Starring Masaaki Daimon, Kazuya Aoyama, Reiko Tajima and Akihiko Hirata. Written by Jun Fukuda and Hiroyasu Yamaura. Directed by Jun Fukuda. Produced by Tomoyuki Tanaka.
Cool poster
Also known as GODZILLA VS. BIONIC MONSTER and GODZILLA VS. COSMIC MONSTER, this kaiju flick came out to celebrate Godzilla’s 20th anniversary.
This poster is ace!
The movie presents us with our massive reptilian hero tackling his mechanical doppelgänger: Mechagodzilla! This marvellous, monstrous machine is controlled by alien ape-beings who come from a planet orbiting a black hole! Failing to beat his robo-twin in combat on his own, Godzilla is assisted by dog-faced Okinawan god-monster King Caesar (aka King Seeser). Godzilla’s beastly buddy Angiurus returns, and is now capable of leaping at his foes, leading to a very physical fight with Mechagodzilla!
Above: three colourful kaiju pics!
Mecha-G is definitely the stand-out element in this film, with the robo-beast firing rockets from its fingers, discharging lightning bolts from its chest, emitting colourful beams from its eyes, and creating whirling forcefields with its spinning metal head! Woot!
The fights in GODZILLA VS. MECHAGODZILLA are really enjoyable, full of multiple explosions and animated power beams. Even Mechagodzilla’s knees are lethal, as they are capable of firing projectiles at Godzilla and King Caesar!
Godzilla and his robotic nemesis!
This film is fun, fun, fun! The ape-aliens look goofy, goofy, goofy! And Mechagodzilla is cool, cool, cool! No wonder the titanium terror went on to become one of Godzilla’s most popular foes.
Yes! Issue 8 of Imaginator magazine is now roaming the world!
There are loads of links to places it can be bought HERE!
I am so proud of this issue!
I love the way the magazine looks, design-wise, and I think it contains a wealth of wonderful folk horror-related contents that anyone with even a passing interest in the sub-genre will enjoy reading!
Check out the magazine’s contents…
FOLK HORROR RISING
Noah Kneal looks at what makes Folk Horror so special… and ponders why the sub-genre continues to go from strength to strength.
ALL THE HAUNTS BE HERS
Ken Miller talks with Kier-La Janisse, the director of stunning folk horror documentary Woodlands Dark and Days Bewitched: A History of Folk Horror.
Screenshot
REMEMBERING THE RITUAL
Dan Nicks reminds us why The Ritual (2017) is such a wonderful melding of folk horror and survival horror.
THE MAN WHO UNLEASHES HORRORS
Ken Miller speaks with Adam Nevill, author of such scrumptiously sinister folk horror books as The Reddening, The Ritual and Cunning Folk.
MAKING THE MONSTER!
Charlotte Quist supplies the lowdown on how the awesome and freaky Jötunn god-monster was created for the film adaptation of The Ritual.
DREAMING OF THE JÖTUNN
Talented Concept Artist and Creature Designer Keith Thompson reveals to Ken Miller how he designed the monstrous, marvellous movie beast featured in The Ritual.
FOLK HORROR MOVIE REVIEWS
Noah Kneal and Ken Miller review loads and loads of folk horror flicks… and horror fiction writer, editor and critic Ramsey Campbell provides a guest movie review too!
THE ROAD LESS TRAVELLED
Writer, director and producer Sean Hogan chats to Ken Miller about his menacing, brooding, brilliant film To Fire You Come at Last.
“WHO IS THIS WHO IS COMING?”
Sebastian Starkey clarifies why Oh, Whistle, and I’ll Come to You, My Lad is such a fine ghost tale, then checks out the various adaptations, homages and parodies inspired by the story.
DESIGNING THE PERFECT WENDIGO
Creature Designer, Concept Artist and Illustrator Guy Davis divulges to Ken Miller how the fantastic folk-creature from Antlers (2021) was conceived.
SEQUENTIAL TALES OF TERROR
Artist and writer Russell Fox spills the beans on his stunning-looking folk horror graphic novel A VVitch. His illustration work is so good!
DEMONFINDER WARLOCK
Actor Russell Shaw tells Ken Miller what it was like playing the demon-hunting, bewhiskered, time-travelling protagonist in the wild, medieval-set movie Witch (2024)
RADIOACTIVE REVIEWS
The movies reviewed in this section are non-folk horror flicks (though some are folk horror-adjacent). Top scriptwriting guru and author William Martell supplies a guest film review.
I think this issue rocks – and I think you will agree once you’ve read it!
Starring David Dukes, Kelly Piper, Hugh O’Conor, Cora Venus Lunny, Ronan Wilmot, Niall Toibin, Niall O’Brien and Heinrich von Schellendorf. Written by Clive Barker. Directed by George Pavlou. Produced by Kevin Attew, Don Hawkins, David Collins, Al Burgess and Paul Gwynn. Alpine Pictures/Green Man Productions
4K Blu-ray cover
There’s something nasty lurking beneath this standing stone…
An American author, Howard Hallenbeck (Dukes), travels around Ireland with his family, doing research for his book focusing on the persistence of sacred sites. The Hallenbecks are staying in a small village, where Howard is checking out the local church’s intriguing stained glass panels, when an enraged, toothsome monster is released from beneath an ancient menhir.
The demonic creature depicted in the stained glass is no mere myth…
This beast goes on the rampage, and one of the creature’s victims is Howard’s son, provoking the upset & angry author to seek out a way to destroy the monster, but there are those, including the church’s rector, Declan O’Brien, who regard the critter as a pagan god…
A dentist’s nightmare!
RAWHEAD REX started life as a short story included in Volume Three of Clive Barker’s BOOKS OF BLOOD anthology series. The original story is set in Kent, and features a folkloric humanoid monster, a kind of raw-fleshed, ferocious personification of hyper-toxic-masculinity. This berserk, barbaric boogeyman devours innocent children and violates women, though the brutal man-beast has an aversion to pregnant females and those who are menstruating: they cause a sense of fear within the ancient, feral being. Barker wrote the screenplay for the film adaptation, but he was pretty dissatisfied with the way the movie eventually turned out, prompting him to direct the next movie version of one of his stories himself, that film being HELLRAISER (1987), based on Barker’s novella THE HELLBOUND HEART.
Okay, I can fully understand why Clive Barker felt let down by the cinematic representation of his original yarn. There was no way George Pavlou’s low budget flick was going to live up to the impactful, visceral tone and atmosphere of Barker’s source material. I really like that original story, it’s one of my favourite Barker tales. And yet…
…I believe that this film is definitely in need of reappraisal!
Maybe this sounds like I’m damning the movie with faint praise when I say that the practical effects monster on show here is better than so much of the cheap CGI dross churned out over the last couple of decades, but I do mean this as a compliment. Sure, Rawhead Rex’s scowling face doesn’t have an awful lot of different facial expressions, but it’s still damn satisfying to see an actual creature suit being used, something that is really there, really in the scenes! I love the fact this beast-man is basically a big, leather-clad humanoid monster with a huge maw full of teeth!
It’s Rawhead Rex!
The special effects team had a frantic four week deadline to create the Rawhead Rex creature: a body suit, with an animatronic monster head for close-ups, brought the snarling monster to life in the movie. And, by god, it works just fine!
Roaring, rubbery wonderfulness!
The film is not as transgressive as the short story, but it is enthusiastically gory, and there is a lot of fun/cool stuff to look out for, like the great shot of Rawhead standing on a hill holding aloft a severed head, his beastly breath illuminated as he exhales. And then there’s the attack on the caravan park: faces are slashed and boobs get revealed as the wild, primal creature runs amok! And let’s not forget the blasphemous baptism scene (taken from the original story), where Rawhead bathes the kneeling Declan O’Brien with its urine!
Rawhead rampages through a caravan park!
Irish coppers go up in flames!
O’Brien tells his boss, Reverend Coot, that Rawhead Rex is a god, a deity that was here long before Christ: before civilisation, Rawhead was the king of this place. Later on, O’Brien utters a classic line as he forces Coot to meet the deadly Rawhead: “Get upstairs, fuckface, I can’t keep god waiting!”
The barechested, muscled Rawhead (played by Heinrich von Schellendorf) has glowing red eyes, which have the ability to overwhelm the minds of some victims (the creature doesn’t have this power in the original story). “For you!” Says a burning cop, who has become one of Rawhead’s acolytes, as he immolates his fellow officers!
Beware the glowing red eyes!
Salvation is hidden within the church’s altar, in the form of a small, stone earth-goddess-style idol, which a woman must wield, leading to an optical FX-drenched showdown, as Howard’s wife Elaine (Piper) uses the idol to unleash supernatural forces to drive Rawhead back into the ground. This is a colourful, rousing fantasy-horror finale!
Time for some magic!
Honestly, I don’t believe RAWHEAD REX deserves the derision levelled at it from many critics. It is an unpretentious, cheesy-but-satisfying, 80s-tastic entertainment, a B-movie that makes sure its rampaging, rubbery, rockin’, rampant god-beast is given a lot of time on screen! And for that I respect it!
A tale featuring mysterious, quirky, mountain-dwelling beasts!
This book collects the Silver John short stories, including THE DESRICK ON YANDRO
THE DESRICK ON YANDRO is a short fantasy-horror story written by pulp horror, sci-fi, fantasy author Manly Wade Wellman (May 21st, 1903 – April 5th, 1986), who created the wonderful evil-vanquishing character John, often referred to as Silver John or John the Balladeer. John roamed the Appalachian mountains with a silver-stringed guitar, which helped him to ward off evil (because the Devil and evil in general doesn’t like silver!) John speaks in a dialect that sounds authentic for the region, and Wellman’s turn of phrase in these stories lends a lyrical, poetic-folksy vibe to the narratives. THE DESRICK ON YANDRO was the second story about John to be written by Wellman, and it was first published in the June 1952 issue of THE MAGAZINE OF FANTASY & SCIENCE FICTION.
THE DESRICK ON YANDRO was first published in this magazine
The yarn sees John agree to accompany a rich, pushy, unpleasant man called Mr. Yandro on a trip to Yandro Mountain, a mysterious place where Yandro’s grandfather, Joris Yandro, had courted a pretty witch, Polly Wiltse, who lived in a desrick atop the flat, wooded mountain peak. John and Mr. Yandro reach a cabin in the valley below the mountain, where Mr. Yandro is told by an old woman called Miss Tully that, seventy-five years ago, his grandfather had used Polly Wiltse’s witch-powers to locate gold on the mountain and then he had run away with the treasure, abandoning Polly.
Mr. Yandro, it seems, intends to trudge up the mountain and coerce the ancient Polly Wiltse into giving him more of the gold.
Miss Tully warns Mr. Yandro that ‘scarce animals’ live up on the mountain, creatures like the Toller – the hugest flying thing there is: its voice tolls like a bell, to tell other creatures their feed’s near. And she talks about the Flat – a critter that lies level with the ground, which can wrap around people like a blanket. Miss Tully mentions a furred beast called the Bammat, but Mr. Yandro suggests the old woman is referring to the Behemoth. Tully says that the Behemoth is from the Bible, and the Bammat is different, something hairy, with big ears and a long wiggly nose. Mr. Yandro laughs at this, saying that Miss Tully is referring to the extinct Mammoth. The old woman continues, telling Mr. Yandro about the Behinder – which is always hiding behind the man or woman it wants to grab, and she describes the Skim – a living thing that kites through the air, and she explains what the Culverin is – a creature that can shoot pebbles with its mouth.
Mr. Yandro just sneers at all this talk of weird animals. The next day he and John make their way up the mountain trail. John notes that it wasn’t folks’ feet that had worn that trail, it was hoofmarks… and soon John starts noticing things peering from the foliage, such as a big, broad-headed Bammat, a creature with white tusks like ‘bannisters on a spiral staircase’. But Mr. Yandro is oblivious to the things lurking amongst the trees until it is too late, and then, finally, he discovers that all these unlikely beasts really do exist…
Artist Thomas Boatwright created some drawings of Silver John for a graphic novel treatment, but the comic book was never published. Here’s a DESRICK-inspired illustration. Check out the Bammat behind John!
Another one of Thomas Boatwright’s Silver John drawings produced for a graphic novel that never got produced. Shame!
THE DESRICK ON YANDRO is an enjoyable tall tale, with John playing something of a passive role, even though he is the narrator. But once it is explained by Miss Tully that the bitter witch Polly Wiltse had created a special song with the power (if it is heard by a member of the Yandro family) to draw a male Yandro relative back to her desrick, it becomes apparent that John has indeed played a very important function in the story: he happens to be singing this very song at a rich folks’ gathering at the start of the story, which triggers Mr. Yandro’s urge to seek out Polly.
When John and Mr. Yandro reach the desrick (an old term for a kind of cabin that’s made of strong logs with loophole windows), Yandro is set upon by various creatures, and he is chased into the witch’s desrick, never to be seen again. It is inferred that the old, haggard Polly Wiltse doesn’t care which generation of the Yandro family she punishes, just so long as they resemble the man who’d wronged her all those years ago.
Hedges Capers plays John in the film WHO FEARS THE DEVIL, aka THE LEGEND OF HILLBILLY JOHN (1972)
I love the menagerie of uncanny critters that pop-up in this story. The Culverin has many legs, and has a needle-shaped mouth from which it spits a pebble at Mr. Yandro. The Behinder, which is a variation on the Hidebehind creature featured in lumberjack lore, is not explicitly described by John because it is too terrible a thing for anyone to want to remember properly. Several of the Skims are seen and they seem to be living frisbee-things, whilst the Flat resembles a black, broad, short-furred carpet rug! The specific look of the avian Toller isn’t gone into, we are simply told that it makes gong-gong-gong sounds.
Wellman wrote a whole bunch of short stories about John, plus five novels. In 1972 the movie WHO FEARS THE DEVIL, aka THE LEGEND OF HILLBILLY JOHN, was released. This was a movie about Silver John’s adventures, and it was set within the same supernaturally-flavoured backwoods milieu of a bizarre rural Appalachia, just like in the books. Two of Wellman’s stories, O UGLY BIRD! and THE DESRICK ON YANDRO, were incorporated into the film’s script.
The section of the movie that is based on THE DESRICK ON YANDRO story features actor Harris Yulin playing Mr. Yandro. In the film the character likes to dress as an undertaker. This part of the movie boasts some nicely-lit night shots, and it adds scenes that weren’t in the original story, involving Susan Strasberg playing the old hag witch Polly Wiltse, who pretends to be an attractive, still-young woman. The movie also includes John’s dog, called Honor Hound, which accompanies him on his trek up the mountain (the dog isn’t in the short story). This segment of the movie is certainly engaging, but (no doubt because of budgetary reasons) all the quirky folklore creatures are not shown! In the movie adaptation, John and Mr. Yandro simply mention such creatures as Behemoths and Behinders, and there’s an off-screen roar heard at one stage… but we NEVER get to see the folkloric fauna, which is a damn shame!
In the movie Mr. Yandro dresses like an undertaker
John and Yandro climb up the mountain
Fortunately, the part of the film inspired by the O UGLY BIRD! story does show the monster! The filmmakers bring the feathered fiend to the screen as a Ray Harryhausen-style flying, fiendish animated fowl! The Ugly Bird scenes add a lot of much-needed action and fantasy thrills to the production, and they’re definitely my favourite moments in the film. The quirky & creepy-looking puppet was designed and made by key animator Harry Walton, who did 85% of the animation, with Gene Warren Jr. providing animation for four shots.
Ugly Bird attacks John!
The animated monster bird swoops through the air!
Despite the omissions in the DESRICK portion of the plot, and the rather loose directorial style, WHO FEARS THE DEVIL/THE LEGEND OF HILLBILLY JOHN remains an easygoing, episodic, folksy fantasia that’s fun to watch, even if the film lacks the specific atmosphere of the Wellman stories.
The film WHO FEARS THE DEVIL is reviewed in Imaginator magazine’s FOLK HORROR SPECIAL EDITION. You can find out more about this folk-tastic magazine HERE!
I first read THE DESRICK ON YANDRO short story within the pages of ALFRED HITCHCOCK’S MONSTER MUSEUM. This anthology book had stories about such beasts as a slimy blob-creature and intelligent ants, but it was the YANDRO tale that lodged itself in my memory.
The DESRICK story is also featured in various books that collect Wellman’s Silver John short tales together – JOHN THE BALLADEER, OWLS HOOT IN THE DAYTIME AND OTHER OMENS, and WHO FEARS THE DEVIL?
Lee Brown Coye cover art for this edition published by Arkham House Press in 1963
Mike Mignola’s and Richard Corben’s comic book tale HELLBOY: THE CROOKED MAN was heavily inspired by Manly Wade Wellman’s Appalachian-set Silver John pulp-fantasy-horror stories. I really enjoyed the 2024 movie adaptation – it’s well worth seeking out!
From the ancient Imaginator storage vaults… some copies of ISSUE 7 of IMAGINATOR magazine have been discovered! If you live in the UK, the EU, or the USA, you can purchase one of these rare printed gems (while stocks last!) …
TO ORDER A COPY IN THE UK:
Imaginator Issue 7 – UK
Genre film magazine. Interviews with Dario Argento, John Woo, Richard Stanley and Donnie Yen! A huge Asian movies section! Joan Collins tries not to talk about Empire of the Ants! Film reviews and more!
£12.99
TO ORDER A COPY IN THE EU:
Imaginator Issue 7 – EU
Genre film magazine. Interviews with Dario Argento, John Woo, Richard Stanley and Donnie Yen! A huge Asian movies section! Joan Collins tries not to talk about Empire of the Ants! Film reviews and more!
€19.99
TO ORDER A COPY IN THE USA:
Imaginator Issue 7 – USA
Genre film magazine. Interviews with Dario Argento, John Woo, Richard Stanley and Donnie Yen! A huge Asian movies section! Joan Collins tries not to talk about Empire of the Ants! Film reviews and more!
$22.99
WHAT YOU NEED TO KNOW ABOUT IMAGINATOR ISSUE 7…
It was published way back in 1991. 36 glossy pages. B&W (with a couple of green duotone pages). This issue includes:
An interview with director RICHARD STANLEY!
Film reviews for movies including DER TODESKING (1989), A NYMPHOID BARBARIAN IN DINOSAUR HELL (1990) and TERMINATOR 2: JUDGMENT DAY (1991)!
A NYMPHOID BARBARIAN IN DINOSAUR HELL (1990)!!!
There’s an interview with the uber-talented, unhinged and amazing DARIO ARGENTO!
JOAN COLLINS becomes rather prickly when she is interviewed about EMPIRE OF THE ANTS!
This issue includes a massive 18-page ASIAN MOVIES SPECIAL! This celebration of Asian genre filmmaking includes…
An interview with the god-like director JOHN WOO!
An interview with action legend DONNIE YEN!
An interview with YUKARI OSHIMA, star of action flicks like KUNG FU WONDER CHILD (1986), IRON ANGELS (1987) and BURNING AMBITION (1989)!
A location report on the filming of the Hong Kong movie GUNS & ROSES (1993), which was being shot in Birmingham in the UK!
Reviews of movies from Hong Kong, Japan, Indonesia, Taiwan and India! Films being reviewed include: HUMAN LANTERNS, AKIRA, GODZILLA VS BIOLLANTE, GUNHED, KAMEN RIDER BLACK RX, HATYARIN, and SPECIAL SILENCERS!
An interview with western stuntman and actor VINCENT LYN, who talks about making Jackie Chan’s OPERATION CONDOR!
An interview with action actor LOREN AVEDON, the star of Seasonal Films’ NO RETREAT, NO SURRENDER 2 (1987) and KING OF THE KICKBOXERS (1990)!
PLUS
This issue also includes…
An interview with HUGH GALLAGHER, the director of GORGASM (1990)!
NICK FIEND, the lead singer of the band ALIEN SEX FIEND, lists his best-loved genre movies!
Imaginator magazine’s FOLK HORROR SPECIAL EDITION will be available everywhere (UK, US, Europe, Japan, etc) from mid-April, via Amazon and other fine retailers!
If you live in the UK or the EU, you can preorder the issue from the Imaginator store – and the first 30 copies ordered will come with TWO A5 LIMITED EDITION PRINTS, numbered and signed by Imaginator’s cover artist, Zilla Man!
Every film featured in Severin Films’ awesome boxset ALL THE HAUNTS BE OURS: A COMPENDIUM OF FOLK HORROR VOLUME 2 is reviewed! Plus other fine folk horror flicks are reviewed too!
There’s an interview with director KIER-LA JANISSE, who talks about her definitive, all-encompassing feature-length documentary WOODLANDS DARK AND DAYS BEWITCHED: A HISTORY OF FOLK HORROR!
Author Adam Nevill speaks about his top-notch, scrumptiously sinister folk horror novels, which include THE RITUAL, THE REDDENING, NO ONE GETS OUT ALIVE and CUNNING FOLK!
Writer, director and producer Sean Hogan chats about his menacing, brooding, brilliant film TO FIRE YOU COME AT LAST.
Creature Designer, Concept Artist and Illustrator Guy Davis divulges how the fantastic Wendigo folk-creature from ANTLERS (2021) was conceived!
Actor Russell Shaw, who plays the demon-hunting, bewhiskered, time-travelling protagonist in WITCH (2024), talks about making this wild, genre-twisting occult-themed movie!
A conversation with the super-talented Concept Artist and Creature Designer Keith Thompson: the man who conceptualised the spectacular Jötunn god-monster in THE RITUAL (2017)!
A look at the upcoming Folk Horror graphic novel A VVITCH: many of artist/writer Russell Fox’s awesome illustrations are displayed within these pages for your viewing pleasure!
A deep dive into the adaptations and homages inspired by M.R. James’s classic ghost story OH, WHISTLE, AND I’LL COME TO YOU, MY LAD.
Horror fiction writer, editor and critic Ramsey Campbell provides a special guest film review, and top scriptwriting guru and author William Martell also shares a special guest film review with us!
And there’s much more inside this issue!
BEAUTY AND THE BEAST (1978)
A giant, ugly bird attacks in WHO FEARS THE DEVIL (1972)
Starring Ruaridh Aldington, Madalina Bellariu Ion, Craig Conway, Angela Dixon, Andrew Lyle-Pinnock, Natasha Patel, Andrew Lee Potts, Timothy Blore, Kenton Lloyd Morgan, Ayvianna Snow, Sean Earl McPherson and Matteo Pasquini. Written by Peter Stylianou. Directed by Peter Stylianou and Sean Cronin. Produced by Sean Cronin, Peter Stylianou and Daniel Patrick Vaughan. House54/Magnificent Films/RG Films/Red Guerilla Films
A young, jobless artist becomes obsessively attracted to a seductive woman he encounters at a London club, and he finds himself unable to stop seeing the woman, even after he discovers that she’s a vampire intent on feeding from him daily, draining him slowly…
Thomas’ time spent with Rhea can be very draining…
The filmmakers do wonders with the budget available to them here, crafting a satisfying modern vampire tale. The protagonist’s relationship with his vampire lover effectively shows how romantic entanglements can be very needy and one-sided, ultimately becoming toxic for the obsessed partner. And in the case of this romance, it is literally a draining experience for the boyfriend, as he offers up his blood to keep his girlfriend satiated.
Madalina Bellariu Ion is Rhea the vampire
Ruaridh Aldington is Thomas
Ruaridh Aldington is a revelation here as the initially rather pathetic Thomas, an aimless young guy living at home with his mum, who falls head over heels for the sultry vampire Rhea, played nicely in a coldly no-nonsense manner by Romanian actress Madalina Bellariu Ion. The film’s success really depends upon Aldington making his character work, because Thomas is a pretty unprepossessing, ambition-free dude when we first meet him at the start of the film, as he masturbates in his bedroom, takes his mother’s hospitality for granted, and refuses to make any effort to get to know his mother’s new boyfriend. But, thanks to Aldington’s subtly persuasive acting here, we do start to care for Thomas as he navigates as best he can through his problematic relationship with Rhea.
Good actors can convey everything just with their eyes. Ruaridh Aldington is one of those actors
DRAINED has its own specific vampire rules. These include Rhea’s ability to fly and move super-quick when she wants to, she can walk about in the daytime (but she does like the sky to be cloudy, hence why she moved to London), she prefers to not fully drain and kill her victims if she can help it, but she must battle increased predatory urges during the full moon. Rhea needs to be invited into a person’s home, she likes to feed from arms rather than necks, and she is attracted to the blood of certain people – and it turns out that Thomas has just that type of blood, drawing Rhea to him.
“So, can I come in?”
This last point helps prevent the central relationship from being totally unequal: Rhea keeps coming back to Thomas because his blood is a little different, so they do share a mutual addiction (Thomas gets some kind of supernatural buzz from being fed upon), but it is definitely Rhea who has the upper hand in the relationship. As Thomas’ health begins to deteriorate, and he tries to break free, matters become more serious, and people die.
Don’t get on the wrong side of Rhea…
There are some bloody scenes, but the film isn’t particularly gory. Rather than depending on show-stopping bouts of carnage, DRAINED keeps you watching because Aldington manages to make you care about his character’s plight. The script dodges the pitfall of becoming a typical vampire romance by being more honest about Rhea’s part in the ‘romance’: she never bullshits about being truly in love, and she openly admits to Thomas that it’s his blood that she needs on a very regular basis.
Vampire victims in this film always have puncture marks on their arms
With Thomas becoming a prime murder suspect, then finding himself on meds in a mental institution for a while, you’d be forgiven for assuming DRAINED must be quite dour and depressing, but it isn’t, thanks to the way it is filmed and acted, and because there’s a vein of humour threaded through the movie that lightens the atmosphere, a lot of it stemming from Thomas’ interactions with his mother’s new partner John, a local pest control expert, played by Craig Conway. The film also finds time to show that Rhea does have feelings after all, as she stays connected with her previous lover Andreas (Pasquini), who is severely ill. The inclusion of Andreas, whom Rhea refers to as her Old Man, also helps to drive home to Thomas (and the viewers) that this is what happens to anyone who stays too long with Rhea: they’ll be emotionally and physically sucked dry by her.
Thomas ends up in a mental ward
Craig Conway is John the exterminator, out to rid Thomas’ mother’s home of pests (and hopefully Thomas too)
The cinematography by Daniel Patrick Vaughan is top-notch, the music score really enhances the film, and good story choices are made throughout by writer Peter Stylianou. Stylianou also co-directs the movie with Sean Cronin, who gets to play a SWAT captain during the finale!
A SWAT team is called in!
Go and give this a watch, I’m sure you’ll enjoy it.
Starring Chin Siu-Ho, Kara Wai, Philip Kwok, Kei Kong-Hung, Jason Pai Piao, Yuen Tak and Lung Tien-Hsiang. Written and directed by Lung I-Sheng. Produced by Mona Fong for Shaw Brothers.
Feng Ling (Wai) is sent by her master to locate the special fiery bow and arrows that are the only treasures that can stop a mystery villain from using the lethal Six-Stringed Demonic Lute to wreak havoc everywhere. Along the way she teams-up with her brother Old Naughty (Tak), a likeable thief (Kwok) and his son, a good guy called Yuan Fei (Siu-Ho) and a powerful martial artist known as the Woodcutter (Tien-Hsiang).
This dude’s got a huge chopper!
DEMON OF THE LUTE’s director, Lung I-Sheng (aka Tang Tak-Cheung), was primarily an actor in the Hong Kong film industry. He was also a martial arts director on many films, and he was the action designer on the very wild BUDDHA’S PALM (1982). This fantasy wuxia, you’ll be pleased to know, is equally over the top! It really is lots of fun, crammed with loads and loads of exotic characters! Let’s look at just some of them: there’s Red Haired Evil, who rides a small chariot drawn by german shepherd dogs and hurls his Thunder Flying Wheel weapon like a frisbee, Eagle Man, who can flap his costume’s wings to fly like a bird, Long Limb Evil, who can super-extend his arm, and Fatty Elf, who can entangle folks in his lengthy beard.
Red Haired Evil, riding his chariot pulled by dogs!
Eagle Man!
Watch out for Fatty Elf’s super-long beard!
One of my favourite fantastical characters in this outlandish fight flick is Skinny Elf, who has a misshapen forehead – he likes to sit on the hero’s shoulders and can’t be shaken off!
Above: two pics of Skinny Elf!
Utter strangeness abounds throughout this production, with warriors erupting from a giant silver ball, Feng Ling using her rainbow sword like a guided missile, a horseless wagon whizzing around with the deadly lute inside, some trees momentarily becoming monsters, Old Naughty riding his horse backwards, and a kitschy killer lute that glows with LED strip lights when it’s played.
Monster trees attack!
The lethal magic lute’s strings are made from dinosaur ligaments!
Though some of the music and on-screen antics become rather too childish (this film dedicates itself to children in the opening credits), DEMON OF THE LUTE has much to offer, including Kei Kong-Hung, who is surprisingly good as the thief’s plucky young son Xiao Ding Dong.
I dig this hairdo!
Let’s end this review with another look at Skinny Elf…
Written and directed by Jirí Barta. Music by Vladimír Merta. Art direction by Lenka Kerelová. Cinematography by Jan Vycítal. Edited by Helena Lebdusková. Produced by Krátký Film Praha and Studio Jirího Trnky.
This short film from Czechoslovakia uses a mixture of live action and stop motion.
The movie begins with close-up shots of an axe chopping into logs. One log splits into multiple pieces of wood, some of which have faces. These wooden sticks rush about the landscape, seemingly elated that spring is coming, with the stop-motion footage intermixed with time-lapse photography of seeds germinating and the ice receding.
This stick has a woman’s face
The wooden stick with a maiden’s face is attacked by a crow, which pecks the stick to pieces and swallows the splinters.
The crow attacks the lady-stick!
The stop-motion crow now turns into a creepy, skull-faced, winged piece of wood. This weird log-thing flies over the countryside, enters a cavern lit by candles, and roosts upside down like a bat, becoming an icicle. Sunlight enters the cave and the icicle becomes the death-faced stump again, which fights a wooden carving of a knight on a horse. The knight wins!
The crow turns into this evil stick!
The winged stick-monster flies over the woods
This heroic piece of wood is shaped like a knight on a horse!
The other sticks carry the winged, skull-headed piece of wood aloft and place it atop a bonfire on a hill. Then, instead of burning the bonfire, a stick with the maiden’s face uses a newly-grown leaf to make the bonfire burst into a flurry of spring growth, with long blades of green grass consuming the monster-branch, transforming it into a normal piece of wood once more.
The crow-stick is engulfed by a ‘bonfire’ of fresh grass
Jirí Barta’s sweet-and-sinister short is inspired by Vesna, a female character from Slavic mythology, who is associated with rituals conducted in rural areas during springtime. Here she is represented as the wooden stick with a maiden’s face that is consumed by the black crow, then returns anew to ignite the return of spring, as symbolised by the bonfire of rapidly-growing grass.
The branch-of-badness is swamped by the blades of grass.,..
…and it becomes a normal piece of wood again, which sprouts fresh leaves
The yarn, which possesses a typically surreal Eastern European folktale vibe, begins in an upbeat manner, turns darker with the arrival of the crow-stump-creature, then seemingly becomes upbeat again after the (ritualistic-looking) ‘burning’ of the winged branch transforms it into a regular stick again, which starts to grow fresh leaves. This would be the happy ending, right? But Barta chooses to finish the story by showing the sticks being collected by a villager to be used as firewood. The final shot is of smoke issuing from a chimney! The end!
The stop-motion animation of the sticks and the puppet crow was done outside, on location in the Bohemian Forest, the High Tatras, and the Koněprusy Caves.
The animation was filmed on location in the outside environment
Barta’s other short films include THE VANISHED WORLD OF GLOVES (1982), THE PIED PIPER (1986), THE LAST THEFT (1987) and THE CLUB OF THE LAID OFF (1989).
Starring Stephanie Ward, Michael John Gilbert, Berndele March, Ryan Santiago, Madisen Zabawa, Olivia Walton and Olga N. Bogdanova. Written and directed by Matthew A. Peters. Produced by Joe Cappelli, Avery Guerra, Ainslee Looman, Anthony Clark Pierce, Brandon Wheeler, Sifundo Nene and Brandon Wheeler. Mad Angel Films
A toothy humanoid creature known as the Graveyard Shark is said to be responsible for the disappearances of various people in the backwater town of Willsboro Point. Abby Wescott (Ward), a wannabe cryptid hunter, is called in to uncover the bloody truth behind these events. Accompanied by her assistant Greg (Gilbert), Abby eventually teams-up with local oddball Captain Seyburn (March) and members of a Graveyard Shark survivors counselling group. Even though the local shades-wearing sheriff (Santiago) says that the Graveyard Shark is just some local folklore nonsense, the critter proves to be all too real when it bloodily attacks a busty, tattooed female deputy whilst she’s enjoying a sex session with her colleague near the latest crime scene! Abby and her allies finally face-off against the creature (one of the counselling group women actually gets it on with the brute!), and the identity of the person who has been secretly helping the blue-skinned beast is revealed…
Graveyard Shark stalks through the foliage
One of the characters strokes Graveyard Shark’s abs…
GRAVEYARD SHARK is a movie that most definitely doesn’t take itself seriously. The folks behind this knew (I hope) what their limitations were, so they proceeded to deliver a film full of dumb humour, copious amounts of spraying blood, stupid dialogue, boobs and a big beast.
The hammer-headed mutant rips out a human heart!
The film’s lighting and cinematography is on par with the general acting quality, which is to say that it’s all strictly amateur hour level. And yet… the filmmakers are obviously having fun, and this adds to the viewing experience. So, when we get the creature’s origin story, we can be sure that it will be a really stupid, stupid, stupid (but fun) origin story! You see, this muscled monster is the result of a union between eccentric loner Captain Seyburn… and a mermaid of colour that Seyburn encountered in a swamp! The whole backstory is explained to Abby as she sits with Seyburn in a diner. Seyburn describes, with the help of flashbacks, how he met a ‘fine-ass mermaid’ and they had comical intercourse which seemed to consist of Seyburn just grinding his groin against the underside of the mermaid’s tail. As Seyburn climaxes in his flashback, the film cuts to a shot of him in the diner, pouring melted butter all over a cooked lobster. Subtle this ain’t!
Captain Seyburn (Berndele March) talks with Abby…
…and he divulges what happened when he met a mermaid in a swamp
Abby learns from Captain Seyburn that the mermaid had returned with a love child, asking him for money to raise their lil’ shark-headed nipper, but Seyburn killed the siren with a shovel instead, burying her and the baby in the cemetery. But, somehow, the tiny mutant shark had clung to life and now it dwells in the graveyard…
Don’t trust this dude
This film really is a dumbass nonsense-fest, with such silly scenes as a dream sequence in which Abby gets high and romps in bed with a bigfoot, who is actually Greg in a costume. But I felt compelled to keep watching anyway, in large part because the movie’s titular monster is brought to the screen via the old school method of using a monster suit!
Graveyard Shark claims a victim!
The Graveyard Shark creature has a buff, musclebound humanoid body that is topped with a toothy hammerhead shark face! I’m just a sucker for practical effects creatures, even when it is a cartoony, cheesy-but-cool costume like this one! This hammer-headed fishy freak, designed by Anthony Clark Pierce, is far preferable to the sub-par CGI effects seen in most low-price b-movies of a similar budget, that’s for sure.
This monster looks like he’s been down the gym!
Many of the monster attacks are shot in a very similar fashion, with the suitmation actor (Brandon Wheeler) shoving the costume’s shark head against the current victim’s neck, as blood is pumped everywhere. Though the results are samey, they are bloody, and there’s the occasional disembowelment of a victim added to the mix too.
A cop gets ripped up!
Counsellor Dr. Jan Lovnik (Olga N. Bogdanova) is disemboweled!
GRAVEYARD SHARK is, without a doubt, a shoddy, cheapo production, which leaps at any chance to include some nekkid flesh and includes a lot of crass ‘humorous’ chat about going down on mermaids. But the film does end with a fight between the rubbery Graveyard Shark and a fuzzy werewolf! Yes, you read that correctly: it turns out that Greg is actually a man-wolf! This monster suit showdown is slapdash and, of course, pretty enjoyable, with the werewolf costume’s yellow-green eyes glowing so brightly they sometimes look like twin torch beams shining in the mist! So I kinda liked this flick anyway – sue me!
Above: some shots from the film!
Devoted to every kind of movie and TV monster, from King Kong to Godzilla, from the Blob to Alien. Plus monsters from other media too, including books and comics.