HIDEOUT IN THE SUN (1960) **

Hideout in the Sun was Doris Wishman’s first film.  Even though she was only credited with writing the story and producing, she also co-directed.  It has a few touches that would soon become her hallmarks, namely lots of nudity and tons of shots of feet, but other than being notable for her first feature, it’s not very good.  

Two thieves make a daring getaway after staging a bank heist.  When they learn the cops are watching their getaway boat, they decide to take a hostage and head to a nudist camp to lay low while the heat cools off.  While the one guy barks orders and worries about the cops, his partner and the hostage enjoy all the amenities the nudist camp has to offer.  

The first half hour or so is really slow going.  The cops and robbers stuff is a chore to get through.  The obvious Wishman touches aside, it’s dull and tedious.  Things improve once the action switches over to the nudist camp.  It’s here where things lighten up a little and the movie starts to have some fun with the silly premise.  

Among the nudist activities featured:  Swimming, volleyball, sunbathing, nature walks, picnicking, birdwatching, badminton, drinking from a water spigot, sitting in a fountain, sniffing flowers, and my favorite… NUDE ARCHERY!  Hawkeye, eat your heart out.

It’s easy to see why many nudist movies had as little plot as possible.  This one is so plot heavy in the early going that you might doze off even before you get to see one naked lady.  Credited director Larry Wolk was probably responsible for the dull stuff.  I can’t say that for sure, but I want to say it just because I’m a big Wishman fan.  So, if you can make it past the boring crime plot, the nudity in the second half is pretty much nonstop, so that’s something at least.

The title tune (sung by Ralph Young of Sandler and Young fame) is a straight-up banger too, which is good since they play it often.

AKA:  Beauties in the Sun.

THE 31 MOVIES OF HORROR-WEEN: MOVIE #31: TOWER OF SCREAMING VIRGINS (1968) ***

(Streamed via Raygun)

Well, here we are.  I’m two months late, but I’ve finally come to the end of my thirty-one-horror-movie-watching project for the month of October.  Whenever I do these projects, I inevitably wind up watching a movie that looks like a horror flick but isn’t really.  Such is the case with Tower of Screaming Virgins.  As great as a title as that is, and the fact that it features murders aplenty, it is more like a gothic swashbuckling melodrama (?) sort of thing.  

The tip-off that it isn’t going to be a true-blue horror movie is in the opening credits where it is revealed that it is based on a story by Alexandre Dumas.  You know, the guy who wrote The Three Musketeers.  That also explains the scenes of our hero prancing around with a sword and sticking it to the authority figures.  Once the action switches over to the titular tower, things get a lot better.

The tower is the source of concern to the villagers in the surrounding area.  It seems young men are being lured there by a sexy Queen and either never return or are later found dead floating in the river.  Our hero winds up at the establishment and is happy to learn it is stacked to the gills with topless women.  He investigates and learns the luscious ladies are luring lads to an early demise at the behest of the Queen.  Since our hero and the Queen have a romantic history together, he decides to get involved in the palace drama.

The ladies of the tower look great, and I’m not saying that because they run around topless.  What I mean to say is that I admire their look as they wear a cool red mask to cover their face while exposing their body for God and everyone to see.  They might’ve been the inspiration for Kekko Kamen as their appearance is quite similar to that sexy Japanese crimefighter.  

Tower of Screaming Virgins is a lot of fun for an hour or so.  The odd scrambling of genres make it feel like an Errol Flynn movie directed by Jess Franco.  It’s in the third act where things settle down and it becomes more focused on swordfights and palace intrigue than topless women luring men to their doom.  At least the big twist ending is kind of sick and helps to tie everything together neatly.

AKA:  Tower of Sin.  AKA:  She Lost Her… You Know What.

THE 31 MOVIES OF HORROR-WEEN: MOVIE #30: TERROR IN THE MIDNIGHT SUN (1959) *

(Streamed via Pub-D-Hub)

A meteor crashes in the snowy wilds of northern Sweden.  Some American scientists, including a horndog lothario geologist, investigate.  They eventually discover the meteor is actually an alien spacecraft.  Hopes of a peaceful first contact are dashed when the giant hairy alien stomps around, cause avalanches, kills people, and runs off with a pretty ice skating champ.    

Directed by Virgil (The Mole People) Vogel and written by Arthur C. (The Human Duplicators) Pierce, Terror in the Midnight Sun is jam-packed with a whole lot of nothing.  The non-stop padding includes a longwinded Swedish nightclub performance, stock nature footage of Sweden, and long sequences of people skiing, ice skating, and walking endlessly through the snow.  Whenever something threatens to happen, Vogel cuts away and gives us more dull scenes of people skiing.  

Some amusement can be had from the scientists debating about the meteor’s “skid marks”, but this is a fucking slog from start to finish.    While the monster is OK (it looks like a pig-faced Bigfoot), the forced perspective scenes that try to make him look towering are laughable and the avalanche scenes are phony as fuck.  These shoddy effects aren’t enough to make it worthwhile for even the most die-hard B-movie fan.

A few years after its initial release, Jerry Warren got his mitts on the movie, re-edited it, added new footage of his usual stock company (including John Carradine and Katherine Victor), and rereleased as Invasion of the Animal People.  Usually whenever Warren does this, the results are abysmal.  While I haven’t seen that version with my own eyes, one thing is for certain, Warren’s movie can’t be much worse than this one.

Despite the fact I have been showcasing various Roku channels for this column, I really haven’t gone into much detail about them.  One cool thing about this channel, Pub-D-Hub, is that they play trailers and drive-in intermission shorts before and during the movie.  The mid-movie break featuring old school commercials were certainly welcomed and helped alleviate some (but not all) of the boredom.  

AKA:  Invasion of the Animal People.  AKA:  Space Invasion of Lapland.  

THE 31 MOVIES OF HORROR-WEEN: MOVIE #29: ALPHA WOLF (2018) ** ½

(Streamed via Popcornflix)

Casper Van Dien and his wife Jennifer Wenger (his real-life wife) vacation in a cabin in the woods.  The couple is looking for a little R & R, but what they get is a big W & W.  And by that, I mean Were n’ Wolf.  Casper gets bitten and thanks to his aggressive nature, becomes a killer.  This makes him a threat to the other peace-loving werewolves in the area, and since there can only be one alpha wolf in the pack, they set out to put Casper down like a dog.

The werewolf is cheesy looking and resembles the Bigfoot from those “Snap into a Slim Jim!” commercials.  That kind of sums up the movie.  It’s cheesy, but it’s just dumb enough to leave a silly grin on your face.  

Van Dien is good as the obnoxious alpha male whose werewolf bite only increases his toxic masculinity.  Wenger also does fine work as his mate who takes no shit from him.  It was also fun seeing Van Dien’s Starship Troopers co-star Patrick Muldoon in a supporting role cast against type as their creepy neighbor.  

Some of the film’s attempts at humor are successful, like when Van Dien is not so subtly marking his territory in the front yard.  I also got a kick out of the in-joke character names, like the dog named “Larry” (after Larry Talbot).  Many horror flicks use the same gimmick, but Alpha Wolf’s references are subtler than your average horror movie, which is appreciated. For example, Wenger’s character is named Virginia.  (You know, as in “Virginia Woolf”.)   

I’m a sucker for a good werewolf movie.  Heck, I’m even a sucker for a not-so good werewolf movie.  Alpha Wolf kinda splits the difference between the two.  I liked the sequence where Van Dien stalks some horny campers, which kind of plays like a slasher flick, but with a werewolf, and the plot twist in the end is laughable too, although I enjoyed the silliness of it.  

Does Alpha Wolf have too many scenes of Van Dien and Wenger bickering?  Yeah.  Does the eighty-five-minute running time feel a tad padded?  Sure.  However, the emphasis on practical werewolf effects over CGI is endearing, and Van Dien’s tweaked performance helps carry it over some of the lulls.  

MIDNITE PLOWBOY (1971) **

A hayseed named Junior (John Tull) leaves the farm and heads to Hollywood to find his fortune.  He winds up getting a job at a house of ill repute where the ladies of the evening immediately take a shine to him and give him a gangbang on the house.  Before long, he’s driving a van for a pimp, which acts as sort of a bordello on wheels.  Predictably, Junior falls for the pretty young prostitute Bernice (Debbie Osborne), and they begin to plot a way out of the life.  

If you go in thinking this is going to be a softcore spoof of Midnight Cowboy, you’re going to be disappointed.  As it turns out, it’s just another dumb ‘70s skin flick from writer/director Bethel Buckalew.  If you’re familiar with his softcore country bumpkin comedies like Country Cuzzins, Sassy Sue, and The Pig Keeper’s Daughter, you might already know what to expect (and what not to expect).  I’m sure you’ll probably get about what you expected.  Probably a little less.  

The fish out of water comedy schtick is dumb, predictable, and unfunny (there’s a lot of jokes about Junior’s sheep back home) and the softcore scenes are hit and miss.  The opening sequence where Junior gets picked up hitchhiking by a couple and bangs the hot wife in the backseat while her husband drives and watches in the rearview mirror gets things started off on the right foot.  However, the group sex scenes suffer from crummy camerawork and poor lighting.  The scenes that take place in Junior’s fuckmobile are slightly better, although the cramped quarters of the van don’t make for the most optimal camera set-ups.  At least the lovemaking between Tull and Osborne is tender and engaging.  (I could’ve done without the folksy love song on the soundtrack though.)  If it wasn’t for their chemistry, Midnite Plowboy would be complete fertilizer.  

AKA:  Sunset Girls.  

THE 31 MOVIES OF HORROR-WEEN: MOVIE # 28: THE RESONATOR: MISKATONIC U (2021) ***

(Streamed via Pluto TV)

When producer Charles Band came up with the idea of “Deadly Ten”, it allowed him to crowdsource funds from fans who wanted to see him dip into his back catalogue of horror films and create sequels, reboots, re-imaginings, and straight-up rip-offs of his old franchises.  Among the series he’s been mining are Puppet Master, Necropolis, and Femalien.  I don’t think anyone would get too upset at the prospect of Band meddling with those brands.  However, The Resonator:  Miskatonic U is a sequel/updating of Stuart Gordon’s From Beyond, one of the greatest horror films of the ’80s.  When you start messing around with classics like that, I start to get nervous.  He and his writer/director William Butler (who got his start with Band acting in Ghoulies 2) were wise not to put the From Beyond moniker in the title as there is no way this could ever hope to compete with that immortal all-timer. 

It begins with a dedication to Gordon, which is a nice touch, and one of the characters is even named “Professor Gordon”, but the movie is closer in tone and feel to something like The Killer Eye than From Beyond.  Speaking as a fan of The Killer Eye, that’s not a bad thing.  If you go into it with reserved expectations, you’ll probably enjoy it as much as I did.  Like most of the Deadly Ten films, it’s kind of fun if you’re in the right frame of mind. 

A cocksure student at Miskatonic University is hellbent on recreating his dead father’s experiments.  He cobbles together a “resonator” that stimulates the user’s pineal gland and allows them to see into another dimension.  After a night of drinking, he invites some friends back to the lab and turns on the machine.  Naturally, he unleashes a bunch of monsters and has to deal with his professor who wants to use the machine to make himself a god.  

While nothing here comes close to approaching the greatness of From Beyond (and frankly, what could?), there is some good stuff.  I dug the appearance of the sexy squid woman who lurks about whenever the machine is turned on.   Speaking of being turned on, the psychic sexual visions are well done, if a tad brief.  Even though much of this feels low rent and cheesy, Butler keeps the pace going at a steady clip (the scant sixty-four-minute running time certainly helps).  The young cast members aren’t exactly memorable, but it helps that the supporting cast is peppered with old pros like Amanda Wyss and Michael Pare.

Overall, The Resonator:  Miskatonic U probably won’t convert any new fans to Band’s Full Moon label, but those who enjoy his recent output should be thoroughly entertained.  The ending opens up the possibility for a sequel as it introduces a very familiar character into the fold in the final moments.  This scene is very much like a Marvel movie post-credits sequence, and it wouldn’t surprise me if Band was angling to make this a franchise a la the Marvel Cinematic Universe.  Would that make it the Miskatonic Cinematic Universe?

THE 31 MOVIES OF HORROR-WEEN: MOVIE # 27: KISS OF THE DAMNED (2013) **

(Streamed via Plex)

A vampire babe named Djuna (Josephine de la Baume) picks up Paolo (Milo Ventimiglia from Rocky Balboa) at a video store.  They quickly fall in love, and she decides the only way they can be together is to turn him into a vampire.  Their bliss is soon interrupted when her troublemaking sister Mimi (Roxane Mesquida) comes for a visit.  

Written and directed by John Cassavetes’ daughter Xan, Kiss of the Damned is simultaneously arty and low rent.  Superficially, it looks classy and respectable, but there’s really not much here to differentiate it from countless other bloodsucker dramas that have come before.  It works slightly better during the courtship phase of Djuna and Paolo’s relationship than when she is showing him the ropes of being a vampire.  The film does get a little lift once Mimi enters the picture, however her constant bickering with Djuna doesn’t have much dramatic oomph to carry the bulk of the picture.  It also doesn’t help that vampire sex scenes are uneven at best.  While Ventimiglia and Mesquida’s tryst in the shower is appropriately steamy, the rest of the lovemaking/blood drinking sequences offer more tease than please.  The only touch I really enjoyed was the fact they drink a synthetic blood substitute called “politically correct plasma”. 

Mesquida has a bit of spark about her, but de la Baume is pretty annoying as the lead bloodsucker.  She spends just as much time whining as she does drinking blood, which ruins some of the fun.  Ventimiglia is fine if a bit bland as the romantic lead.  Michael Rapaport is amusing though in an extended cameo as Ventimiglia’s coke-snorting agent.  Another bright spot is Riley Keough who appears late in the game as a victim.  You’ll wish she had more to do because when she’s on screen, this undead drama fitfully comes to life.

Ultimately, Kiss of the Damned doesn’t explore any new territory.  If you like romantically tinged vampire dramas, you might enjoy it.  For me, it was fine, but forgettable.  I guess it might’ve worked better if the vampires weren’t a bunch of self-absorbed, classist fat cats.  If anything, the film just goes to show that vampire hoity-toity cocktail parties are just as boring as human ones.