isn’t because of some law but rather because they fear the sexy. Boys and girls can’t be trusted with their lust and therefore must be separated. Even if it is in the middle of the night, in a strange place, and there is a scary snowstorm.  Even if one of the boys is the girl’s brother. And almost every adult I’ve ever known in this situation would absolutely let Gwen either stay with her brother or with them. No way are they making her sleep by herself.

But I digress.

Gwen continues to have dreams. A payphone (for some reason located outside by itself, very near a frozen lake) starts ringing even though it is disconnected. Finn answers it and discovers the Grabber isn’t dead, and he’s ready for his revenge.

Armondo is suspicious these kids aren’t really the Christian camp counselor type (Gwen’s hilariously foul mouth tips him off), and soon enough they confess to him why they are really there. He remembers the mother and agrees to help.

Gwen’s nightmares were shot using Super 8 and Super 16 cameras, which give it a wonderfully gritty and old look. Unfortunately, they are mostly gore-filled jump scares that didn’t do anything for me. The rest of the film didn’t fare much better.

My (admittedly vague) memory of the first film is that it was very tense and thrilling. The sequel has none of that. They don’t attempt to add anything to the lore. They don’t try and explain how the Grabber is still alive. He’s come from hell, I guess. They do some variations on his creepy mask, which is kind of cool, but he isn’t terrifying here. 

I didn’t hate the film. There are moments that are interesting. I do appreciate that they tried to go in a different direction instead of imitating the original, but they missed the goal line.

The Sunday Woman (1975)

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I feel like I grouse a little too much about not having much of a readership. In truth, it isn’t that big of a deal. Sure, I wish more people read my stuff, but I’m not actually trying all that hard to gain a readership. I write because I like to write.

But I also realize that I tend to write about relatively obscure stuff. I don’t go to the movies every week and catch the hot movies. I don’t even tend to watch them at home and write about them. I watch stuff like this – an obscure Italian murder mystery that wasn’t likely known in the US when it came out, much less 50 years later.

Sometimes I tell myself to write about new things, or at least popular ones, but I can’t help myself. I watch what I like, and I write about that.

Oh well. This film may be obscure, it is certainly strange, but it was also pretty good. You can read my full review here.