Mark Maddox and I return to the Star Trek feature films! This time we tackle the big one – the one that kept the franchise alive – STAR TREK II: THE WRATH OF KHAN (1982). It’s an important film for Trek fans and also an important part of the astonishing list of genre releases from that year. We briefly discuss the other films from 1982 to demonstrate the pivotal nature of the cinema of that time and its long-term effect on the genre. For this episode we assume you have some knowledge of the film and spoilers are in every corner of every deck. You have been warned.   We each relate our personal history with the film starting with theatrical viewings and then we dig into the details that make this one a classic. The selection of Nicholas Meyer as director is pointed to as the choice that probably guaranteed the project’s success with his melding of the various script ideas into a cohesive whole. The cast is discussed with Shatner, Nimoy, Kelley and Montalban singled out for praise for their excellent performances. Mark recounts his discouraging encounter with an odd form of homophobia when seeing the film for the first time and we compare the first film’s special effects to the smaller budgeted sequel. The story’s commentary on aging comes under scrutiny as both of us think about the changes in ourselves since this film came out. We ain’t getting any younger, that’s for sure!   If you have any comments about Star Trek thebloodypit@gmail.com is the place to send them. We’ll be back in a few weeks to continue this journey with Kirk and the gang and we hope you’ll join us. 

Mark Maddox and I return to the Star Trek feature films! This time we tackle the big one – the one that kept the franchise alive – STAR TREK II: THE WRATH OF KHAN (1982). It’s an important film for Trek fans and also an important part of the astonishing list of genre releases from that year. We briefly discuss the other films from 1982 to demonstrate the pivotal nature of the cinema of that time and its long-term effect on the genre. For this episode we assume you have some knowledge of the film and spoilers are in every corner of every deck. You have been warned. We each relate our personal history with the film starting with theatrical viewings and then we dig into the details that make this one a classic. The selection of Nicholas Meyer as director is pointed to as the choice that probably guaranteed the project’s success with his melding of the various script ideas into a cohesive whole. The cast is discussed with Shatner, Nimoy, Kelley and Montalban singled out for praise for their excellent performances. Mark recounts his discouraging encounter with an odd form of homophobia when seeing the film for the first time and we compare the first film’s special effects to the smaller budgeted sequel. The story’s commentary on aging comes under scrutiny as both of us think about the changes in ourselves since this film came out. We ain’t getting any younger, that’s for sure! If you have any comments about Star Trek thebloodypit@gmail.com is the place to send them. We’ll be back in a few weeks to continue this journey with Kirk and the gang and we hope you’ll join us.

177 - STAR TREK II THE WRATH OF KHAN (1982)

Bob Sargent joins Troy and I to discuss KING OF KONG ISLAND (1968). Or is it just KONG ISLAND? And what connection to King Kong does this movie actually have? Spoiler alert – none! Because Mr. Sargent has a soft spot in his heart (and head) for this bizarre Italian production we examine it for signs of sanity. None were found, but along the way we learned a little about ourselves. Sort of. And for some reason we also talked about 70’s rock group StoneGround. I can’t understand why. For the curious, KING OF KONG ISLAND (1968) is a movie of many parts. It is roughly 20% jungle mercenary movie; 20% mad scientist tale; 20% revenge story; 20% jungle girl adventure and 20% family melodrama. It is also 100% nuts! While much of the advertising for the film centers around the jungle girl sections of the story we come to the conclusion that Eva (or the Scared Monkey as she is referred to most often) could be removed from the film with little detriment to the story. Of course, this would have eliminated the film’s nudity so I don’t think anyone involved would have agreed to do this. But the film has so much going on that it is difficult to stop watching as the madness unfolds. We see stuntman turned actor Brad Harris beefcake up the place with his exciting dance moves and flinty abs. We see veteran Hollywood tough guy Marc Lawrence play a mad scientist/Bond villain using surgically altered gorillas to control a jungle cave. We witness plenty of animal stock footage. It all adds up to a featue length movie. Really. Even if you haven’t seen this cinematic epic there are things in the episode to entertain you. Troy’s alternate title suggestions are inventive and arguably better than any of the ones actually used. Bob’s attempts to explain his lifelong fascination with this whacky film lead us from a sweaty apartment in the 1980’s to modern 21st century life – pity his poor wife! And bonus points to the listeners that can pinpoint the moment when I gave up on presenting a plot synopsis. Eventually you have to accept that things have gotten away from you. If you have seen KING OF KONG ISLAND and have something to add to our discussion thebloodypit@gmail.com is the place to send your thoughts. Thank you for listening!

Bob Sargent joins Troy and I to discuss KING OF KONG ISLAND (1968). Or is it just KONG ISLAND? And what connection to King Kong does this movie actually have? Spoiler alert – none! Because Mr. Sargent has a soft spot in his heart (and head) for this bizarre Italian production we examine it for signs of sanity. None were found, but along the way we learned a little about ourselves. Sort of. And for some reason we also talked about 70’s rock group StoneGround. I can’t understand why. For the curious, KING OF KONG ISLAND (1968) is a movie of many parts. It is roughly 20% jungle mercenary movie; 20% mad scientist tale; 20% revenge story; 20% jungle girl adventure and 20% family melodrama. It is also 100% nuts! While much of the advertising for the film centers around the jungle girl sections of the story we come to the conclusion that Eva (or the Scared Monkey as she is referred to most often) could be removed from the film with little detriment to the story. Of course, this would have eliminated the film’s nudity so I don’t think anyone involved would have agreed to do this. But the film has so much going on that it is difficult to stop watching as the madness unfolds. We see stuntman turned actor Brad Harris beefcake up the place with his exciting dance moves and flinty abs. We see veteran Hollywood tough guy Marc Lawrence play a mad scientist/Bond villain using surgically altered gorillas to control a jungle cave. We witness plenty of animal stock footage. It all adds up to a featue length movie. Really. Even if you haven’t seen this cinematic epic there are things in the episode to entertain you. Troy’s alternate title suggestions are inventive and arguably better than any of the ones actually used. Bob’s attempts to explain his lifelong fascination with this whacky film lead us from a sweaty apartment in the 1980’s to modern 21st century life – pity his poor wife! And bonus points to the listeners that can pinpoint the moment when I gave up on presenting a plot synopsis. Eventually you have to accept that things have gotten away from you. If you have seen KING OF KONG ISLAND and have something to add to our discussion <a href="mailto:thebloodypit@gmail.com">thebloodypit@gmail.com</a> is the place to send your thoughts. Thank you for listening!

176 - KING OF KONG ISLAND (1968)

This episode allows Troy and I answer a few emails and dart down a couple of rabbit holes that they bring to mind. We talk about giant bug movies, Brian Trenchard-Smith’s career and post apocalyptic movies. A past guest on the show writes in to point out a missed opportunity to discuss MAD MAX BEYOND THUNDERDOME! I take the chance to offer a mea culpa about not discussing an important connection between two of the cast members of THE SPIDER WOMAN. I was aware the pair’s previous work together but I skipped that part of my notes during our recording session. My only excuse is that I’m a major fan of the film in question and if you think the conversation in this episode ranges far and wide – whew. Talking about one of the greatest adventure films of all time just in passing would have been very difficult!  Thank you for listening and we’ll be back on track with a normal episode soon. If you want to contribute to the email-bag thebloodypit@gmail.com is the place to write. 

This episode allows Troy and I answer a few emails and dart down a couple of rabbit holes that they bring to mind. We talk about giant bug movies, Brian Trenchard-Smith’s career and post apocalyptic movies. A past guest on the show writes in to point out a missed opportunity to discuss MAD MAX BEYOND THUNDERDOME! I take the chance to offer a mea culpa about not discussing an important connection between two of the cast members of THE SPIDER WOMAN. I was aware the pair’s previous work together but I skipped that part of my notes during our recording session. My only excuse is that I’m a major fan of the film in question and if you think the conversation in this episode ranges far and wide – whew. Talking about one of the greatest adventure films of all time just in passing would have been very difficult!  Thank you for listening and we’ll be back on track with a normal episode soon. If you want to contribute to the email-bag thebloodypit@gmail.com is the place to write.

175 - Buggy Emails!

We rejoin the Universal Sherlock Holmes series with the fifth entry, THE SPIDER WOMAN (1944). Long considered one of the best of the run Beth, Troy and I relate our opinions in this episode’s rambling discussion. Be aware that spoilers abound! Do we think it is one of the best of the Rathbone Holmes films? Maybe….. We dig into this one pointing out our likes, loves and various concerns about the story. We point out the numerous elements taken from several of the classic Arthur Conan Doyle stories and revel in the reference to the giant rat of Sumatra! We discuss the logic behind Holmes faking his own death and the inherent cruelty of that move. Of course, THE SPIDER WOMAN is the first of the series to feature a female villain and the casting could not have been better. Gale Sondergaard is brilliant in the title role with her sly smile and her expert delivery of the sharp dialog putting her well above other baddies that have faced Holmes.  Fully half the fun of the movie is watching her glide her way through her evil schemes. The other actors get fine moments too with Nigel Bruce and Dennis Hoey especially given scenes that show their characters under emotional strain. This is a tight, well-made film but we do find some things in it that don’t work as well as we might wish.  If you have any comments on this film or any other we’ve covered thebloodypit@gmail.com is the place to send them. Thank you for listening and we’ll be back soon. 

We rejoin the Universal Sherlock Holmes series with the fifth entry, THE SPIDER WOMAN (1944). Long considered one of the best of the run Beth, Troy and I relate our opinions in this episode’s rambling discussion. Be aware that spoilers abound! Do we think it is one of the best of the Rathbone Holmes films? Maybe….. We dig into this one pointing out our likes, loves and various concerns about the story. We point out the numerous elements taken from several of the classic Arthur Conan Doyle stories and revel in the reference to the giant rat of Sumatra! We discuss the logic behind Holmes faking his own death and the inherent cruelty of that move. Of course, THE SPIDER WOMAN is the first of the series to feature a female villain and the casting could not have been better. Gale Sondergaard is brilliant in the title role with her sly smile and her expert delivery of the sharp dialog putting her well above other baddies that have faced Holmes.  Fully half the fun of the movie is watching her glide her way through her evil schemes. The other actors get fine moments too with Nigel Bruce and Dennis Hoey especially given scenes that show their characters under emotional strain. This is a tight, well-made film but we do find some things in it that don’t work as well as we might wish.  If you have any comments on this film or any other we’ve covered thebloodypit@gmail.com is the place to send them. Thank you for listening and we’ll be back soon.

174 - THE SPIDER WOMAN (1944)

I’m joined by Bobby Hazzard and John Hudson for our long-delayed discussion of STUNT ROCK (1978). Is it a movie with an actual narrative or is it an episodic mockumentary about stunts and rock &amp; roll? And why is there a stage magic act happening at the same time? We go from the ‘shower thoughts’ genesis of the film all the way through a listing of our favorite moments. Since the film’s director has called it the worst film he ever made, we briefly talk about his other work for contrast and lament his inability to ever secure a big budget Hollywood project. But we also discover that he directed an almost completely hidden third sequel to a very popular 80’s teen comedy that none of us were aware existed. Some things might be better left unexplored.   STUNT ROCK can be called many things but it can’t be called boring. It feels like two different movies clumsily mashed together forcing each viewer to decide which half they prefer. Is it the hard rocking magic stage show of Los Angeles band Sorcery or watching Australian stuntman Grant Page defy death in about two dozen different ways? I know which way I lean but this movie is a bit of a Rorschach test so you end up seeing what your expectations lead you to see. And that is more philosophy than I ever thought I would attribute to STUNT ROCK. It has to be a mistake. But you should check it out for yourself.   If you have any comments or suggestions thebloodypit@gmail.com is the place to send them. Thank you for listening and we’ll be back soon. 

I’m joined by Bobby Hazzard and John Hudson for our long-delayed discussion of STUNT ROCK (1978). Is it a movie with an actual narrative or is it an episodic mockumentary about stunts and rock &amp; roll? And why is there a stage magic act happening at the same time? We go from the ‘shower thoughts’ genesis of the film all the way through a listing of our favorite moments. Since the film’s director has called it the worst film he ever made, we briefly talk about his other work for contrast and lament his inability to ever secure a big budget Hollywood project. But we also discover that he directed an almost completely hidden third sequel to a very popular 80’s teen comedy that none of us were aware existed. Some things might be better left unexplored.  STUNT ROCK can be called many things but it can’t be called boring. It feels like two different movies clumsily mashed together forcing each viewer to decide which half they prefer. Is it the hard rocking magic stage show of Los Angeles band Sorcery or watching Australian stuntman Grant Page defy death in about two dozen different ways? I know which way I lean but this movie is a bit of a Rorschach test so you end up seeing what your expectations lead you to see. And that is more philosophy than I ever thought I would attribute to STUNT ROCK. It has to be a mistake. But you should check it out for yourself.  If you have any comments or suggestions thebloodypit@gmail.com is the place to send them. Thank you for listening and we’ll be back soon.

173 - STUNT ROCK (1978)

Troy Guinn joins me to discuss another Universal horror film of the 1940’s! Although it is a mad scientist film THE MAD GHOUL (1943) stands out from the other films of its type in many ways. It’s literate, mature script weaves interesting adult relationships into its fantastical narrative of college student zombification and graveyard surgery. Troy makes the claim that the film would be worth seeing even if the titular Ghoul was not part of the story but I think we all know why people were buying tickets – cardiectomies! Still, the more adult nature of the romantic complications in the story are interesting and the script gives the great George Zucco many chances to utter dialog that is a cut above the usual level of horror tales of the period. Often his delivery of a line is what makes a scene both believable and entertaining.  We discuss the cast and crew with an eye toward what the actors thought of the process and each other. We revel in the nasty details of the story and talk about the surprisingly dark stuff the film gets away with. Robert Armstrong as the comic reporter character gets some time in the spotlight as we fight the urge to call him by his KING KONG character name. And we express disappointment that although Evelyn Ankers gets a lot more to do in this movie than in SON OF DRACULA we still don’t get the chance to hear her sing.  If you enjoy THE MAD GHOUL or even if you don’t thebloodypit@gmail.com is the place to send your opinions, comments or suggestions. We’d be glad to her from you. Thank you for listening! 

Troy Guinn joins me to discuss another Universal horror film of the 1940’s! Although it is a mad scientist film THE MAD GHOUL (1943) stands out from the other films of its type in many ways. It’s literate, mature script weaves interesting adult relationships into its fantastical narrative of college student zombification and graveyard surgery. Troy makes the claim that the film would be worth seeing even if the titular Ghoul was not part of the story but I think we all know why people were buying tickets – cardiectomies! Still, the more adult nature of the romantic complications in the story are interesting and the script gives the great George Zucco many chances to utter dialog that is a cut above the usual level of horror tales of the period. Often his delivery of a line is what makes a scene both believable and entertaining.  We discuss the cast and crew with an eye toward what the actors thought of the process and each other. We revel in the nasty details of the story and talk about the surprisingly dark stuff the film gets away with. Robert Armstrong as the comic reporter character gets some time in the spotlight as we fight the urge to call him by his KING KONG character name. And we express disappointment that although Evelyn Ankers gets a lot more to do in this movie than in SON OF DRACULA we still don’t get the chance to hear her sing.  If you enjoy THE MAD GHOUL or even if you don’t thebloodypit@gmail.com is the place to send your opinions, comments or suggestions. We’d be glad to her from you. Thank you for listening!

172 - THE MAD GHOUL (1943)

Author Mark Clark returns to the show for a discussion of the giant bug movies of the 1950’s!   I have always lumped the giant bug movies in with the other giant monster films of the decade but that is a sloppy way to think about these films. The big surprise is that when you separate out the films with various kinds of bugs it turns out there were only eight. Eight! The always ambitious Mark suggested doing a single show about all of them, and I thought it was a great idea. So, even though we might have bitten off more than we can comfortably chew, that is what we did. For those playing along at home here is the list –   Them! (1954) Tarantula (1955) The Deadly Mantis (1957) The Black Scorpion (1957) Beginning of the End (1957) Monster from Green Hell (1957) Cosmic Monsters (1958) Earth vs the Spider (1958)   As you can see, we spend a lot of time in 1957 but rest assured that we talk about all eight films in some detail. We dig into the things about each that we enjoy and the places where they fall down with Mark using some interesting classic rock comparisons along the way. He’s a little odd. Along the way we decided to rank them from least to most favorite and we were shocked to see that there isn’t much difference in our opinions. What is the world coming to?   If you want to rank the Big Bug movies of the 1950’s thebloodypit@gmail.com is the place to send your list. We’d be glad to hear from you. Thanks for listening!

Author Mark Clark returns to the show for a discussion of the giant bug movies of the 1950’s! I have always lumped the giant bug movies in with the other giant monster films of the decade but that is a sloppy way to think about these films. The big surprise is that when you separate out the films with various kinds of bugs it turns out there were only eight. Eight! The always ambitious Mark suggested doing a single show about all of them, and I thought it was a great idea. So, even though we might have bitten off more than we can comfortably chew, that is what we did. For those playing along at home here is the list – Them! (1954) Tarantula (1955) The Deadly Mantis (1957) The Black Scorpion (1957) Beginning of the End (1957) Monster from Green Hell (1957) Cosmic Monsters (1958) Earth vs the Spider (1958) As you can see, we spend a lot of time in 1957 but rest assured that we talk about all eight films in some detail. We dig into the things about each that we enjoy and the places where they fall down with Mark using some interesting classic rock comparisons along the way. He’s a little odd. Along the way we decided to rank them from least to most favorite and we were shocked to see that there isn’t much difference in our opinions. What is the world coming to? If you want to rank the Big Bug movies of the 1950’s <a href="mailto:thebloodypit@gmail.com">thebloodypit@gmail.com</a> is the place to send your list. We’d be glad to hear from you. Thanks for listening!

171 - Big Bug Movies of the 1950’s!

Mark Maddox joins me to discuss one of his favorite films of all time - STAR TREK: THE MOTION PICTURE (1979). Does Mark need medication or is he able to back up his opinion of this film that has served as an easy punchline for decades? And what do I think of the film? Will there be an argument? You might already know the answer. Thank goodness for Mark Clark’s fine Start Trek FAQ books that serve to keep us on track. Mostly.  We discuss the years long genesis of the film touching on the planned ‘Phase II’ concept that was supposed to bring Star Trek back to television. Mark talks about seeing the film theatrically in 1979 and his reaction to the big screen sight of the Enterprise. He then relates his love of the wormhole sequence and we examine its function within the story. Jerry Goldsmith’s magnificent score is heaped with praise by both of us while Mark laments the use of the theme for The Next Generation television show. The production problems the film encountered get some attention with the foolish choice to lock in a premiere date before the film was even started coming under scrutiny. And the decision to begin shooting without a finished script can’t go unremarked either! It’s a miracle a coherent movie came out of this process in the end. Or course, it took a couple of decades for the thing to be really completed by the director but now we can see the film in the best light, flaws and all.  If you have any thoughts on the first Trek movie thebloodypit@gmail.com is the place to send them. We hope to cover more the series in the near future so thoughts on those are welcome as well. Thank you for listening! 

Mark Maddox joins me to discuss one of his favorite films of all time - STAR TREK: THE MOTION PICTURE (1979). Does Mark need medication or is he able to back up his opinion of this film that has served as an easy punchline for decades? And what do I think of the film? Will there be an argument? You might already know the answer. Thank goodness for Mark Clark’s fine Start Trek FAQ books that serve to keep us on track. Mostly.  We discuss the years long genesis of the film touching on the planned ‘Phase II’ concept that was supposed to bring Star Trek back to television. Mark talks about seeing the film theatrically in 1979 and his reaction to the big screen sight of the Enterprise. He then relates his love of the wormhole sequence and we examine its function within the story. Jerry Goldsmith’s magnificent score is heaped with praise by both of us while Mark laments the use of the theme for The Next Generation television show. The production problems the film encountered get some attention with the foolish choice to lock in a premiere date before the film was even started coming under scrutiny. And the decision to begin shooting without a finished script can’t go unremarked either! It’s a miracle a coherent movie came out of this process in the end. Or course, it took a couple of decades for the thing to be really completed by the director but now we can see the film in the best light, flaws and all.  If you have any thoughts on the first Trek movie thebloodypit@gmail.com is the place to send them. We hope to cover more the series in the near future so thoughts on those are welcome as well. Thank you for listening!

170 - STAR TREK: THE MOTION PICTURE (1979)

Marc McCloud

This is a bit of a hybrid episode of the show. We welcome as a guest the owner and ‘head man in charge’ of Orbit DVD of Ashville, NC – Mr. Marc McCloud! Troy and I have known Marc for decades and were surprised when he got in touch about his childhood trip to the Sid &amp; Marty Krofft amusement part. He joins us to relate his recollections of that 1976 adventure and his subsequent fascination with lesser-known parks of the same kind. It makes for a lively stroll down memory lane and adds some detail to our Pufnstuf conversation from episode #167. The show is bookended by email reactions to our PUFNSTUF show with regular correspondent Kurt’s Burning Man tale being a must-hear trip into unreality. Those Krofft creations are still able to conjure the most interesting flashbacks to a 1970’s childhood! Other emails include a list of favorite sword &amp; sandal movies from one writer and a question about the level of detail we can now find in UHD and Blu-Ray discs. Is it always a good thing? We discuss that at length along with a few extra topics that branch off naturally. As you might realize, the show goes on much longer than I expected! If you would like to add your voice to the next email show thebloodypit@gmail.com is the place to send your comments. Thank you for listening!

This is a bit of a hybrid episode of the show. We welcome as a guest the owner and ‘head man in charge’ of Orbit DVD of Ashville, NC – Mr. Marc McCloud! Troy and I have known Marc for decades and were surprised when he got in touch about his childhood trip to the Sid &amp; Marty Krofft amusement part. He joins us to relate his recollections of that 1976 adventure and his subsequent fascination with lesser-known parks of the same kind. It makes for a lively stroll down memory lane and adds some detail to our Pufnstuf conversation from episode #167. The show is bookended by email reactions to our PUFNSTUF show with regular correspondent Kurt’s Burning Man tale being a must-hear trip into unreality. Those Krofft creations are still able to conjure the most interesting flashbacks to a 1970’s childhood! Other emails include a list of favorite sword &amp; sandal movies from one writer and a question about the level of detail we can now find in UHD and Blu-Ray discs. Is it always a good thing? We discuss that at length along with a few extra topics that branch off naturally. As you might realize, the show goes on much longer than I expected! If you would like to add your voice to the next email show thebloodypit@gmail.com is the place to send your comments. Thank you for listening!

169 - Marc McCloud and Emails!

Lon Chaney Jr. gets little respect for his performance in this Universal Monster classic but Troy and I have a few things to say about that. In fact, we have a few things to say about a number of things in this fun chiller that we think is one of the best horror films of the decade. Indeed, we’re so excited to talk about this one that we almost forgot to use a synopsis of the story for reference but we do eventually wind our way through the plot. Spoilers abound, so you have been warned! We talk about the production including the reason this long delayed sequel finally went before the cameras. The behind the scenes wrangling that saw one Siodmak brother exit the film as another one entered is a topic along with a detailed look at the very ‘film noir’ filter that the story places over its horror tale. We discuss just how ‘Deep South’ the setting really is and ruminate on the oddly vague midwestern feel of the movie. Just where is that swamp? Troy asks many questions about the film that I cannot answer including a long list of possible first time appearances of several vampiric cinema ideas that we all simple accept these days. I need to do more homework!   We hope you enjoy our discussion which concludes with a relevant email from a loyal listener. If you want to be a part of our next Email Show thebloodypit@gmail.com is the place to send your thoughts. Thank you for listening and we’ll be back ASAP.  

Lon Chaney Jr. gets little respect for his performance in this Universal Monster classic but Troy and I have a few things to say about that. In fact, we have a few things to say about a number of things in this fun chiller that we think is one of the best horror films of the decade. Indeed, we’re so excited to talk about this one that we almost forgot to use a synopsis of the story for reference but we do eventually wind our way through the plot. Spoilers abound, so you have been warned! We talk about the production including the reason this long delayed sequel finally went before the cameras. The behind the scenes wrangling that saw one Siodmak brother exit the film as another one entered is a topic along with a detailed look at the very ‘film noir’ filter that the story places over its horror tale. We discuss just how ‘Deep South’ the setting really is and ruminate on the oddly vague midwestern feel of the movie. Just where is that swamp? Troy asks many questions about the film that I cannot answer including a long list of possible first time appearances of several vampiric cinema ideas that we all simple accept these days. I need to do more homework! We hope you enjoy our discussion which concludes with a relevant email from a loyal listener. If you want to be a part of our next Email Show <a href="mailto:thebloodypit@gmail.com">thebloodypit@gmail.com</a> is the place to send your thoughts. Thank you for listening and we’ll be back ASAP.

168 - SON OF DRACULA (1943)

Love hearing people talk about older films. They seem to be getting less love as the years go by, but Rod does a great job of keeping them afloat. Great to hear Derek K. as a guest as well! Those two episodes about the Castle westerns were awesome!

Love for classic films

I love the show, I love the topics, I love hearing how Rod gets so excited when he talks about the movies - But, for the love of GOD please mute the co-hosts mic when Rod is speaking. Again, great show but you tend to say &#34;uh&#34; or &#34;uh ha&#34; after EVERY sentance Rod speaks. Once you hear it, you cant listen to anything else.....

Great Show But......

The Bloody Pit

Every now and then you meet a true raconteur. Someone who not only has the ability to tell tales in an amusing way but who has enough life experiences accumulated to have stories that seem to be inexhaustible. Sam Irvin is such a person! Sam is a filmmaker who got his start in the industry working with Brian De Palma in the 1970’s on THE FURY (1978), HOME MOVIES (1979) and DRESSED TO KILL (1980) but his journey began as a movie obsessed young man in North Carolina. While just a grade school kid, he started his own movie fanzine in which he reviewed horror, science fiction and fantasy films as well as conducting interviews with his horror film idols. Over his high school years he interviewed Christopher Lee, Peter Cushing, Vincent Price, Freddie Francis, Terence Fisher and even managed to travel to England to speak with them in person. The story of his visit to the set of THE MAN WITH THE GOLDEN GUN (1974) is incredible! In the 1980’s he shifted to being a producer, directed a short film and worked as the Vice President of Marketing for several film distribution companies before finally getting to fulfill his dream of becoming a director. And then there’s the little story of making the amazing ELVIRA’S HAUNTED HILLS (2001) with the great Cassandra Peterson. But I should just let Sam tell you his story as he does a much better job than I ever could. Among all his other projects Sam is also an author and our current pandemic Hell has fueled his creativity in an odd way. Along with artist Dan Gallagher he has produced the book Sam’s Toilet Paper Caper! Styled as a parody of the classic children’s series of Little Golden Books it relates the mostly true adventures of Sam as he attempts to replenish his supply of white gold – rolls of TP. It’s available in both ebook and print editions with links done below. All profits from the sales of this book go to the World Health Organization’s COVID-19 Solidarity Response Fund. To learn more and to donate, you can visit this website: So, sit back and enjoy this couple of hours with Sam Irvin as he let us in on some of the more incredible parts of his wild life. If you have any questions or comments the email address is thebloodypit@gmail.com or you can join us over on the show’s FaceBook page. Thanks for listening and we’ll be back soon.

Every now and then you meet a true raconteur. Someone who not only has the ability to tell tales in an amusing way but who has enough life experiences accumulated to have stories that seem to be inexhaustible. Sam Irvin is such a person! Sam is a filmmaker who got his start in the industry working with Brian De Palma in the 1970’s on THE FURY (1978), HOME MOVIES (1979) and DRESSED TO KILL (1980) but his journey began as a movie obsessed young man in North Carolina. While just a grade school kid, he started his own movie fanzine in which he reviewed horror, science fiction and fantasy films as well as conducting interviews with his horror film idols. Over his high school years he interviewed Christopher Lee, Peter Cushing, Vincent Price, Freddie Francis, Terence Fisher and even managed to travel to England to speak with them in person. The story of his visit to the set of THE MAN WITH THE GOLDEN GUN (1974) is incredible! In the 1980’s he shifted to being a producer, directed a short film and worked as the Vice President of Marketing for several film distribution companies before finally getting to fulfill his dream of becoming a director. And then there’s the little story of making the amazing ELVIRA’S HAUNTED HILLS (2001) with the great Cassandra Peterson. But I should just let Sam tell you his story as he does a much better job than I ever could. Among all his other projects Sam is also an author and our current pandemic Hell has fueled his creativity in an odd way. Along with artist Dan Gallagher he has produced the book Sam’s Toilet Paper Caper! Styled as a parody of the classic children’s series of Little Golden Books it relates the mostly true adventures of Sam as he attempts to replenish his supply of white gold – rolls of TP. It’s available in both ebook and print editions with links done below. All profits from the sales of this book go to the World Health Organization’s COVID-19 Solidarity Response Fund. To learn more and to donate, you can visit this website: So, sit back and enjoy this couple of hours with Sam Irvin as he let us in on some of the more incredible parts of his wild life. If you have any questions or comments the email address is <a href="mailto:thebloodypit@gmail.com">thebloodypit@gmail.com</a> or you can join us over on the show’s FaceBook page. Thanks for listening and we’ll be back soon.

105 - Sam Irvin Visits! 

It’s time for our annual Holiday Horrors episode! This year John Hudson chose our Killer Santa viewing experience, taking Troy and I back to 1980 for a little-seen slasher called TO ALL A GOODNIGHT. Long dismissed as nearly unwatchable on previous video editions the much-improved image of the Blu-Ray release resolves many unanswered questions. It is now possible to clearly see what people are doing and where they actually are when onscreen. But, is that a good or a bad thing for this Christmas holiday set stalk ‘n’ kill revenge tale? That is where this discussion begins and ends. The trio of Holiday Hooligans dive quickly into the conversation about this one. In fact, we start talking about the film before we even properly let the audience know what we’re doing! Of course, this is the film that was directed by David Hess of LAST HOUSE ON THE LEFT (1972) fame which leads to many references to that film and his nasty character Krug. We also talk a bit about his impressive music career and lament his passing. The screenwriter comes in for a lengthy discussion touching on his other films and a rather surprising role in a better-known horror effort. We talk about this film’s very familiar plot template with our surprise at how many times we’ve seen the same story over the years. We note the movie’s strange pacing, terrible editing and variable performances. We use this film’s murder set pieces to make light of the slasher genre’s often silly kill scenes even as we still get a kick out of them. We hope you enjoy the Santa shenanigans and if you wish to comment the email address is thebloodypit@gmail.com or we can be reached on the podcast’s FaceBook page. Thanks for listening and have a happy holiday season!

It’s time for our annual Holiday Horrors episode! This year John Hudson chose our Killer Santa viewing experience, taking Troy and I back to 1980 for a little-seen slasher called TO ALL A GOODNIGHT. Long dismissed as nearly unwatchable on previous video editions the much-improved image of the Blu-Ray release resolves many unanswered questions. It is now possible to clearly see what people are doing and where they actually are when onscreen. But, is that a good or a bad thing for this Christmas holiday set stalk ‘n’ kill revenge tale? That is where this discussion begins and ends. The trio of Holiday Hooligans dive quickly into the conversation about this one. In fact, we start talking about the film before we even properly let the audience know what we’re doing! Of course, this is the film that was directed by David Hess of LAST HOUSE ON THE LEFT (1972) fame which leads to many references to that film and his nasty character Krug. We also talk a bit about his impressive music career and lament his passing. The screenwriter comes in for a lengthy discussion touching on his other films and a rather surprising role in a better-known horror effort. We talk about this film’s very familiar plot template with our surprise at how many times we’ve seen the same story over the years. We note the movie’s strange pacing, terrible editing and variable performances. We use this film’s murder set pieces to make light of the slasher genre’s often silly kill scenes even as we still get a kick out of them. We hope you enjoy the Santa shenanigans and if you wish to comment the email address is <a href="mailto:thebloodypit@gmail.com">thebloodypit@gmail.com</a> or we can be reached on the podcast’s FaceBook page. Thanks for listening and have a happy holiday season!

#95 - TO ALL A GOODNIGHT (1980) 

Once again Adrian Smith returns to the show! This time out we’re discussing (at length) one of Norman J. Warren’s films – INSEMINOID (1981). Probably the most notorious of the director’s horror efforts, it’s very poster art was controversial. The movie brings the idea of an alien creature injecting its offspring into a human host for gestation further into the open than even Ridley Scott’s classic ALIEN (1979) managed. Coupled with that hideous imagery the film also sports the usual Warren level of blood and gore making this a nasty little viewing experience even by today’s standards. Newcomers to the film might be surprised to see some well-known actresses plunging elbow deep into the violent sci-fi exploitation pits. You might also be impressed with how much the cast and crew accomplish on such a small budget.  Adrian is the perfect person to talk about this film as he is responsible for the book about the director included in Indicator’s new five film Blu-Ray set ‘Bloody Terror: The Shocking Cinema of Norman J. Warren 1976-1981’. In this informative work he lays out the details of Warren’s horror output giving insight into the troubles British productions run into regularly. Often it seems a minor miracle that any of these lower budgeted movies ever got completed. We mostly restrict our comments to INSEMINOID with a fair amount of detailed conversation about the script’s problems and the ingenious ways the filmmakers found to overcome unforeseen hazards. We also delve into the bizarre additions and changes made to the story in the film’s novelization. Certainly, the choice to shoot mostly on location was a decision that enhanced the look of the film but it was quite hard on the cast. Be aware that we spoil the entire movie as we proceed so, if that’s important to you, please go watch it before listening to us debate its relative merits. Adrian and I have very different views on this one so I think you’ll find it an interesting show. Oh! And we end things with a new version of the classic song Monster Mash and an extra solo bit of Adrian as he amuses himself while I’m away from the mic.  If you have any comments or questions thebloodypit@gmail.com is the email address. We’d love to hear from you. Posts can also be made on the show’s FaceBook page. Thank you for downloading and listening.

Once again Adrian Smith returns to the show! This time out we’re discussing (at length) one of Norman J. Warren’s films – INSEMINOID (1981). Probably the most notorious of the director’s horror efforts, it’s very poster art was controversial. The movie brings the idea of an alien creature injecting its offspring into a human host for gestation further into the open than even Ridley Scott’s classic ALIEN (1979) managed. Coupled with that hideous imagery the film also sports the usual Warren level of blood and gore making this a nasty little viewing experience even by today’s standards. Newcomers to the film might be surprised to see some well-known actresses plunging elbow deep into the violent sci-fi exploitation pits. You might also be impressed with how much the cast and crew accomplish on such a small budget.  Adrian is the perfect person to talk about this film as he is responsible for the book about the director included in Indicator’s new five film Blu-Ray set ‘Bloody Terror: The Shocking Cinema of Norman J. Warren 1976-1981’. In this informative work he lays out the details of Warren’s horror output giving insight into the troubles British productions run into regularly. Often it seems a minor miracle that any of these lower budgeted movies ever got completed. We mostly restrict our comments to INSEMINOID with a fair amount of detailed conversation about the script’s problems and the ingenious ways the filmmakers found to overcome unforeseen hazards. We also delve into the bizarre additions and changes made to the story in the film’s novelization. Certainly, the choice to shoot mostly on location was a decision that enhanced the look of the film but it was quite hard on the cast. Be aware that we spoil the entire movie as we proceed so, if that’s important to you, please go watch it before listening to us debate its relative merits. Adrian and I have very different views on this one so I think you’ll find it an interesting show. Oh! And we end things with a new version of the classic song Monster Mash and an extra solo bit of Adrian as he amuses himself while I’m away from the mic.  If you have any comments or questions <a href="mailto:thebloodypit@gmail.com">thebloodypit@gmail.com</a> is the email address. We’d love to hear from you. Posts can also be made on the show’s FaceBook page. Thank you for downloading and listening.

#92 - INSEMINOID (1981) 

We begin 2019 with the first new show in our Universal Horrors of the 1940's series. MAN MADE MONSTER (1941) marks the first Universal horror staring role for Creighton Chaney a.k.a. Lon Chaney, Jr.  Given the part of a lovable lug misused by one of the screen's maddest mad scientists, Chaney establishes the perfect acting style for his character. With his hang-dog eyes, broad grin and furrowed brow he presents himself as a good natured, kind fellow without an unpleasant thought for anyone. This performance would serve as the template for his future roles in Universal horror films as the much put upon victim of a certain lunar curse. But this is the starting point for that 'doomed man' characterization and it's a good one for both the actor and the film. Troy and I pull this one apart with the usual help of the fantastic Universal Horrors book by Tom Weaver, Michael Brunas and John Brunas which provides a lot of background and contemporary reviews. We also heavily reference the excellent essay by Bryan Senn on this film from the Lon Chaney, Jr. Midnight Marquee Actors series book. His work is essential reading for fans of the actor and those looking for real insight into this underappreciated movie. We discuss the odd notion of having a good scientist and a bad scientist under the same roof; the strange case of the missing romantic subplot; the late blooming lust of the mad scientist for the film's lovely co-star; the 'master race' desires that drive the plot and the dividing line that keeps pets alive in a horror film. We talk about director George Waggoner's work before and after this effort as well as the years long trail the story took to finally reach the screen. We also spend a lot of time heaping praise on the great Lionel Atwill's amazing performance as the crazed man seeking knowledge to keep the lower classes in their places! In the final segment of the show we read out a pair of emails from listeners and dive into the various topics they bring up. On what other podcast will you hear discussions of the Italian Filmirage production company's output (Ator!) paired with a critique of Hammer's four mummy films? If you'd like to let us know what you think on these subjects, or any others, we can be reached at thebloodypit@gmail.com or over on the show's FaceBook page. Thank you for downloading and listening!

We begin 2019 with the first new show in our Universal Horrors of the 1940's series. MAN MADE MONSTER (1941) marks the first Universal horror staring role for Creighton Chaney a.k.a. Lon Chaney, Jr.  Given the part of a lovable lug misused by one of the screen's maddest mad scientists, Chaney establishes the perfect acting style for his character. With his hang-dog eyes, broad grin and furrowed brow he presents himself as a good natured, kind fellow without an unpleasant thought for anyone. This performance would serve as the template for his future roles in Universal horror films as the much put upon victim of a certain lunar curse. But this is the starting point for that 'doomed man' characterization and it's a good one for both the actor and the film. Troy and I pull this one apart with the usual help of the fantastic Universal Horrors book by Tom Weaver, Michael Brunas and John Brunas which provides a lot of background and contemporary reviews. We also heavily reference the excellent essay by Bryan Senn on this film from the Lon Chaney, Jr. Midnight Marquee Actors series book. His work is essential reading for fans of the actor and those looking for real insight into this underappreciated movie. We discuss the odd notion of having a good scientist and a bad scientist under the same roof; the strange case of the missing romantic subplot; the late blooming lust of the mad scientist for the film's lovely co-star; the 'master race' desires that drive the plot and the dividing line that keeps pets alive in a horror film. We talk about director George Waggoner's work before and after this effort as well as the years long trail the story took to finally reach the screen. We also spend a lot of time heaping praise on the great Lionel Atwill's amazing performance as the crazed man seeking knowledge to keep the lower classes in their places! In the final segment of the show we read out a pair of emails from listeners and dive into the various topics they bring up. On what other podcast will you hear discussions of the Italian Filmirage production company's output (Ator!) paired with a critique of Hammer's four mummy films? If you'd like to let us know what you think on these subjects, or any others, we can be reached at thebloodypit@gmail.com or over on the show's FaceBook page. Thank you for downloading and listening!

#79 - MAN MADE MONSTER (1941) 

Troy and I jump back into the Universal Horror films of the 1940’s with a movie that is quite a curveball. HOLD THAT GHOST (1941) is the first of many Abbot &amp; Costello comedies that would have a possible supernatural element in its plot. Here it’s a creepy old tavern that the fellas inherit in the strangest way imaginable. The story is the usual simple clothesline onto which the script and our favorite comedy team hang as many jokes as they can muster.  That means plenty of doubletakes, fast talking and humorous close calls as well as a group of money seeking gangsters and a duplicitous lawyer all trying to get the boys out of the way. Add in a fantastic cast of talented actors including the brilliant Joan Davis and you have one of the best of Abbot &amp; Costello’s early features. After a brief conversation about THE LIGHTHOUSE (2019) and director Robert Eggers previous horror film we dig into the topic at hand. We discuss our favorite moments from the film and track its bizarre production history. Exactly how many movies can you be making at the same time? The cast is a point of interest with future science fiction star Richard Carlson as an amusing scientist clueless about the fairer sex. Universal horror star Evelyn Ankers makes her first appearance in a Universal scare film and manages to makes the most of her limited screen time. But it is Joan Davis who runs off with several scenes with her great comic timing and sharp comedy instincts. That she didn’t make more appearances in A &amp; C films over the years is a damned shame. The famous comedy team is able to insert a couple of the well-honed bits from their stage days into the story making for a nice glimpse at their burlesque days. And if you’ve never seen the fall-down funny Blue Danube dance scene you have a got a treat in store! Plus – The Andrews Sisters! We end the show with a piece of voicemail feedback from our buddy in England, Adrian. He calls into tell us about his adventures at this year’s FrightFest in Lindon. If you want to add your voice to the podcast the email address is thebloodypit@gmail.com or we can be reached over on the Book of Faces. Thanks for listening!

Troy and I jump back into the Universal Horror films of the 1940’s with a movie that is quite a curveball. HOLD THAT GHOST (1941) is the first of many Abbot &amp; Costello comedies that would have a possible supernatural element in its plot. Here it’s a creepy old tavern that the fellas inherit in the strangest way imaginable. The story is the usual simple clothesline onto which the script and our favorite comedy team hang as many jokes as they can muster.  That means plenty of doubletakes, fast talking and humorous close calls as well as a group of money seeking gangsters and a duplicitous lawyer all trying to get the boys out of the way. Add in a fantastic cast of talented actors including the brilliant Joan Davis and you have one of the best of Abbot &amp; Costello’s early features. After a brief conversation about THE LIGHTHOUSE (2019) and director Robert Eggers previous horror film we dig into the topic at hand. We discuss our favorite moments from the film and track its bizarre production history. Exactly how many movies can you be making at the same time? The cast is a point of interest with future science fiction star Richard Carlson as an amusing scientist clueless about the fairer sex. Universal horror star Evelyn Ankers makes her first appearance in a Universal scare film and manages to makes the most of her limited screen time. But it is Joan Davis who runs off with several scenes with her great comic timing and sharp comedy instincts. That she didn’t make more appearances in A &amp; C films over the years is a damned shame. The famous comedy team is able to insert a couple of the well-honed bits from their stage days into the story making for a nice glimpse at their burlesque days. And if you’ve never seen the fall-down funny Blue Danube dance scene you have a got a treat in store! Plus – The Andrews Sisters! We end the show with a piece of voicemail feedback from our buddy in England, Adrian. He calls into tell us about his adventures at this year’s FrightFest in Lindon. If you want to add your voice to the podcast the email address is <a href="mailto:thebloodypit@gmail.com">thebloodypit@gmail.com</a> or we can be reached over on the Book of Faces. Thanks for listening!

#94 - HOLD THAT GHOST (1941) 

This episode sees the return of cult movie expert and long time film writer Robert Monell. He and I discuss four of the newest Blu-Ray releases from Severin Films with a few mostly related side roads along the way. We're both stunned by the continuing announcements from several small labels that focus on giving obscure genre movies the chance to shine in high definition. These are films that would probably never be part of the Criterion Collection but are still very well worth being seen in the best possible presentations. And now, because of the love of discerning fans running niche labels, we can have incredible multidisc releases of rare giallo films, strange horror epics shot in the Philippines, little seen Jack the Ripper cinema and even a tiny budgeted 1970's attempt at making a human sacrificing druid cult into a terrifying horror threat. It truly is a great time to be alive! Please join Mr. Monell and I for this brief show about some highlighted new Blu-Rays worth the attention of cult film fanatics. We talk about the virtues (and vices) of these entertaining movies and also the copious extras lavished upon these often unseen pieces of genre history. The films we cover in the most detail are ALL THE COLORS OF THE DARK, the 1959 film JACK THE RIPPER and the insane INVASION OF THE BLOOD FARMERS. We also excitedly chat about the awesome extras-packed set called All The Colors Of Giallo because it is such a fantastic primer on that fine genre and, surprisingly, the German Krimi films as well. These releases are worth their weight in gold! If you have any questions or comments the show can be reached at thebloodpit@gmail.com or on the podcast's FaceBook page. Thanks for downloading and listening!

This episode sees the return of cult movie expert and long time film writer Robert Monell. He and I discuss four of the newest Blu-Ray releases from Severin Films with a few mostly related side roads along the way. We're both stunned by the continuing announcements from several small labels that focus on giving obscure genre movies the chance to shine in high definition. These are films that would probably never be part of the Criterion Collection but are still very well worth being seen in the best possible presentations. And now, because of the love of discerning fans running niche labels, we can have incredible multidisc releases of rare giallo films, strange horror epics shot in the Philippines, little seen Jack the Ripper cinema and even a tiny budgeted 1970's attempt at making a human sacrificing druid cult into a terrifying horror threat. It truly is a great time to be alive! Please join Mr. Monell and I for this brief show about some highlighted new Blu-Rays worth the attention of cult film fanatics. We talk about the virtues (and vices) of these entertaining movies and also the copious extras lavished upon these often unseen pieces of genre history. The films we cover in the most detail are ALL THE COLORS OF THE DARK, the 1959 film JACK THE RIPPER and the insane INVASION OF THE BLOOD FARMERS. We also excitedly chat about the awesome extras-packed set called All The Colors Of Giallo because it is such a fantastic primer on that fine genre and, surprisingly, the German Krimi films as well. These releases are worth their weight in gold! If you have any questions or comments the show can be reached at thebloodpit@gmail.com or on the podcast's FaceBook page. Thanks for downloading and listening!

#82 - Cult Blu-Ray Releases 

Here's a post-Christmas treat! Artist Mark Maddox has had a very busy year. He remains in high demand for book and magazine covers along with all his other work. 2018 saw him finally branch out into Blu-Ray art, doing the spectacular rendering of Christopher Lee for the cover of Scream Factory's new disc of DRACULA - PRNCE OF DARKNESS (1966). Hopefully the strong, positive response to that piece will get him the opportunity to do more in that vein and soon. Fingers crossed. But, because Mark has been so busy, he and I haven't had the chance to record a show together all year - until now! HELL DRIVERS (1957) was a film I was totally unaware of before Mr. Maddox started talking about it a few months ago. I don't know how I missed it considering the talented people involved. There is a host of future British television and film stars packed into this tight little drama including a Doctor Who, a James Bond and at least two other soon-to-be small screen espionage agents. Oh! And the great Herbert Lom as an Italian expatriate working in England and romancing the lovely Peggy Cummins. Writer/director Cy Endfield shows his skill at crafting a strong script with believable characters but also knows how to stage exciting action scenes. We watch huge trucks barreling down roads that are clearly too small for that type of traffic while at the same time the complicated personal relationships become more deadly as well. But the film offers more than just bar fights and lustful quandaries. Just why would a company run these young drivers so hard? As is the norm for a conversation between Mark and I, there comes a point where we go off track. In fact we went so far off track that it became difficult to know just how long we had been roaming around talking about something other than HELL DRIVERS! We drift into a discussion of toys including fan-made collectables, then move on to the British 'Carry On' film series and film humor in general with a surprising revelation or two from Mark. There are at least a dozen other topics that we charge right into with little reasonable concern for the fact that you folks might eventually be listening to us ramble. Sorry about that. If you have any comments or if you'd like to correct either of us please write the show at thebloodypit@gmail.com where we'll be thrilled to answer all questions. Thank you for listening and we'll talk to you again soon.

Here's a post-Christmas treat! Artist Mark Maddox has had a very busy year. He remains in high demand for book and magazine covers along with all his other work. 2018 saw him finally branch out into Blu-Ray art, doing the spectacular rendering of Christopher Lee for the cover of Scream Factory's new disc of DRACULA - PRNCE OF DARKNESS (1966). Hopefully the strong, positive response to that piece will get him the opportunity to do more in that vein and soon. Fingers crossed. But, because Mark has been so busy, he and I haven't had the chance to record a show together all year - until now! HELL DRIVERS (1957) was a film I was totally unaware of before Mr. Maddox started talking about it a few months ago. I don't know how I missed it considering the talented people involved. There is a host of future British television and film stars packed into this tight little drama including a Doctor Who, a James Bond and at least two other soon-to-be small screen espionage agents. Oh! And the great Herbert Lom as an Italian expatriate working in England and romancing the lovely Peggy Cummins. Writer/director Cy Endfield shows his skill at crafting a strong script with believable characters but also knows how to stage exciting action scenes. We watch huge trucks barreling down roads that are clearly too small for that type of traffic while at the same time the complicated personal relationships become more deadly as well. But the film offers more than just bar fights and lustful quandaries. Just why would a company run these young drivers so hard? As is the norm for a conversation between Mark and I, there comes a point where we go off track. In fact we went so far off track that it became difficult to know just how long we had been roaming around talking about something other than HELL DRIVERS! We drift into a discussion of toys including fan-made collectables, then move on to the British 'Carry On' film series and film humor in general with a surprising revelation or two from Mark. There are at least a dozen other topics that we charge right into with little reasonable concern for the fact that you folks might eventually be listening to us ramble. Sorry about that. If you have any comments or if you'd like to correct either of us please write the show at thebloodypit@gmail.com where we'll be thrilled to answer all questions. Thank you for listening and we'll talk to you again soon.

#78 - HELL DRIVERS (1957) 

Hammer Studios made four feature films in the ‘mummy’ subgenre and THE MUMMY’S SHROUD (1967) is usually listed as one of the least of them. I’ve never understood this general attitude and not just because I have a soft spot for tales of undead Egyptian monsters stalking grave desecrators. This movie has a lot to offer including a substantial role for the great character actor Michael Ripper. In his last Hammer film director John Gilling brings a number of fascinating ideas to bear and manages to find some new ways to present the usual story of cursed tombs and horrible retribution. In fact, the level of violence meted out by the silent killer in this tale brings to mind some of the darker aspects of the stalk and slash genre of later years. Could this bloody nastiness be one of the reasons the movie has been so derided by fans of the studio’s earlier output? I’m joined by Mark Maddox to look at this film and dig into why we like it. We examine our discovery of the movie in years past and how it holds up now as it makes its way to Blu-Ray release. We talk about how it sticks to the tropes of the usual mummy story but finds ways to change things up enough to be more than a replay of past efforts. We discuss the cast beyond just the excellent turn by Ripper and the angular beauty of co-star Maggie Kimberly. I put forth the (fairly obvious) idea that the opening section of the film set in ancient Egypt seems to have been meant to be presented without the voice-over the film gives it. Of course, any time you get Mark talking there are going to be bizarre sideroads in the conversation and this episode is no exception. His ability to remember the details of what network showed which movie on what night back in the 1970’s stuns me! If you have any comments or question thebloodypit@gmail.com is the email address or I can be reached over on the FaceBook page. Thank you for listening to the show and stay safe out there. Cloth wrapped feet are not the only deadly thing lurking in the night!

Hammer Studios made four feature films in the ‘mummy’ subgenre and THE MUMMY’S SHROUD (1967) is usually listed as one of the least of them. I’ve never understood this general attitude and not just because I have a soft spot for tales of undead Egyptian monsters stalking grave desecrators. This movie has a lot to offer including a substantial role for the great character actor Michael Ripper. In his last Hammer film director John Gilling brings a number of fascinating ideas to bear and manages to find some new ways to present the usual story of cursed tombs and horrible retribution. In fact, the level of violence meted out by the silent killer in this tale brings to mind some of the darker aspects of the stalk and slash genre of later years. Could this bloody nastiness be one of the reasons the movie has been so derided by fans of the studio’s earlier output? I’m joined by Mark Maddox to look at this film and dig into why we like it. We examine our discovery of the movie in years past and how it holds up now as it makes its way to Blu-Ray release. We talk about how it sticks to the tropes of the usual mummy story but finds ways to change things up enough to be more than a replay of past efforts. We discuss the cast beyond just the excellent turn by Ripper and the angular beauty of co-star Maggie Kimberly. I put forth the (fairly obvious) idea that the opening section of the film set in ancient Egypt seems to have been meant to be presented without the voice-over the film gives it. Of course, any time you get Mark talking there are going to be bizarre sideroads in the conversation and this episode is no exception. His ability to remember the details of what network showed which movie on what night back in the 1970’s stuns me! If you have any comments or question <a href="mailto:thebloodypit@gmail.com">thebloodypit@gmail.com</a> is the email address or I can be reached over on the FaceBook page. Thank you for listening to the show and stay safe out there. Cloth wrapped feet are not the only deadly thing lurking in the night!

104 - THE MUMMY'S SHROUD (1967) 

We've wanted to discuss the films of Dario Argento for a long time but have been stumped about the correct starting point. In a career spanning more than fifty years and over twenty films where do we jump in? Luckily, our occasional podcast guest Jason Spear helped us cut through the noise to focus on the director's amazing OPERA (1987). This was prompted by the recent Scorpion release of the film in an incredible three disc Blu-Ray set that provides probably the best way to see the movie since it's theatrical run. Packed with extras that allow fans to deep dive into details of the production it serves to fuel our rather rambling look at this stunning thriller. To dig into what we love about this movie we do away with the idea of a linear discussion of the plot and just hop around talking about random scenes and sequences. We assume that the podcast audience is familiar with the film and plunge forward pulling apart our favorite elements and puzzling over the odd things that make this giallo such a strange and wonderful experience. That means there are certainly spoilers, so be aware! We discuss the madness induced by repressed sexual desires as well as the perceived age problem between the killer and the focus of his obsession. We spend a good deal of time on the fascinating possibility that Argento rotates his narrative inside the head of his main character much sooner than usually imagined. We debate the sanity of the central figure of the film for probably too long and then devolve into relating our individual favorite three Argento efforts. As you can tell, we swing all over the place in this one! If you have any comments or just want to give us your own list of favorite Argento movies the show's email address is thebloodypit@gmail.com where we will be glad to hear what you have to say. I cap the episode with an old Hoodoo Guru's song but stick around afterwards for some bonus complaining from me about Argento's Dracula film. Ugh! And, as always, thank you for listening to the show.

We've wanted to discuss the films of Dario Argento for a long time but have been stumped about the correct starting point. In a career spanning more than fifty years and over twenty films where do we jump in? Luckily, our occasional podcast guest Jason Spear helped us cut through the noise to focus on the director's amazing OPERA (1987). This was prompted by the recent Scorpion release of the film in an incredible three disc Blu-Ray set that provides probably the best way to see the movie since it's theatrical run. Packed with extras that allow fans to deep dive into details of the production it serves to fuel our rather rambling look at this stunning thriller. To dig into what we love about this movie we do away with the idea of a linear discussion of the plot and just hop around talking about random scenes and sequences. We assume that the podcast audience is familiar with the film and plunge forward pulling apart our favorite elements and puzzling over the odd things that make this giallo such a strange and wonderful experience. That means there are certainly spoilers, so be aware! We discuss the madness induced by repressed sexual desires as well as the perceived age problem between the killer and the focus of his obsession. We spend a good deal of time on the fascinating possibility that Argento rotates his narrative inside the head of his main character much sooner than usually imagined. We debate the sanity of the central figure of the film for probably too long and then devolve into relating our individual favorite three Argento efforts. As you can tell, we swing all over the place in this one! If you have any comments or just want to give us your own list of favorite Argento movies the show's email address is thebloodypit@gmail.com where we will be glad to hear what you have to say. I cap the episode with an old Hoodoo Guru's song but stick around afterwards for some bonus complaining from me about Argento's Dracula film. Ugh! And, as always, thank you for listening to the show.

#86 - OPERA (1987) 

I welcome artist Mark Maddox back to the show and we take a trip to Blood Island to survey the territory. TERROR IS A MAN (1959) is the first of what would become a series of Philippine produced horror films featuring monsters and bloody (for the times) violence. While the later films were colorful sleaze-fests this movie was shot in stark black and white with its horrors being moodier rather than grotesque. Not that the film skimps on horror thrills but, while it is pushing the outer edge of what was permissible in the 1950’s, it is still a more restrained tale than would come later. Mark and I cut into this variation on Wells’ ‘Island of Doctor Moreau’ searching for the best parts and throwing out the worst. We disagree on a few elements with me decrying lip gloss and high heels while Mark makes the case for a shortened running time. But we agree on how much the film is improved by the recent HD release on Blu-Ray. This film has spent decades being presented to viewers in terrible prints on subpar video releases that made it difficult to pay attention to the often excellent qualities onscreen. Now it’s possible to see the movie in a crisp, clear version that allows all the fine work done to be appreciated. Of course, it also allows us to focus on the less well-done aspects too. But this is a film that falls much more on the positive side than the negative and I will keep insisting on that until Mark shuts up! We don’t stray too far off topic but if there are any odd side roads that you think we should travel down further in the future please let us know. The podcast email address is thebloodypit@gmail.com or we can be reached on the show’s FaceBook page. Thanks for listening and we’ll be back soon!

I welcome artist Mark Maddox back to the show and we take a trip to Blood Island to survey the territory. TERROR IS A MAN (1959) is the first of what would become a series of Philippine produced horror films featuring monsters and bloody (for the times) violence. While the later films were colorful sleaze-fests this movie was shot in stark black and white with its horrors being moodier rather than grotesque. Not that the film skimps on horror thrills but, while it is pushing the outer edge of what was permissible in the 1950’s, it is still a more restrained tale than would come later. Mark and I cut into this variation on Wells’ ‘Island of Doctor Moreau’ searching for the best parts and throwing out the worst. We disagree on a few elements with me decrying lip gloss and high heels while Mark makes the case for a shortened running time. But we agree on how much the film is improved by the recent HD release on Blu-Ray. This film has spent decades being presented to viewers in terrible prints on subpar video releases that made it difficult to pay attention to the often excellent qualities onscreen. Now it’s possible to see the movie in a crisp, clear version that allows all the fine work done to be appreciated. Of course, it also allows us to focus on the less well-done aspects too. But this is a film that falls much more on the positive side than the negative and I will keep insisting on that until Mark shuts up! We don’t stray too far off topic but if there are any odd side roads that you think we should travel down further in the future please let us know. The podcast email address is <a href="mailto:thebloodypit@gmail.com">thebloodypit@gmail.com</a> or we can be reached on the show’s FaceBook page. Thanks for listening and we’ll be back soon!

#97 - TERROR IS A MAN (1959) 

The ‘old dark house’ tale was a staple of the horror genre for decades. It still shows up in the 21st century but most of the time it drops the gothic accoutrements for a less antique view of a creepy location. In the 1940’s the ODH story had become a standard for both straight scary tales and horror comedies wishing to use the tropes of the genre as easy set-ups for humor. Such is the case with Universal’s 1941 film THE BLACK CAT. While it treats its mystery with some seriousness it is often pushing events toward a silly joke from the film’s comic relief character. As with any scary movie incorporating laughs as part of its storytelling there is the chance that the humor will not appeal to each viewer. Smartly, the writers employ several different kinds of jokes throughout in an attempt to hit as many potential targets as possible. That means we get some clever dialog in places and some fairly broad comedic bits in others. But does the film as a whole work? Troy and I walk into this old creeper looking to see how it fits in with the types of chillers Universal was producing at the time. We revel in the excellent cast that is so packed with talent that it even sports a young Alan Ladd in an early role. How can any film with Bela Lugosi, Basil Rathbone, Anne Gwynne, Brodrick Crawford, Cecilia Loftus and Gale Sondergaard be less than entertaining? We take note of the ways the film adheres to the Old Dark House tropes (hidden passages, family hatreds, romantic betrayals, cruel Last Wills &amp; Testaments, etc) and the strange ways it alters those ideas for the times. We remark on the unnecessary confusion caused by the softening of the violence in the story and the clever ways that the spirited investigators piece together clues. Our man Bela looks great in the film but is only given a limited amount of screen time. Luckily, he makes the best of it with some creepy moments and an unexpected humorous scene as well. And, while we both love cats, we have much sympathy for Crawford’s character as he deals with an allergy that we kept waiting to be part of the denouncement. If you have any comments about THE BLACK CAT (1941) or any other of the Universal horror films of the 1940’s please drop us a line. The show can be reached at thebloodypit@gmail.com or over on the show’s FaceBook page. We thank you for downloading and listening to the podcast and we’d be thrilled if you could spread the word about what we’re doing here. Thank you for any help getting out the word to a wider world. Talk to you again soon.

The ‘old dark house’ tale was a staple of the horror genre for decades. It still shows up in the 21st century but most of the time it drops the gothic accoutrements for a less antique view of a creepy location. In the 1940’s the ODH story had become a standard for both straight scary tales and horror comedies wishing to use the tropes of the genre as easy set-ups for humor. Such is the case with Universal’s 1941 film THE BLACK CAT. While it treats its mystery with some seriousness it is often pushing events toward a silly joke from the film’s comic relief character. As with any scary movie incorporating laughs as part of its storytelling there is the chance that the humor will not appeal to each viewer. Smartly, the writers employ several different kinds of jokes throughout in an attempt to hit as many potential targets as possible. That means we get some clever dialog in places and some fairly broad comedic bits in others. But does the film as a whole work? Troy and I walk into this old creeper looking to see how it fits in with the types of chillers Universal was producing at the time. We revel in the excellent cast that is so packed with talent that it even sports a young Alan Ladd in an early role. How can any film with Bela Lugosi, Basil Rathbone, Anne Gwynne, Brodrick Crawford, Cecilia Loftus and Gale Sondergaard be less than entertaining? We take note of the ways the film adheres to the Old Dark House tropes (hidden passages, family hatreds, romantic betrayals, cruel Last Wills &amp; Testaments, etc) and the strange ways it alters those ideas for the times. We remark on the unnecessary confusion caused by the softening of the violence in the story and the clever ways that the spirited investigators piece together clues. Our man Bela looks great in the film but is only given a limited amount of screen time. Luckily, he makes the best of it with some creepy moments and an unexpected humorous scene as well. And, while we both love cats, we have much sympathy for Crawford’s character as he deals with an allergy that we kept waiting to be part of the denouncement. If you have any comments about THE BLACK CAT (1941) or any other of the Universal horror films of the 1940’s please drop us a line. The show can be reached at <a href="mailto:thebloodypit@gmail.com">thebloodypit@gmail.com</a> or over on the show’s FaceBook page. We thank you for downloading and listening to the podcast and we’d be thrilled if you could spread the word about what we’re doing here. Thank you for any help getting out the word to a wider world. Talk to you again soon.

#88 - THE BLACK CAT (1941) 

John Hudson returns to continue our look at the films of Antonio Margheriti. This time we examine one of his last completed pictures ALIEN FROM THE DEEP (1989) which nakedly steals elements from several 80’s Hollywood hits. In fact, the movie can become a bit of a ‘spot the reference’ game as it goes along copping half a dozen ideas or sequences from other, more well-known works. But does this movie have enough creativity and energy to make an entertaining new thing out of all these recycled pieces? Joy is often in the eye of the beholder….  What this film certainly does have is the epic onscreen presence of Charles Napier and Margheriti regular Alan Collins a.k.a. Luciano Pigozzi. These two men shoulder the acting weight of a script that often seems to have been missing a few important pages. Filmed in the Philippines with the usual explosive miniatures to enhance the scope of the action this is one part sweaty jungle adventure, one part evil corporation tale and one part deadly alien attack. Oh! I forgot to mention the alien until now! But the film doesn’t get around to the big murderous creature until more than half the running time is over either so I don’t feel too bad. And any similarities between this film’s alien and the monsters from a certain big budget series of hit movies is completely coincidental, I’m sure.  Mr. Hudson and I dig into this one and are happily surprised by the lack of onscreen animal deaths even if someone really was throwing snakes at actors for one scene. We get excited at certain points in the discussion as we make note of the script’s problems and the variability of the character’s personalities. And, if you pay attention, you’ll hear me call Charles Napier ALAN Napier and that is a very silly mistake to make. Of course, the idea of Charles Napier as the 1966 TV Batman’s butler is pretty damned cool!  The show can be reached at thebloodypit@gmail.com for any comments or suggestions. The Bloody Pit also has a FaceBook page where messages can be left for any of the contributors to the podcast. Thank you for downloading and listening to the show!

John Hudson returns to continue our look at the films of Antonio Margheriti. This time we examine one of his last completed pictures ALIEN FROM THE DEEP (1989) which nakedly steals elements from several 80’s Hollywood hits. In fact, the movie can become a bit of a ‘spot the reference’ game as it goes along copping half a dozen ideas or sequences from other, more well-known works. But does this movie have enough creativity and energy to make an entertaining new thing out of all these recycled pieces? Joy is often in the eye of the beholder….  What this film certainly does have is the epic onscreen presence of Charles Napier and Margheriti regular Alan Collins a.k.a. Luciano Pigozzi. These two men shoulder the acting weight of a script that often seems to have been missing a few important pages. Filmed in the Philippines with the usual explosive miniatures to enhance the scope of the action this is one part sweaty jungle adventure, one part evil corporation tale and one part deadly alien attack. Oh! I forgot to mention the alien until now! But the film doesn’t get around to the big murderous creature until more than half the running time is over either so I don’t feel too bad. And any similarities between this film’s alien and the monsters from a certain big budget series of hit movies is completely coincidental, I’m sure.  Mr. Hudson and I dig into this one and are happily surprised by the lack of onscreen animal deaths even if someone really was throwing snakes at actors for one scene. We get excited at certain points in the discussion as we make note of the script’s problems and the variability of the character’s personalities. And, if you pay attention, you’ll hear me call Charles Napier ALAN Napier and that is a very silly mistake to make. Of course, the idea of Charles Napier as the 1966 TV Batman’s butler is pretty damned cool!  The show can be reached at <a href="mailto:thebloodypit@gmail.com">thebloodypit@gmail.com</a> for any comments or suggestions. The Bloody Pit also has a FaceBook page where messages can be left for any of the contributors to the podcast. Thank you for downloading and listening to the show!

#87 - ALIEN FROM THE DEEP (1989) 

William Castle

Monster Kid Derek Koch returns to The Bloody Pit to continue our series on the early western films of director William Castle. This time out we tackle two efforts Castle made for producer Sam Katzman in 1954 that focus on historical characters of the Old West. First up is JESSE JAMES VS THE DALTONS which, depending on your point of view, might be called criminally misnamed. The film tells the fictional tale of a man that believes two odd things - that he might be the son of Jesse James and that the famed outlaw is still alive years after his murder. It makes more sense than you might think but it still doesn't justify skipping the opportunity to claim the title THE SON OF JESSE JAMES. That certainly seems like a much more exploitable phrase to splash across a movie poster!    The second film is MASTERSON OF KANSAS which includes not just legendary lawman 'Bat' Masterson but also Wyatt Earp and Doc Holliday. Hewing closer to reality than our first feature this one still concocts a fiery conflict between Holliday and Masterson that drives the two men from dislike to anger with the threat of violence always in the air. Only their respect for the wishes of mutual friend Earp keeps them from a classic Dodge City gunfight as the story begins but they seem destined to clash. Once both men become enmeshed in a complicated plot to frame an innocent man for murder they are forced to side with each other even if their private motivations are very different. Can these two enemies restrain their hostility long enough to stop a war between the army and a local Indian tribe? We have a great time discussing these two colorful westerns with only a few digressions down unrelated paths. I apologize for my lengthy Six Million Dollar Man babble but there were just too many actors in these movies that guested on that show for me to ignore it! Derek can be heard every week over on Monster Kid Radio where you can find more information about his various creative projects. Check it out! And any comments about this episode can be sent to thebloodypit@gmail.com and Derek and I will be happy to address your questions next time we record. Thank you for downloading and listening to the show!  

Monster Kid Derek Koch returns to The Bloody Pit to continue our series on the early western films of director William Castle. This time out we tackle two efforts Castle made for producer Sam Katzman in 1954 that focus on historical characters of the Old West. First up is JESSE JAMES VS THE DALTONS which, depending on your point of view, might be called criminally misnamed. The film tells the fictional tale of a man that believes two odd things - that he might be the son of Jesse James and that the famed outlaw is still alive years after his murder. It makes more sense than you might think but it still doesn't justify skipping the opportunity to claim the title THE SON OF JESSE JAMES. That certainly seems like a much more exploitable phrase to splash across a movie poster!    The second film is MASTERSON OF KANSAS which includes not just legendary lawman 'Bat' Masterson but also Wyatt Earp and Doc Holliday. Hewing closer to reality than our first feature this one still concocts a fiery conflict between Holliday and Masterson that drives the two men from dislike to anger with the threat of violence always in the air. Only their respect for the wishes of mutual friend Earp keeps them from a classic Dodge City gunfight as the story begins but they seem destined to clash. Once both men become enmeshed in a complicated plot to frame an innocent man for murder they are forced to side with each other even if their private motivations are very different. Can these two enemies restrain their hostility long enough to stop a war between the army and a local Indian tribe? We have a great time discussing these two colorful westerns with only a few digressions down unrelated paths. I apologize for my lengthy Six Million Dollar Man babble but there were just too many actors in these movies that guested on that show for me to ignore it! Derek can be heard every week over on Monster Kid Radio where you can find more information about his various creative projects. Check it out! And any comments about this episode can be sent to thebloodypit@gmail.com and Derek and I will be happy to address your questions next time we record. Thank you for downloading and listening to the show!

#84 - William Castle Westerns Part 2 

Author Mark Clark rejoins me in this episode to put an interesting idea before us all. He claims that the all-time best year for science fiction, horror and fantasy movies is 1968. Best ever?  He argues that there were more high quality genre films released in that year than in any other and he comes with an impressive list to make his case. I have to admit that I am compelled to disagree with him – well - I’m compelled to disagree with almost everyone eventually. BUT – he has a good point or five. So, we dig into the movies from that long ago year, making claims of greatness and arguing their finer points. I mean, there is a lot to be said about 2001: A SPACE ODYSSEY, NIGHT OF THE LIVING DEAD, PLANET OF THE APES, ROSEMARY’S BABY and WITCHFINDER GENERAL don’t you think? Of course, I also push back at Mark’s thesis with a different year that I’ve always considered one of the best for genre cinema and the conversation ranges across the merits of that year as well. We find much to agree on but there are some strange areas of contention. There might be a separate future discussion about the contemporary popularity of some of these movies and what that says about the perception of their quality level. If a movie was a financial failure on release but went on to be considered a classic, how do we evaluate it as an entry in that year? Food for geeky thought. If you have another year that you think is more impressive than 1968 drop us a line. The email address is thebloodypit@gmail.com or we could get a thread going over on the show’s FaceBook page. Thanks for listening!

Author Mark Clark rejoins me in this episode to put an interesting idea before us all. He claims that the all-time best year for science fiction, horror and fantasy movies is 1968. Best ever?  He argues that there were more high quality genre films released in that year than in any other and he comes with an impressive list to make his case. I have to admit that I am compelled to disagree with him – well - I’m compelled to disagree with almost everyone eventually. BUT – he has a good point or five. So, we dig into the movies from that long ago year, making claims of greatness and arguing their finer points. I mean, there is a lot to be said about 2001: A SPACE ODYSSEY, NIGHT OF THE LIVING DEAD, PLANET OF THE APES, ROSEMARY’S BABY and WITCHFINDER GENERAL don’t you think? Of course, I also push back at Mark’s thesis with a different year that I’ve always considered one of the best for genre cinema and the conversation ranges across the merits of that year as well. We find much to agree on but there are some strange areas of contention. There might be a separate future discussion about the contemporary popularity of some of these movies and what that says about the perception of their quality level. If a movie was a financial failure on release but went on to be considered a classic, how do we evaluate it as an entry in that year? Food for geeky thought. If you have another year that you think is more impressive than 1968 drop us a line. The email address is <a href="mailto:thebloodypit@gmail.com">thebloodypit@gmail.com</a> or we could get a thread going over on the show’s FaceBook page. Thanks for listening!

#101 - 1968

After more than a year away the subject, Cort Psyops and I finally return to the cinema of Zé do Caixão a.k.a. Coffin Joe! EMBODIMENT OF EVIL (2008) is the long delayed third film in the trilogy of tales about the mad undertaker and his quest for a woman to bear him the perfect child. As this film begins his frantic search has been on hold for forty years while he was kept locked away in a dank Brazilian prison. Once released his hunt is aided by a fanatical cult of followers that are willing to do their master’s bidding no matter what he demands. It seems that while he was imprisoned the world might have caught up with Coffin Joe’s dark vision of humanity. Pursued by two government officers and a priest driven to stop Zé do Caixão even if it means murder, Joe cuts a bloody path through the city’s underbelly terrorizing anyone in his way. Will he finally succeed in his life’s goal or will his enemies find a way to end his life?  Cort and I dig into this one in much the same way we did the first two films. We examine the dark outlook on the world that writer/director/ actor José Mojica Marins puts forth with his signature creation to determine how much of it we share. We discuss the structure of the story, the smart use of the decades long gap as part of the narrative and the clever use of footage from the previous films to enhance this last tale. We talk a bit about the beauty of the ugliness the movie displays as well as the amazing and effective special effects that are used to create the ghosts that haunt Coffin Joe’s mind. It’s rare that a filmmaker gets the chance to return to his creation after so long a break and even more rare for the return to be as impressive as the earlier work. Some of the images in this movie linger with the viewer for months afterward which is something I’m sure would put a smile on Marins face.  If you have any comments about the show or Coffin Joe the email address is thebloodypit@gmail.com where we’ll be thrilled to hear from you. As we mention near the end of the show Cort and I plan to cover more of Marins work eventually after we cleanse our palette with something less grotesque. If you have suggestions for that please let us know.

After more than a year away the subject, Cort Psyops and I finally return to the cinema of Zé do Caixão a.k.a. Coffin Joe! EMBODIMENT OF EVIL (2008) is the long delayed third film in the trilogy of tales about the mad undertaker and his quest for a woman to bear him the perfect child. As this film begins his frantic search has been on hold for forty years while he was kept locked away in a dank Brazilian prison. Once released his hunt is aided by a fanatical cult of followers that are willing to do their master’s bidding no matter what he demands. It seems that while he was imprisoned the world might have caught up with Coffin Joe’s dark vision of humanity. Pursued by two government officers and a priest driven to stop Zé do Caixão even if it means murder, Joe cuts a bloody path through the city’s underbelly terrorizing anyone in his way. Will he finally succeed in his life’s goal or will his enemies find a way to end his life?  Cort and I dig into this one in much the same way we did the first two films. We examine the dark outlook on the world that writer/director/ actor José Mojica Marins puts forth with his signature creation to determine how much of it we share. We discuss the structure of the story, the smart use of the decades long gap as part of the narrative and the clever use of footage from the previous films to enhance this last tale. We talk a bit about the beauty of the ugliness the movie displays as well as the amazing and effective special effects that are used to create the ghosts that haunt Coffin Joe’s mind. It’s rare that a filmmaker gets the chance to return to his creation after so long a break and even more rare for the return to be as impressive as the earlier work. Some of the images in this movie linger with the viewer for months afterward which is something I’m sure would put a smile on Marins face.  If you have any comments about the show or Coffin Joe the email address is <a href="mailto:thebloodypit@gmail.com">thebloodypit@gmail.com</a> where we’ll be thrilled to hear from you. As we mention near the end of the show Cort and I plan to cover more of Marins work eventually after we cleanse our palette with something less grotesque. If you have suggestions for that please let us know.

#91 - EMBODIMENT OF EVIL (2008) 

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