BLOOD BATH (1966) *** ½

An artist (William Campbell from Dementia 13) turns into a vampire at night and kills women.  His “Dead Red Nudes” are a sensation in the art world.  The only problem is in order to draw inspiration from his subjects, he needs to first draw their blood. 

Blood Bath is an eerie and atmospheric flick that deserves to be better known.  The opening sequence with the silhouetted figure of the vampire in a trench coat and top hat stalking a woman feels like a prototype for a giallo.  (It almost looks like it could’ve been directed by Mario Bava.)  Other sequences have a dreamlike quality to them, like the flashback of the artist painting in the desert or the underwater scene where he murders a woman in a swimming pool.  There are even a few genuinely unnerving moments like when Campbell’s dead cackling mistress appears in a painting or the chase on a merry go round.  The scenes in the art gallery are surprisingly funny too and the comedic bohemian artist types (including Sid Haig and Johnathan Haze) make this feel like a spiritual sequel to A Bucket of Blood.  It would also make a good double feature with Color Me Blood Red.  (Originally, it played on a double bill with Queen of Blood.) 

Directed by the one-two punch of genre filmmaking legends Jack Hill and Stephanie Rothman, Blood Bath really cooks.  It’s paced like lightning and the hour-long running time whizzes right by.  The ending is a little on the weak side, but that should in no way deter you from checking it out. 

Apparently, this is the third of four iterations of the film.  It began life as a thriller called Operation Titan, which also starred Campbell.  That flick was later re-edited and released as Portrait of Terror.  Producer Roger Corman then took about nine minutes of footage from it and hired Hill and Rothman to add scenes to it and turn it into Blood Bath.  (Hill did the beatnik stuff and Rothman worked on the vampire plot.)  Later, Corman added more footage so it could play on TV as Track of the Vampire.  The only other version I’ve seen is Portrait of Terror and this is a big step up in every way. 

AKA:  Operation Titan.  AKA:  Portrait of Terror.  AKA:  Track of the Vampire.

HELLBOY (2019) ***

I can kind of take or leave Hellboy.  I didn’t like Guillermo del Toro’s original, but I did enjoy the second one quite a bit.  This reboot from Neil (Doomsday) Marshall stars Stranger Things’ David Harbour as Hellboy, taking over the role from Ron Perlman.  Best of all, it has Milla Jovovich as the evil “Blood Queen”.  

I didn’t really have any expectations for this going in.  I will say, five minutes into the movie, and already King Arthur decapitated a witch and Hellboy fought in a Lucha Libre match with a literal bat man.  Fortunately, that kitchen sink vibe carried throughout the entire film.  It’s shit like this made me enjoy this iteration even more than del Toro’s films. 

Hellboy learns the apocalypse is coming, and since an ancient prophecy foretold he will be the one to bring it about, everyone wants to kill him.   Meanwhile, the Blood Queen, who was chopped up and had her body parts hidden across the globe, is slowly coming back together to wreak havoc on mankind.  The only thing that can stop her is the legendary sword, Excalibur.  The only problem is that if Hellboy uses it, he’ll make the prophecy come true. 

This Hellboy is a Hard R.  It’s gory as all get out, with plenty of blood, guts, tongues ripped out, and decapitated heads aplenty.  There are also pig men, pig babies, giants, a house that walks around on two feet, witches, zombies, a werecheetah, and a bunch of sick looking kaiju (including one that has a hand for a dick).  I admire Marshall’s “anything goes” approach, even if it sometimes yields uneven results.  Still, it all feels like a Neil Marshall movie, which is a good thing. 

It helps that Milla is smoking hot in this.  There’s even a scene where she has some Boxing Helena action going on where she’s just a torso and her limbs are strewn everywhere and I’m thinking to myself… WOULD.  

Harbour isn’t bad. He’s scruffy and grumpy and gets a few laughs, but I did miss the pathos Perlman brought to the role.  Ian McShane lends his usual sense of gravitas as Hellboy’s dad and Thomas Haden Church is also amusing in an extended cameo as Lobster Johnson. 

No one really took to this version (which is a shame), so they rebooted the property… again with Hellboy:  The Crooked Man five years later. 

THE JAMES DEAN COLLECTOR’S CLASSIC (1988) **

The James Dean Collector’s Classic is one of those documentaries you find in the bargain bin at Dollar General for a buck.  It covers everything about James Dean’s career, life, and tragic death.  It’s not great or anything, but I think I got my dollar’s worth out of it. 

It starts with his death and then works its way back to the beginning.  Dean leaves his home in the Midwest to come to Hollywood to pursue an acting career.  He then moves to New York where he joins the prestigious Actors Studio.  His talent is immediately evident, and it isn’t long before he becomes a movie star and legendary idol.  Sadly, he dies in a car accident and in the process becomes immortalized for his handful of film roles. 

The James Dean Collector’s Classic doesn’t really cover any new territory.  If you’re already familiar with Dean’s story, most of this will be an old hat.  The biography stuff isn’t bad, but the film is less successful when it’s relying on footage from his early roles in bit parts on TV shows (including Dean playing John the Baptist in a religious movie).  In fact, the whole thing grinds to a halt when they play an episode of Schlitz Playhouse starring Dean in its entirety.  I did think it was funny that they couldn’t afford to use footage from East of Eden, Rebel Without a Cause, or Giant but somehow Don Mclean’s “American Pie” is heard more than once.  (We do get to see his screen test for East of Eden and behind the scenes footage from Rebel Without a Cause though.)

There is a good cross section of interviewees, which helps make up for some of the documentary’s chintzier moments.  Carroll Baker, Dennis Hopper, Vampira (who hints at his bisexuality), Sammy Davis Jr., Nicholas Ray, and Natalie Wood all give revealing insight into the Dean they knew.  There are also some eerie moments like photos of Dean sleeping in a coffin and a PSA with him dressed as his character from Giant warning people about speeding on the highway.  These moments don’t exactly save the flick, but they do prevent it from being a run of the mill doc. 

AKA:  The James Dean Classic. 

FLIGHT RISK (2025) ***

Mel Gibson tries to return to Hollywood’s good graces with this surprisingly spry and entertaining thriller.  Tough U.S. marshal Madolyn (Michelle Dockery) is in the process of extraditing a witness (Topher Grace) from Alaska and together, they hop aboard a small plane flown by a talkative good old boy (Mark Wahlberg).  She eventually realizes their pilot is actually a hitman sent to make sure the witness doesn’t testify.  He tries to kill them both, but Madolyn is able to subdue him and tie him up.  That only leaves one question:  Who’s going to land the plane?

Flight Risk is reminiscent of the kind of thriller they used to churn out in the ‘90s on a regular basis.  (Most of which, like this one, had hints of the old ‘70s disaster movies.)  It more or less plays out in real time in one location, which adds to the suspense.  Sure, no one is going to mistake this for Braveheart or Apocalypto, but it’s nice seeing Mel flexing his muscles again behind the camera.  If he is indeed going to take the reins of the next Lethal Weapon movie, then this is a positive sign that he can juggle humor and action.  I mean we all know he can do Passion of the Christ.  It just takes a different skill set to make a three-chord popcorn thriller like this. I was actually surprised how funny the movie was given the fact the lifeless trailers portrayed it as such a dull and one-note kind of flick. 

Because of the film’s claustrophobic setting, it needs genuine tension and strong performances to carry it along.  Fortunately, it has both.  Grace has a couple funny moments, especially when he’s sniveling and trying to talk his way out of trouble.  Wahlberg looks like he’s having fun with his receding hairline and local yokel drawl.  He gets lots of laughs too, particularly when he’s taunting Grace.  Dockery makes for a strong, no-nonsense leading lady.  I’m not familiar with her work (she’s mostly known for Downton Abbey), but she equips herself nicely here. 

Wahlberg gets the best line when he says, “I made a Jackson Pollack in my pants!”

THE DAY THE EARTH BLEW UP: A LOONEY TUNES MOVIE (2025) ***

Not only is Daffy Duck my favorite Looney Tunes character, but Daffy Duck’s Quackbusters is my all-time favorite Looney Tunes movie.  Because of that, I was inclined to enjoy his latest adventure, which is a loving homage to old school horror and Sci-Fi movies.  Unlike previous feature length Looney Tunes films, this is comprised of all-new material and isn’t just a compilation of the old shorts.  While it’s not exactly a classic, it will be a treat for Porky Pig and Daffy Duck fans old and young alike. 

Porky and Daffy get a job in a bubble gum factory to earn enough money to save their farmhouse.  Daffy witnesses an alien lacing the latest batch of gum with a bunch of green goo, and of course, nobody believes him.  When people chew the gum, it turns them into mind-controlled zombies who help the alien take over the world.  It’s then up to Daffy, Porky, and Petunia Pig to save the Earth. 

There are a solid number of laughs here, which is what counts.  My favorite scene was the flashback that explains how Porky got his famous stutter.  The jokes kind of dry up as the plot begins to take hold in the third act, but the dynamic between Daffy and Porky is still strong enough to make it work.  Do I wish other characters like Bugs Bunny had at least a cameo?  Sure.  However, it was a lot of fun seeing the duo toplining their own movie for a change. 

Fans of horror and Sci-Fi are liable to get a kick out of it too.  There are moments that are reminiscent of The Blob, John Carpenter’s The Thing, Night of the Living Dead, Night of the Creeps, and even Armageddon.  I can see this becoming a gateway horror flick for many young viewers in the future.  I’m sure older viewers will dig it as much as I did.  

HUNDREDS OF BEAVERS (2024) **

Jean Kayak (Ryland Brickson Cole Tews) is a man whose apple cider business is destroyed by beavers.  Homeless and hungry, he tries in vain to hunt and eat assorted woodland critters (played by guys in furry suits) for survival.  Eventually, he hooks up with a seasoned trapper (Wes Tank) who shows him the ropes of trapping varmints.  One night, the trapper is killed by a wolf (another guy in a furry suit) who takes all their beaver pelts back to his cave.  It’s then up to our hapless hero to reclaim his furs. 

This black and white mix of animation, live action, puppetry, and people running around in basketball mascot costumes reminded me of something you would see late at night back in the day on Night Flight.  It sometimes feels like a mash up of a Looney Tunes cartoon, silent movie one-reelers, Cannibal!  The Musical, Monty Python, and a Commodore 64 video game… If it was made by a furry. 

A little of this goes a long way, but boy, there sure was a LOT of it.  I admire the style and the creativity that went into making the film, not to mention the overall weirdness of it all.  (The finale inside the beavers’ lair is especially well done.)  However, it is something of a chore to watch.  It might’ve worked had the movie took a page from its Looney Tunes inspiration and was broken up into ten-minute shorts.  (Or if it was… you know… laugh out loud funny.)  At a hundred and eight fucking minutes, it is a tough sit to say the least.  In fact, at one point, I was sure the movie was wrapping up, only to discover by hitting the “INFO” button on my remote that it wasn’t even halfway over. 

Fans of cinematic oddities may enjoy it (if you ever wanted to see a wolf mascot get killed by an icicle made of snot, then this is your movie), but everyone else will want to steer clear. 

HENRY: PORTRAIT OF A SERIAL KILLER PART 2 (1998) **

Making a DTV sequel to a stone-cold classic like Henry:  Portrait of a Serial Killer is a risky proposition.  Neil Giuntoli has the unenviable task of taking over for Michael Rooker as the titular serial killer.  Likewise, writer/director Chuck Parello has a tough act to follow, filling in for director Robert McNaughton (who did at least return to do the music).  While the results aren’t completely worthless, the whole enterprise just feels entirely unnecessary. 

The sequel finds serial killer Henry living in a homeless shelter and occasionally stepping out to claim a victim.  He gets a job moving port-a-potties and befriends co-worker Kai (Rich Komenich), who lets him crash with him and his wife Cricket (Grey’s Anatomy’s Kate Walsh in an early role).  Henry soon learns Kai is a professional arsonist and begins assisting him in his crimes.  Eventually, Henry begins teaching Kai the ropes of killing random strangers.  Henry also manages to befriend Kai’s mentally disturbed niece (Carri Levinson), an art student who draws morbid pictures. 

It would be unfair to compare Giuntoli to Rooker’s iconic portrayal from the first movie, but comparisons are inevitable.  Ultimately, it looks like he’s just trying so hard not to be frightening that it comes off forced and awkward, so he somehow winds up looking creepy, which doesn’t work at all.  Rooker was so effortless at being nonchalantly coldblooded but still fit in as a regular guy.  As soon as you see Giuntoli, you’re like WEIRDO ALERT!  Komenich hews a little too close to Tom Towles’ portrayal of Otis in the first film, which gives the characters’ dynamic a feeling of déjà vu.  On the flip side, Walsh and Levinson are pretty good, all things considered. 

As with the original, the murders are committed matter-of-factly.  However, they just lack the power of the first film (although there is a good decapitated head gag and a gnarly scene where Henry shoves a screwdriver up a dude's nose).  Despite dropping in one or two new elements into the mix (like the firebug plot line), in the end, it just feels like a pointless retread. 

AKA:  Henry 2:  Portrait of a Serial Killer.  AKA:  Henry:  Portrait of a Serial Killer 2:  Mask of Sanity.