31 Days of Horror: The Return of Dr. X (1939)

the return of dr x

One of the things I enjoy about watching old movies is being able to chart the rise (and sometimes fall) of some of my favorite stars. You can, of course, do that with modern stars, but you never know where they will wind up. With classic movie stars, you get the entire picture.

Humphrey Bogart is my all-time favorite actor. He stars in my all-time favorite movie, Casablanca, and a slew of other great films including The Big Sleep, The Maltese Falcon, Key Largo, The African Queen, and many more. For much of his career, he was one of the biggest stars in Hollywood.

But of course, he wasn’t always a star. While he became famous for playing roles in which he was something of a reluctant hero, in his early films he often played the heavy – gangsters and bad men. He was good at it too. I sometimes wonder where his career would have taken him if he’d never become the big star.

The Return of Doctor X was made towards the end of his gangster period and just two years before becoming a huge star with The Maltese Falcon in 1941.

Reportedly Bogart hated the film and refused to talk about it in interviews. I can kind of see why. It isn’t a good film. It is the only horror movie he ever made and it is decidedly different from anything else in his filmography.

But, it isn’t that bad. It is kind of fun, actually. And Bogart is terrific.

It is supposedly a sequel to Doctor X, a film we’ll talk about in a few days, but really it has nothing to do with that earlier movie.

Several people have recently been murdered and completely drained of their Type One blood. Ace reporter Walter Garrett (Wayne Morris) is on the case. His investigation leads him to Dr. Flegg (John Litel) who, as it turns out, has created a synthetic blood that he has used to bring life back to the dead.

For his first patient, he grabs a recently executed man, Dr. Maurice Xavier (Bogart, naturally), fake buries him, and brings him back to life. Then forces him to act as his assistant. Trouble is the synthetic blood doesn’t replicate itself and so Xavier must murder (and presumably drink, or inject) the victim’s blood in order to stay alive.

Bogart, sporting slicked-back black hair with a shock of white in it, is utterly creepy as Dr. X. His skin is made to look pale and his eyes are sunk in as to make him the living dead and he plays it like a man half-dead.

The story is very silly, and it plays up the comedy angle, with the reporter being a bit of a ham. It isn’t at all scary, nor actually very good, but there is a goofiness to it that I found enjoyable and Bogart really is quite good. So, not the film I’d point anyone toward to discover why Bogart is my favorite actor, but certainly one worth watching if you are a fan.

31 Days of Horror: Urban Legend (1998)

urban legend movie

By the early 1990s, the slasher was dead. Or at least bankrupt. There were no new ideas and fans had stopped watching them. Then came Scream. Wes Craven and screenwriter Kevin Williamson turned the slasher upside down and made it self-aware. I loved it. Lots of people loved it. It was a huge hit. Like a lot of huge hits, imitators followed.

Unfortunately, most of these films missed out on what made Scream so good. Mainly a self-aware, clever script, and genuine thrills. The imitators copied the up-and-coming cast from hip TV shows, a hip soundtrack featuring up-and-coming alternative rock bands, and lots of (not too gory) violence.

Urban Legend poses the idea of what would happen if a serial killer used actual urban legends as his/her inspiration? Which is both an utterly stupid and kind of amazing idea for a horror film.

I’m not by any means an expert on urban legends so take this thought with a grain of salt, but it does feel like the late 1990s were a real hotspot for urban legends. The Internet had just taken off in a very big way which allowed urban legends to flourish like never before, but we weren’t so internet savvy (or cynical) as to easily debunk them. So, the idea of using urban legends for your slasher movie makes sense.

The movie is bad though.

It is set at a fictional New England university that is populated by beautiful, hip, kids who get picked off one by one in not all that interesting ways.

Our hero is Natalie Simon (Alicia Witt) a sweet, sincere, student who is very upset over the news that a student was recently decapitated in her car (that’s the legend where a creepy dude (the always great Brad Dourif) freaks a girl out while trying to warn her that there is a killer in the backseat).

Jerod Leto is the school newspaper reporter who knows all about urban legends and is obsessed with scoops. Rebecca Gayheart is the best friend, Tara Reid is the party girl who hosts a sexy call-in radio show, and Loretta Devine in the sassy security guard.

Oh, and Robert Englund is the professor who specializes in urban legends because that’s a thing.

Some of the urban legends discussed and used to kill people include the don’t flash your lights at another car who doesn’t have their headlights on legend, the aren’t you glad you didn’t turn on the lights last night because I was secretly killing your roommate in the dark legend, and the don’t drink soda with a mouthful of Poprocks legend (one of these didn’t actually kill anybody).

The kills are all fairly tame. The reveal of the killer is downright awful. Everything in between isn’t all that bad, but neither is it particularly interesting.

31 Days of Horror: Messiah of Evil (1974)

messiah of evil poster

The 1970s were a fascinating time for horror movies. The studio system was dead, and independent cinema was on the rise. The production code was out and the ratings system was in. Sex, nudity, pervasive language, and violence were suddenly not only permissible but encouraged. The real-life horrors of the Vietnam War were all around. Also, Watergate, Nixon, and racial tension pervaded the minds of America. If horror is a reflection of what a culture is going through at any given time, in the 1970s we were going through a lot.

There were tons of great horror movies released in the 1970s – The Exorcist, Halloween, Suspiria, Dawn of the Dead, The Texas Chainsaw Massacre, etc., etc., etc. It was a great decade for horror.

Something I’ve noticed about a lot of horror films from the era is that they often have this gritty, impending sense of dread. Horror movies can be entertaining. Some of them are even fun. But horror in the 1970s was often dreary, filled with a sense of hopelessness and doom. I suppose that is a sign of the times, of all those things I just mentioned – war, politics, struggling for basic rights.

That can make for a great horror film. The Texas Chainsaw Massacre is incredibly bleak, but it is also one of the greatest horror films ever made. But when not done well, that sense of dread can be a real bummer.

Messiah of Evil isn’t a bummer, but it isn’t a lot of fun either. The basic plot – a woman travels to a small seaside town looking for her father only to discover it has been overtaken by cultish cannibals – isn’t particularly clever or all that fleshed out, really. There are long sections that I found to be rather dull.

But there are a couple of terrific set pieces. One in which a woman wanders into a grocery store only to find the customers are all munching on raw meat and then eye her for the next course. Another whereby another woman goes into a deserted theater to watch a film only to have it slowly filled with those crazy cannibals in a manner that eerily resembles a similar scene in The Birds.

There is also some wonderful set work. The father’s house is painted with incredibly detailed, and quite uncanny murals.

But so much of the rest of the film seems to just meander about. The woman, Arletty (Marianne Hill) comes to town looking for her father. She asks about and everybody says they’ve never heard of him, but they all seem to be hiding something. Eventually, she finds some people in a hotel who may know something. But first, they interview an old drunk (Eisha Cook, Jr.). He tells some old stories about weird happenings in the town a hundred years ago. The man (Michael Greer) says he’s interested in old stories, folklore, and the like.

But none of this really goes anywhere. We hear some more about the town and those strange events from 100 years ago. They seem to be happening again, but the film doesn’t explain any of it. I’m okay with a film not explaining every detail about what is happening, but this one only muddies the water in unsatisfying ways.

Thom and his two female companions loaf about in Arletty’s father’s house. The girls becomes jealous of her while he tries to seduce her. Etc. and so forth. It all feels like a lot of padding for those two (admittedly incredibly) set pieces.

It is definitely worth watching for those two scenes, but otherwise it is a bit of a drag.

31 Days of Horror

Just over a year ago, Amazon Drive gave me notice that they were discontinuing their service. That forced me to make a decision I had been pondering for quite some time anyway: should I keep The Midnight Cafe going? Or should I shut it down?

Obviously, I decided to keep it going, but I did make some major changes. I quit doing individual posts for individual shows and started doing one post each day with a link to the downloads via Google Drive. I started writing lots of movie reviews, posting YouTube music videos, linking to cool stuff, and generally turning this site into an old-school blog. Like what I used to write when I first started. I also started making public all of my old non-bootleg-related posts from years ago.

I am genuinely curious as to what everybody thinks of the site, one year later.

But also it is time for 31 Days of Horror again. That was the first major non-bootleg series I did on this site since making this change. I remember having a lot of fun with it and I’m very pleased to be doing it again.

I guess this feels like an anniversary of sorts, and that makes it seem like a time to look back. I don’t have any big thoughts on all of this, except to say I really enjoy writing these movie reviews and talking about things that interest me beyond just posting downloads to live music. I hope you do too.

31 Days of Horror: Halloween Ends (2022)

halloween ends

Somewhere around 2007 or 2008, I started keeping track of all the films I was watching. It was a fun way of remembering what movies I had watched and when I watched them. I’ve since moved all my tracking to my Letterboxd account (which you can view here).

That first year I watched right at 100 movies. That seemed like a decent amount of films to watch, so I decided I would try to watch 100 movies every year. I quickly calculated and decided that I should watch 10 movies a month to meet my goal. Now, I’m bad at math, but I’m not that bad at math – I knew that 10 movies a month times 12 months equaled 120 per year but that was easier than doing the real math (it is 8.3333 movies per month if you really want to know) and 10 is a nice round number so I just went with it. Plus watching 120 movies a year is better than watching 100 movies a year and I was happy to increase my goal.

Ten movies a month is 2-3 movies per week and I worked diligently to meet that goal. Those of you who know me, you’ll know I actually stressed myself out more than once when I didn’t meet that goal. I managed to watch 120 movies or more for most of the years I was tracking it. For those of you keeping count, there were a couple of years in which my wife was in charge of a study abroad program and we spent three months a year living in Europe. I did not meet my goals during those years.

As my daughter got older I started watching more movies. She no longer needed my attention every moment of every day and so when she would play with her toys or whatever, I’d throw on a movie. She also started going to bed earlier and when she’d go down I’d put on another movie. My annual views went up.

Then COVID hit and we stopped going anywhere for a couple of years. I watched movies like a fiend. I’d get off work, spend a little time talking to my family then I’d start a movie. I might finish it, or I might not. Then there would be supper and clean up. Maybe a TV show or a game with the family. Then I’d put on another movie, or finish the one I started. But it was the weekends that made me a true movie addict. I’d watch something after work on Friday. Then I’d watch a horror movie that night, maybe two. Then on Saturdays, I’d watch 3 or 4 or 5. I think 6 was my record. I’d watch 2-4 more on Sunday. I was averaging something like 9 movies a week. Suddenly I was watching some 400 movies a year.

Even now when we are venturing out more on the weekends I’m still averaging about 1 movie per day or more.

Still, I watched a lot of movies this month. Fifty to be exact. Forty-four of these were horror movies. That’s a little crazy.

But I like stats so I’m going to break them down even more.

Twelve of the movies I had seen before. Twenty were made before I was born. The most movies I watched in one day were four. I did that twice. I only went to a movie theater once and that was to watch the original Halloween on the big screen. My final movie this month was indeed Halloween Ends. But it was kind of terrible and I don’t want to talk about it.

Truth is there was a bit of sickness in my family this month which kept us home on a couple of weekends. Also, the budget has been tight of late which kept us home even more. I tend to watch movies when I’m home.

I’ve done 31 Days of Horror for a few years now and I’ve never watched this many horror movies. Usually, I watch maybe 12 or 15 horror movies in October. I had no intention of writing about them every day either. But once I wrote my first 31 Days of Horror post I couldn’t stop. When I start something like that I have this weird need to keep it going. So I kept watching horror movies so that I could keep up with my posting. I’d watch multiple horror movies on the weekend so I could ensure that I’d have movies to write about even if I wasn’t able to watch a full movie on any given weekday.

To tell you the truth I’m kind of tired of watching horror movies

Next month is Noirvember. I’ll do a post about it tomorrow. I do not think that I will watch a film noir every day, nor do I plan to write about them every single day of the month. But I’ve said that before. I’m definitely looking forward to watching something that doesn’t have a lot of blood splatter.

31 Days of Horror: Gremlins (1984)

gremlins poster

I was eight years old in 1984 when Gremlins came out. I saw it at least once in the theater, but I suspect I saw it more than that. Certainly, I remember talking to my friends about it at school and on the playground. We all loved it. Famously it was one of the movies that created the PG-13 rating (the other was Indiana Jones and the Temple of Doom). There is quite a bit of violence in the film including scenes in which Gremlins are pureed in a food processor and blown up in a microwave. Some audience members were disturbed by this, having taken their young children to the movie due to its PG rating. Steven Spielberg who produced this movie and directed Temple of Doom used his clout to suggest a rating between PG and R and thus the PG-13 rating was born.

As kids, of course, it was those very scenes that we loved and were talking about on the playground.

If you haven’t seen it, Gremlins is about how a father buys a cute little furry creature from a mystical old Chinese man (we’re gonna overlook the terrible caricature that trope has always been, but do note I am completely aware of it). for his son Billy (Zach Galligan). Well, technically he buys it from the man’s grandson, but that detail isn’t that important. The creature called a Mogwai and named Gizmo by Billy comes with three rules.

He doesn’t like bright lights, and sunlight will kill him.
Never get him wet.
Never, ever, feed him after midnight.

As a side note, I once bought the woman who would become my wife a stuffed Gizmo but made her recite the rules to me before I would give it to her. She still has it, and pulled him out while watching the movie.

Naturally, all three of these rules will be broken in the course of the movie.

When water is accidentally spilled onto Gizmo he spawns a bunch of other Mogwai. Unlike Gizmo these spawns are more mischievous and malevolent. They trick Billy into feeding them after midnight which metamorphosizes them into larger, nastier creatures with evil intent.

Mayhem and quite a bit of pretty bloody violence ensue.

Director Joe Dante directs Gremlins from a script by Chris Columbus with a wonderful mix of humor and gore. As a kid I loved it. As an adult I still do.

It takes place on Christmas Eve so technically you could call it a Christmas movie rather than a Halloween one, but I’m still counting it for my 31 Days of Horror scoreboard.

31 Days of Horror: Halloween H20: 20 Years Later (1998)

summer of sam poster

I’ve talked quite a bit about how I grew up watching slasher movies like Friday the 13th, A Nightmare on Elm Street, etc. I am a child of the ’80s and slashers were all the rage. But while I am a child of the ’80s I really came of age in the ’90s. This is a fallow period for horror movies. Slasher movies were either straight-to-video schlock or the 7th or 8th sequel to a long-since stale franchise.

Then in 1996 Scream was released and things changed. Written by Kevin Williamson, a horror buff, and directed by Wes Craven who directed many a horror film including the original A Nightmare on Elm Street. These were people who knew the genre and loved it. They also knew the tropes, and how tired they had become and made a film that played around with them. The characters in Scream are fans of horror movies and talk about the rules and tropes of the genre whilst simultaneously living through one. It is a self-aware slasher film, but one that is also a really good version of the genre.

I injected it straight into my veins. It was hugely successful and like all cinematic successes, it spawned countless imitators. They all had a cast of attractive up-and-comers (who were usually stars on the small screen but had yet to break onto the big screen) were filled with self-aware characters and the music was very much of the time (mostly 1990s alt-rock). Most of them were also instantly forgettable.

When Halloween H20: 20 Years Later came out I was all on board. I loved the original John Carpenter film (which essentially ignited the slasher craze of the 1980s) and I thought it would be really fun to give that film a boost with this new updated version of the old film. I hated it on that first viewing.

It is here that I admit that at this point I had only seen the original Halloween, but none of the sequels. So I was not well knowledged in the Halloween-verse lore. I was also expecting more Scream-esque shenanigans and got very little of that.

But I’ve seen the film a few times since that initial viewing and I’ve really come around to the film. I’ve also seen all the other Halloween films (excepting the Rob Zombie-directed Halloween II) so I’m better prepared to see how it fits into the canon.

Halloween H20 essentially pretends that every film after Halloween II (the original not the Rob Zombie remake, man this series gets weird with their naming) doesn’t exist. Laurie Strode (Jamie Lee Curtis) survived the attacks from Michael Myers, then faked her death and got on with her life. She’s now the headmistress of a posh, exclusive, and secluded prep school in California. She might be a functioning alcoholic, and she pops a lot of pills, but she’s not living in fear. Well, maybe she lives in a little fear, especially when the calendar gets closer to Halloween. Maybe a lot of fear when it is almost Halloween, and her son, John (Josh Hartnett) is about to turn 17, the same age she was when Michael Myers attacked.

Much like the original, this Halloween movie takes its time getting to the killings. Oh, there is a pretty great opening scene in which Michael Myers kills his former nurse to get some files on where Laurie is currently living, and he kills a couple of people along his route. But mostly the film is about how Laurie has started her new life. She seems to be a good teacher. She has a steady boyfriend (Adam Arkin). She is learning how to deal with her growing son, etc. We spend quite a bit of time with her son and his friends.

I liked these scenes. It is a film about trauma and how the violence of the early films has stayed with Laurie even as she tries to pretend everything is fine. These days it seems like every other film is about trauma (and certainly the new Halloween movies dig deep into that idea), but at the time this was something of a rarity. There are callbacks to earlier films but they don’t hit you on that head with it.

This isn’t a film that is self-aware like the Scream movies are. Nobody reference other horror movies or their tropes. LL Cool J provides some comic relief as a security guard who secretly wants to write romance novels, but that’s as jokey as it gets. The teenagers are young, and attractive, and populated by up-and-coming actors (Michelle Williams and Joseph Gordon-Levitt appear). The soundtrack is filled with cool alt-rock from the period. But it feels less like a 1990s new-slasher film than an update of the original.

When Michael Myers does show up the kills and the final battle are well-staged. There is nothing here that will make a highlight reel of the best kill scenes, but it does the job. And that really sums up the film. It is well made and well acted, it works as a serviceable slasher and a nice updating of the original. But there is nothing here that makes it special. But in a world filled with really terrible horror films, perfectly serviceable is a perfectly reasonable thing to hope for.

31 Days of Horror: The Blood Spattered Bride (1972)

the blood spattered bride poster

The story Carmilla by Sheridan Le Fanu is one of the earliest known works of vampire fiction. It is also the origin of just about every lesbian vampire trope out there. The Blood Spattered Bride is one of many adaptations of that story to film. It is beautiful to look at, mesmerizing, and eternally slow.

It is about a woman, Susan (Maribel Martín), who has just married a man (Simón Andreu). He is unnamed in the story which suggests that he is not that important. They return to his ancestral mansion. She is a virgin on their wedding night and while she enjoys the pleasures of his company as the days and nights pass he is increasingly aggressive and demanding, which makes her grow distant.

She keeps having dreams about a strange woman. One day that woman, named Carmilla (Alexandra Bastedo) shows up. She looks just like one of her husband’s ancestors. The story goes that the ancestor slaughtered her entire household after going crazy

Carmilla seduces Susan and drinks her blood. Then she tells her to kill her husband.

It is all very dreamy. The ladies wear those flowing white gowns. The lighting is soft. It is like a renaissance painting (albeit with a bit more neck biting) come to life. It is definitely a film that is best to just allow it to flow over you. Don’t come in expecting lots of action and violence (though there is one scene that is pretty gory), and you might be pleasantly surprised.

31 Days of Horror: Werewolf By Night (2022)

werewolf at night

I’ve recently dissed Marvel movies and TV shows in this very blog. The truth is I actually like most of their movies. I am a fan of the MCU. What I’m not a fan of is how they’ve basically pushed everybody else out of the sandbox. The cinematic landscape has changed dramatically since Iron Man (2008) first landed in cinemas. I live in a small town. We have one movie theatre. It only shows big-budget, blockbuster-type movies. I yearn for the days of mid-budget, smaller films that weren’t about superheroes and saving the world.

Yes, I can get those through Netflix, Amazon Prime, HBO and the like. No, it is not the same. And Disney is doing their best to take over the television as well.

While I do like a lot of the MCU I have to admit I’m growing tired of it. I saw the new Dr. Strange movie in the theater when it came out. I mostly liked it. But it also felt like I had to do homework before I watched it. You really need to have seen the previous Dr. Strange movies, the last Spider-Man movie, and the entire season of Wandavision for it to make sense. And like all Marvel movies these days it spent part of its runtime setting up movies that haven’t come out yet. That’s a lot to ask for what should be a dumb summertime popcorn flick.

But like I keep saying, I do like a lot of the Marvel stuff, and I enjoy watching them with my family. Enter Werewolf by Night.

Pleasantly this is a film that essentially exists on its own. It is mostly in black and white and it has a unique visual style. The plot isn’t amazing, but it is fun and exciting. It involves a group of monster hunters who have gathered to mourn their fallen leader and to fight for his throne and some magic hubajoob.

The magic thingy is placed on a big, bad monster and the group must find and slay the beast inside a maze of buildings and capture the stone. Oh, and it is totally okay to kill each other too. There are two fighters who do not belong. The first is the daughter of the fallen leader (Laura Donnelly) who wants the magic stone so she can rid herself of her evil family once and for all. The other is someone (Gael Garcia Bernal) with a dark, mysterious secret.

It exists inside the Marvel Cinematic Universe, but you could easily watch this film without having seen anything else in the MCU. There aren’t any callbacks and it doesn’t push toward another sequel. I imagine if it is popular enough they will probably throw these characters into another story, or give it a sequel, but for now it is nice that it exists on its own. Like all Marvel things, it is full of action and humor. I don’t mean to pretend this is some brilliant new thing they are doing. But it feels different enough to make it refreshing before jumping back into another Thor or Spider-Man movie.

31 Days of Horror: The Killer Reserved Nine Seats (1974)

the killer reserved nine seats

A rich man, Patrick Davenant (Chris Avram) invites a group of friends to an old abandoned theater that he owns. Once there they get locked inside and someone starts killing them one by one. Who is the killer? Why is he or she killing these nine people?

The Killer Reserved Nine Seats is an Italian Giallo by way of Agatha Christie.

All of the guests are financially connected to Davenant, in that he mostly supports them through various means. His death will benefit them all in various ways. It is his life that is almost taken first. I say almost because he is saved at the last minute. A large beam is cut free from its holding rope and it drops down on top of him, but just seconds before someone calls the man’s name, he moves and is saved.

Others are not so lucky. As the bodies pile up so do the accusations as to who could be the killer.

But first, there is a lot of silliness. Because this is a 1970s Italian Giallo and not some actual Christie adaptation by the BBC or some old 1940s movie, the characters spend a lot of their time taking off their clothes and getting horny with one another. What I love about that stuff is they are getting naked with one another even after the bodies start piling up.

There is one scene in which one of the women is attacked by the killer (he’s in a mask so she can’t tell who it is). She screams and shouts for help. A man comes in and fights off the killer. The woman escapes and runs to the others. None of them believe her. They say she is hysterical and hallucinating. When they return to the room where she was attacked and find the man who helped her dead by hanging. They decide he was the real killer and guilt drove him to suicide.

I couldn’t help but watch this scene and think of the #metoo movement. About all the statistics showing that when women cry for help, when they report harassment and sexual assault they all so often aren’t believed. I have no idea if the filmmakers were thinking about such things when they created this scene, but it feels very modern.

The script is mostly nonsense. At least the parts I could understand. There were several moments in which the characters inexplicably started speaking Italian and there were no subtitles. Italian films from this era often had the actors speak in whatever language was native to them, and then they would dub in the proper languages in post-production. Presumably, these sections were moments when the English dub has been lost.

What works in the film is its vibe. The theater setting gives us several different locations with different feels. The stage has working sets for the characters to play with. Curtains rise and fall. The auditorium and lobby are beautiful and ornate. The backstage area is filled with props and costumes. Upstairs the attic is dusty and filled with cobwebs. There is even an old crypt filled with candles downstairs. All of this gives the film atmosphere. The women are dressed in fabulous gowns, and the men are in nice suits. The camera moves about, and the lighting is filled with shadows.

I love that stuff. I can put up with all sorts of bewildering things in a script if the filmmaking is interesting.