APRIL MOVIE THON DAY 11: Heavy Metal 2000 (2000)

April 11:Heavy Metal Movies — Pick a movie from Mike McPadden’s great book. RIP. List here.

The year was 1992. Kevin Eastman, who, along with Peter Laird, helped turn four turtles and some ooze into a global empire, decided he needed a new sandbox. And not just any sandbox, but the glossy, psychedelic and often scantily-clad pages of Heavy Metal. He may have grown up on a steady diet of Jack Kirby, but it was the French import Métal Hurlant that really blew his mind. The Richard Corben art looked like it was airbrushed in another dimension, plus it was European, it was cool, and it was for grown-ups.

When the magazine went up for sale, Eastman saw it as the final piece of the puzzle. He’d started Tundra Publishing to make comics for adults, and Heavy Metal was already sitting on newsstands across the country, waiting for those same readers. It was a match made in a weird, sci-fi heaven. His plan? Use the mag to bridge the gap between comic shops and the mainstream newsstands. He wanted to serialize high-end European hardcovers and bring them to the masses. 

While he eventually sold the brand, he did a lot with it, including this film, which was based on his comic The Melting Pot, which he created with Simon Bisley and Eric Talbot. In November of 2007, a new 170-page version of the story was published as a special edition of Heavy Metal, which was the springboard for this series.

Even better, not only was Eastman living a comic book lover’s dream life, but he was also married to Julie Strain, the B-movie queen and Penthouse Pet of the Year, who ended up being the animated star (and literal body model) of this movie.

The Arakacians once ruled the galaxy thanks to a rift where space and time itself leaked. They used this fluid to become immortal rulers of everything, until they were defeated. The key to this well of sorts is a green crystal (Is it the Loc-Nar? Maybe…), but anyone who finds the fountain goes absolutely out of their head.

Tyler (Michael Ironside) is a miner who touches the key and unlocks knowledge of how to get to the elixir by killing the Edenites of F.A.K.K.² (Federation-Assigned Ketogenic Killzone), a world where those touched by the fluids live. He destroys most of the world and takes a teacher, Kerrie, to be his slave, which sends her sister Julie (Julie Strain) on a blood-soaked quest for revenge.

This isn’t the original 1981 Heavy Metal, which is a movie I can watch at any and every time, but it tries its damnedest. It even has a ritual in which Julie bathes, just like Taarna, serving as a direct visual bridge to the segment we all remember from the first film.

And hey, if the plot doesn’t grab you, the audio will. Billy Idol shows up as a mysterious character named Odin, and the soundtrack is a time capsule of turn-of-the-millennium industrial and hard rock, featuring voices and tracks from Sascha Konietzko and Tim Skold of KMFDM, as well as Monster Magnet, Pantera and System of a Down.

You can watch this on Tubi.

TALES FROM THE CRYPT comes to Shudder

Shudder, the #1 streaming service for horror fans, today announced that it will exclusively debut all seven seasons of the ‘90s cult classic horror anthology series Tales From the Crypt. Featuring the iconic Crypt Keeper, voiced by John Kassir, the series’ first season debuts Friday, May 1, with additional seasons rolling out weekly every Friday through June 12. Kassir revealed an all-new teaser and poster art at Overlook Film Festival’s Opening Night, where he participated in a panel for the show. Tales From the Crypt debuts on the heels of Shudder’s annual “Halfway to Halloween” programming event in April, featuring a killer lineup of film premieres, series debuts, watch parties and more.

Tales from the Crypt isn’t just a series — it’s a cornerstone of horror storytelling. Becoming its exclusive streaming home is both an honor and a thrill for us at Shudder,” said Courtney Thomasma, Executive Vice President of AMC Global Media’s linear and streaming products. “This is the kind of genre-defining, wonderfully  twisted entertainment our members crave, and we’re proud to give The Crypt Keeper a place to cackle once again.”

Inspired by the 1950s EC Comics, each episode of Tales from the Crypt is a self-contained story hosted by the Crypt Keeper (Kassir), a wisecracking corpse known for his macabre puns. With its signature unrestricted gore, profanity, and dark irony, the show’s episode styles range from comedy to drama and deliver twisted moral lessons where “bad people” meet poetically horrific ends – and issues like greed, lust, and moral decay lead to tragic consequences. The series features a long list of Hollywood A-list guest stars including Brad Pitt, Demi Moore, Michael J. Fox, John Lithgow, Christopher Reeve, Catherine O’Hara, Steve Buscemi, Brooke Shields and many more. Several episodes have been directed by well-known talent including Rober Zemeckis, Tobe Hooper and William Friedkin, as well as acclaimed actors such as Tom Hanks, Arnold Schwarzenegger and Michael J. Fox.

Below is a recap of the Tales from the Crypt coverage on the site, organized by season to help you navigate through every pun-filled introduction and gruesome twist.

Season 1 (1989): The season that started it all, featuring big-name directors like Richard Donner and Walter Hill.

Season 2 (1990): The show hits its stride with 18 episodes and iconic turns from actors like Arnold Schwarzenegger (directing!) and Demi Moore.

Season 3 (1991)

Season 4 (1992)

Season 5 (1993)

Season 6 (1994-1995)

Season 7 (1996)

The final season, produced in the UK with an entirely British cast.

  • Season 7 Episode 1: Fatal Caper – The “British Invasion” begins as three brothers fight for their father’s inheritance.
  • Season 7 Episode 2: Last Respects Directed by the legendary Freddie Francis (who directed the original 1972 Tales from the Crypt film!). Three sisters find a monkey’s paw and, well, you know how that goes.
  • Season 7 Episode 3: A Slight Case of Murder – A mystery writer (Francesca Annis) finds herself in a real-life whodunnit involving her jealous husband and a very observant neighbor.
  • Season 7 Episode 4: Escape – A WWII tale about two men trying to escape a prison camp, only to find that betrayal has a very sharp edge.
  • Season 7 Episode 5: Horror in the Night – A jewel thief on the run hides out in a hotel where the line between reality and hallucination starts to bleed.
  • Season 7 Episode 6: Cold War – Ewan McGregor stars in this story of two criminals whose latest heist leads them into the clutches of a pair of vampires.
  • Season 7 Episode 7: The Kidnapper – Steve Coogan plays a man whose obsession with a woman leads him to do the unthinkable to her newborn child.
  • Season 7 Episode 8: Report from the Grave Directed by William Malone. A scientist builds a machine to read the memories of the dead, starting with a notorious serial killer.

  • Season 7 Episode 9: Smoke Wrings – Directed by Mandie Fletcher. A young man with a psychic device that can manipulate people’s desires tries to scam his way into a high-end advertising firm, but the fallout is anything but a dream job.
  • Season 7 Episode 10: About Face – A corrupt priest (Anthony Andrews) finds out he has long-lost twin daughters—one beautiful and one “monstrous”—leading to a classic EC-style lesson in inner versus outer beauty.
  • Season 7 Episode 11: Confession – A screenwriter (Eddie Izzard) is interrogated by a relentless detective (Ciarán Hinds) regarding a local serial killer. It’s a tense, noir-drenched episode where the truth is rewritten with every word.
  • Season 7 Episode 12: Ear Today… Gone Tomorrow – A safe-cracker with a hearing problem gets a biological “upgrade” involving an owl’s anatomy, but he finds out that having super-hearing in a noisy world is its own kind of hell.
  • Season 7 Episode 13: The Third Pig – The series finale! This fully animated episode (featuring the voice of Bobcat Goldthwait) reimagines the Three Little Pigs as a gory, Tex Avery-on-acid nightmare where the “Big Bad Wolf” ends up in a very different kind of slaughterhouse.

Bonus Content: If you can’t get enough of the Crypt Keeper, B&S also covers the spin-off films and the spiritual successor:

  • Demon Knight (1995) – The first theatrical “Tales from the Crypt Presents” film.
  • Bordello of Blood (1996) – We acknowledge its messy production (and Dennis Miller’s “love it or hate it” energy).
  • Ritual (2002) – The often-forgotten third film in the franchise.
  • Two-Fisted Tales (1992) – Originally intended as a sister series to Crypt based on Harvey Kurtzman’s war comics. When it wasn’t picked up, the segments were chopped up and aired as episodes like “Yellow” and “Showdown.”
  • Secrets of the Cryptkeeper’s Haunted House – Dive  into the Saturday morning kids’ game show.
  • Tales from the Crypt (1972) – Directed by Freddie Francis. This is the one with Joan Collins being stalked by a Santa killer and Peter Cushing’s heartbreaking performance as Arthur Grimsdyke.

  • The Vault of Horror (1973) – The follow-up anthology featuring Tom Baker and Terry-Thomas. B&S often notes how this one leans even harder into the bizarre, ironic twists.
  • W.E.I.R.D. World (1995) –This TV movie pilot was produced by the same team behind the HBO series (Gilbert Adler, A.L. Katz) and based on stories from EC’s Weird Science and Weird Fantasy.

Perversions of Science

In 1997, HBO tried to replicate the success of Tales from the Crypt with a sci-fi spin-off titled Perversions of Science.  Here are the links for the Perversions of Science reviews:

Season 1 (1997)

  • Episode 1: Dream of Doom – A man wakes up from a nightmare only to find he’s trapped in a recursive loop of waking dreams.
  • Episode 2: Anatomy Lesson – A serial killer suspects his latest victim might not be entirely human, leading to a very literal biology lesson.
  • Episode 3: Boxed In – Kevin Pollak plays a pilot who is trapped in a small space with a female android (Traci Lords), and things get cramped in a hurry.
  • Episode 4: The Exile – Jeffrey Combs stars as a scientist/serial killer being rehabilitated by David Warner. This one features a robot named Chrome who loves bad sex puns.

  • Episode 5: Given the Heir – A woman travels back in time to kill her own ancestor to prevent her own miserable life, but the paradox has a nasty bite.
  • Episode 6: Plan 10 from Outer Space – A send-up of 1950s sci-fi where aliens decide that the best way to conquer Earth is through a very specific kind of media takeover.
  • Episode 7: Panic – On Halloween night in 1938, a group of people listening to the War of the Worlds broadcast realize that the “invasion” might be closer than they thought.
  • Episode 8: Snap Ending – A space crew discovers that their mission is being controlled by a force that views them as little more than characters in a story.
  • Episode 9: Ultimate Weapon – An alien (Heather Graham) arrives on Earth and uses her “charms” to manipulate a scientist into helping her species.
  • Episode 10: The People’s Choice – The series finale directed by Russell Mulcahy. A couple gets caught in a neighborhood war between rival nanny-bots in a future that looks suspiciously like the 1950s.

It’s Bill’s birthday on the DIA DF!

This Saturday on the Groovy Doom Facebook and YouTube channels at 8 PM EDT, celebrate Bill’s birthday with two of his favorite movies, Possession and Frozen Scream.

Want to know what we’ve shown before? Check out this list.

Have a request? Make it here.

Want to see one of the drink recipes from a past show? We have you covered.

Our first movie is Possession which you can watch on BitChute.

Here’s the first drink recipe!

Spilled Milk

  • 1 cup milk
  • 2 oz. rum
  • 1 tbsp. sugar
  • 1 tsp. vanilla
  1. Mix it all up in a cocktail shaker with ice like you’ve lost your mind and hate groceries.
  2. Pour and drink.

Our second movie is Frozen Scream which you can watch on Tubi.

Here’s the cocktail.

Screaming

  • 2 oz. vodka
  • 2 oz. Bailey’s
  • 2 oz. Amaretto
  • 2 oz. half and half
  1. Mix all ingredients with use and blend until smooth.
  2. Pour and enjoy.

See you Saturday. Bring a gift.

Blazing Fists (2025)

ABOUT THE AUTHOR: Joseph Perry writes for the film websites Gruesome Magazine, The Scariest Things, Horror FuelThe Good, the Bad and the Verdict and Diabolique Magazine; for the film magazines Phantom of the Movies’ VideoScope and Drive-In Asylum; and for the pop culture websites When It Was Cool and Uphill Both Ways. He is also one of the hosts of When It Was Cool’s exclusive Uphill Both Ways podcast and can occasionally be heard as a cohost on Gruesome Magazine’s Decades of Horror: The Classic Era podcast.

Official synopsis: From the legendary cult filmmaker Takashi Miike comes the story of Ikuto and Ryoma, troubled teens who meet in juvenile detention and make a plan to fight their way to freedom. Inspired by MMA fighter and Breaking Down founder Mikuru Asakura, the two boys make a plan to compete in Asakura’s popular tournament. When released, they discover that they’ll have to defeat their past outside the ring, before they can be champions inside of it…

B&S About Movies readers are most certainly well acquainted with director Takashi Miike, so it should come as no surprise that his Japanese action drama Blazing Fists (AKA Blue Fight: The Breaking Down of Young Blue Warriors) is well helmed, sports terrifically choreographed fight sequences, and boasts fine performances. Any surprise should come from the fact that the film follows the expected beats and tropes of the subgenre rather than bringing much new to the proceedings.

Ryoma (Kaname Yoshizawa) and Ikuto (Danhi Kinoshita) form a friendship and a determination to succeed at becoming MMA fighters at the juvenile detention center where they meet. Screenwriter Shin Kibiyashi provides plenty of drama and obstacles for the young men to work through, along with a ruthless, violent gang led by Mido (Gackt) that greatly outnumbers the small-time gang led by Jun (Chikashi Kuon) that was already giving the protagonist duo trouble. 

Family problems, grudges old and new, and naturally trying to beat the odds are some of the difficulties and hurdles that stand in the way of Ryoma and Ikuto. Yoshizawa and Kinoshita shine in their roles as they lead a strong supporting cast, and Miike turns in impressive work with a story that comes across as quite familiar. The impressive fight sequences, including a third-act showdown between a majority of the good and bad guys that viewers have already met plus some new ones, should help to partially take viewers’ minds off of the tropes, at least temporarily. 

Blazing Fists, from Well Go USA, debuted on Digital, Blu-ray & DVD on March 31, 2026.

APRIL MOVIE THON DAY 10: Exorcist II: The Heretic (1977)

April 10: Seagal vs. Von Sydow — One is a laughable martial artist. The other is a beloved acting legend. You choose whose movie you watch; it’s both of their birthdays.

ABOUT THE AUTHOR: Adam Hursey is a pharmacist specializing in health informatics by day, but his true passion is cinema. His current favorite films are Back to the Future, Stop Making Sense, and In the Mood for Love. He has written articles for Film East and The Physical Media Advocate, primarily examining older films through the lens of contemporary perspectives. He is usually found on Letterboxd, where he mainly writes about horror and exploitation films. You can follow him on Letterboxd or Instagram at ashursey. His April Movie Thon list is here.

I’ve seen so many rip-offs of The Exorcist over the years (or, if I want to be nicer, I will refer to these films as cash grabs): Abby, The Antichrist, Magdalena Possessed by the Devil, The Return of the Exorcist, Beyond the Door. The list goes on and on. And it is definitely one of my favorite sub-subgenres of exploitation films.

I had never seen Exorcist II: The Heretic before. I heard it was not good. Why should I let the opinions of others stop me? I do believe that films come to me at the correct time. While there may never be a time where I think it is a masterpiece, Exorcist II is so weird that I have to respect it. It may be the closest a mainstream American film ever got to emulating an Italian horror film. 

The idea of using a sequel to capitalize on the success of an earlier film was nothing new of course. Sequels had been around for a while in one shape or form, really taking off in the 1970s. We covered the “get me another” trend earlier this month. But Hollywood does not necessarily buy into the “success breeds success” mantra. It is more like, “let’s see how little money we can put into a second film and maximize the profits on name recognition alone”. 

Almost no one involved in The Exorcist wanted anything to do with the sequel. Lawsuits had already been filed over credits and profits. The producers of the sequel wanted to spend about $3 million dollars on the film (it ended up closer to $14 million, more than the budget of the original film). Linda Blair is back (although she was not down for getting that make up done again–a double was used). As is the prolific Max von Sydow as Father Merrin, in an even more diminished role. Richard Burton dons the cassock as a priest struggling with his faith. And Louise Fletcher, fresh off of her Academy Award win for Best Actress, plays a doctor with some peculiar methods.

Nothing makes sense in Exorcist II. But that aspect is what kind of makes the film great. Great is a strong word. Memorable? Pseudo-science abounds as Fletcher’s character Dr. Gene Tuskin uses some sort of flashing light, high to low tones, and brain wave measurements to “synchronize” with Regan. When Burton’s priest character Father Lamont connects with Regan, he finds the demon Pazuzu still within her. From there, we are treated to a whole lot of nonsense, including but not limited to James Earl Jones dressed up like a locust, Father Merrin’s African adventures, and a return to the MacNeil residence in Georgetown.

I was so taken back by what transpires that I almost feel like I need to watch the film again immediately with a different perspective. I can only imagine what audiences were thinking when they left the theater in 1977 after watching this one. Well, I’m sure they were thinking it was utter garbage. I’m trying to think of a modern comparison for such a change in tone from a blockbuster film and its sequel. The only one that comes to mind is The Blair Witch Project and Book of Shadows: Blair Witch II.

If nothing else, Exorcist II tries something rather than simply retreading the original story. Something films of today could attempt. I’m looking at you, Scream 7

Tales from the Darkside S2 E15: A New Lease on Life (1986)

Archie Fenton (Robert Knepper, Cards of Death and T-Bag on Prison Break) thinks he’s scored the real estate deal of the century: a swanky, high-tech room in the St. George Apartments for $200 a month. The catch? The landlady, Madame Angler (Marie Windsor, who was in everything from Commando Squad and Salem’s Lot to Chamber of HorrorsAbbott and Costello Meet the Mummy and Cat-Women of the Moon), has some weird house rules. No nails in the walls, no microwaves and most importantly, he has to provide organic garbage with no bags.

That’s because the building is alive. And it’s quite sensitive. When Archie nails a picture to the wall, the building bleeds. When he tries to feed the disposal unit a bag of chemicals and broken glass, his domicile gets a nasty case of indigestion.

Archie figures out that the previous tenant, Helen (Patricia Pelham), didn’t move out. She was the main course. Madame Angler and her dragon-jacket-wearing goons, Al and Mac (Ben Frank and Robert Sutton), explain that the building needs to be respected. Archie tries to fight back, but this ends with a giant reptilian tongue slithering out of the disposal chute to drag him into the building’s digestive tract.

This was directed by John Strysik (who also wrote several episodes) and written by Harvey Jacobs and Michael McDowell from a story by Adam K. Jacobs.

Get it? There’s a dragon in a building called the St. George.

B & S About Movies podcast Episode 132: Church of Satan

This episode, I get into the Church of Satan film list, discussing the movies The 5,000 Fingers of Dr. T, Kiss Tomorrow GoodbyeThe Leopard Man, The Night of the Hunter and Night Tide.

You can listen to the show on Spotify.

The show is also available on Apple Podcasts, iHeartRadio, Amazon Podcasts, Podchaser and Google Podcasts

Important links:

Theme song: Strip Search by Neal Gardner.

Donate to our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ko-fi page⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

APRIL MOVIE THON DAY 10: Hard to Kill (1990)

April 10: Seagal vs. Von Sydow — One is a laughable martial artist. The other is a beloved acting legend. You choose whose movie you watch; it’s both of their birthdays.

“That’s for my wife. Fuck you and die!”

Steve Seagal movies are not subtle.

They are blunt-force trauma wrapped in a silk kimono and topped with a ponytail that defies the laws of physics.

LAPD Detective Mason Storm (Seagal) got too close to the truth. The wrong shady politician got tipped off, and some dirty cops blew their way into his house, killing his wife and putting him in a coma for seven years. During that time, he’s cared for only by Andy Stewart (Kelly LeBrock), a nurse who apparently thinks the best way to revive a comatose patient is to let kittens walk all over him. Keep in mind that at this point in the movie, Seagal looks like White Jesus and is super sweaty. 

Lt. O’Malley (Frederick Coffin) is the real MVP here, keeping Storm hidden and legally dead” while he rots in a hospital bed. When Storm finally wakes up—recovering through acupuncture (this is during the Japanese phase of Seagal and shoutout to Bad Movie Bible for pointing this out), herbs, and sheer ego — O’Malley is there to reveal he’s been raising Storm’s son this whole time. Is O’Malley going to die just to provide more revenge grist for the mill? You know it. No one survives being Steven Seagal’s best friend.

The final boss is Senator Vernon Trent (William Sadler), who ends the movie with a shotgun in his mouth before it is directed at his groin. This comes after Seagal spends ninety minutes barely selling for anyone. Even after being riddled with bullets earlier in the film, Mason Storm treats a coma like a minor case of the Mondays.

Seagal did not get along with director Bruce Malmuth (the ring announcer for The Karate Kid and the director of Nighthawks), saying, “I think it’s a miracle that this guy can put one foot in front of the other.” Whatever happened to Malmuth’s cut of the film, Warner Bros. demanded the movie be heavily cut and re-edited to a 90-minute running time to maximize how many times a day it could play. There’s a legend that an alternate ending was also filmed, in which Storm kills Trent and says, “Take that to the bank.” He also supposedly set the big bad on fire inside a fireplace.

More potential IMDbs: “When it came time to film this scene, Seagal, director Bruce Malmuth and several of the producers got into a spat, leading to Seagal storming off set and into his trailer, upset. It was William Sadler himself who suggested Storm shoot at his groin and miss, making an insulting comment about his small genitalia. The producers liked the idea and sent Sadler to Seagal’s trailer to pitch it, feeling that he would not have listened to them if they had brought it to his attention. Seagal liked Sadler’s idea, returned to the set, and they filmed this ending instead in just a few hours, putting the matter to rest.”

This movie’s original title was Seven Year Storm. Warner Bros. changed it. But Seagal gets marketing. His line “I’m gonna take you to the bank, Senator Trent… the blood bank,” wasn’t even in the original script. It was all ad-lib and ended up in the trailer.

I would put this on the “good” side of the Seagal equation. There’s a lot of him cracking bones and cracking jokes, usually at the same time. It also reminds you that at one point, Seagal was married to LeBrock and for that, we should respect him. A little, I guess.

It also follows the Cobra playbook of going totally overboard in a convenience store. That’s how you do an action movie: put the hero in a situation we’ve all been in, let him decimate some jobbers, and never — ever — let him show weakness. Seagal lives up to the title; he doesn’t just survive a coma, he treats it like when you wake up with your arm still asleep.

Hard to Kill was remade twice in Turkey as Cheetah Ram and Shastra.

APRIL MOVIE THON DAY 9: Frenzy (1972)

April 9: Do You Like Hitchcock? — Write about one of his movies.

After Torn Curtain and Topaz were failures, Alfred Hitchcock went back to murder. After those two espionage films, this was an actual Hitchcock film, one in which former RAF squadron leader Richard Blaney (Jon Finch), a man with a history of angry bursts of violence, becomes the prime suspect in the Necktie Murders, which have actually — way too early spoiler — been committed by his friend, Bob Rusk (Barry Foster). 

Yet this is a film of firsts. It’s the only Hitchcock film to receive an R rating in the U.S. during its initial release, and it would be the first time nudity appeared in one of his movies. Those scenes, which are also filled with detailed murders, were so harsh that actresses Barbara Leigh-Hunt and Anna Massey refused to be in them. Body doubles did the job instead.

Hitchcock, ever the technician, used a Linhof Technika camera for many of the film’s ultra-tight close-ups, capturing the grit of early 70s London. He also returned to his roots, filming on location at Covent Garden, where his father had been a vegetable merchant. You can almost smell the rotting produce and the stale ale.

The first victim we meet is Brenda Blaney (Leigh-Hunt), Richard’s ex-wife, who runs a dating service. They’ve already turned down Rusk, as he’s a pervert, so when he comes back, he quickly assaults and strangles her. Her secretary comes back from lunch, just in time to see Richard wandering around, trying to get in. When the body is found, he’s now a suspect. He hides with a former co-worker, Babs Milligan (Massey); they have sex, and hours later, she runs into Rusk, who kills her as well.

In a time before DNA evidence, Richard is totally screwed. He even goes to prison for the crime and escapes, only to make his way back to Rusk’s flat to find another dead body in the bed. Luckily, Rusk comes back to the scene of the crime just in time to be caught by Inspector Timothy Oxford (Alec McCowan).

One of the film’s most famous sequences involves Rusk trying to retrieve a monogrammed tie pin from the rigor-mortis-clutched hand of a corpse hidden in a potato truck. It took three days to film that scene, and Foster (Rusk) actually had to endure being covered in real potato dust, which is apparently quite the skin irritant.

Michael Caine was Hitchcock’s first choice for the role of Rusk, but said, “He offered me the part of a sadist who murdered women, and I won’t play that. I have a sort of moral thing, and I refused to play it, and he never spoke to me again.” This does not explain why he plays a woman killer in Dressed to Kill. Spoilers again, huh?

In the article “Frenzy at 50: The most violent film Hitchcock ever made,” Mark Allison writes, “On the surface, this project bore everything that audiences could expect from the ageing auteur – a murdered blonde and an innocent man clearing his name, served with lashings of suspense – but with the greater permissiveness of early 1970s cinema came a much nastier tone than Hitchcock had ever attempted before. Without fear of censorship and facing competition from a new wave of exploitation cinema, from U.S. splatter horror to the Italian giallo, Hitchcock unleashed all his voyeuristic impulses on this shockingly brutal film. The result is, perhaps, just the sort of horribly graphic murder story that he’d always wanted to make, if only he’d been allowed.”

Speaking of gialli, Dario Argento was proclaimed the man who “out Psycho-ed Psycho,” if we are to believe the newspaper ads for The Cat o’Nine Tails.

Yet here’s Hitchcock making a giallo, a film about a strangler who uses neckties, just like a movie that would follow the very next year, Torso. For me, it’s nowhere near the excesses of the Italian psychosexual killer genre, even if Hitchcock’s daughter Patricia thought it was so disturbing that she wouldn’t allow her children to watch it.

Roger Ebert said, “Alfred Hitchcock’s Frenzy is a return to old forms by the master of suspense, whose newer films have pleased movie critics but not his public. This is the kind of thriller Hitchcock was making in the 1940s, filled with macabre details, incongruous humor and the desperation of a man convicted of a crime he didn’t commit. The only 1970s details are the violence and the nudity (both approached with a certain grisly abandon that has us imagining Psycho without the shower curtain). It’s almost as if Hitchcock, at seventy-three, was consciously attempting to do once again what he did better than anyone else.”

WEIRD WEDNESDAY: Love Me Deadly (1973)

Lindsay Finch (Mary Charlotte Wilcox, The Beast of the Yellow Night and Psychic Killer) loves to go to funerals, where she mourns and then kisses the dead men passionately after everyone else leaves. Throw in a theme song that sounds like it comes from James Bond, while we see flashbacks of her relationship with her dead father, visiting his grave and her pigtails, and I’m all in.

She has swinging hippie parties at her pad, and her friend Wade (Christopher Stone, the late husband of Dee Wallace, who appeared with her in Cujo and The Howling) tries to get with her. Just when it seems she’s giving in to his makeout moves, she screams at him to stop, and he calls her a bitch, because this is 1973. She dreams of her father in yellow-hued flashbacks and hugs a stuffed animal.

Later, she goes through the funeral notices to find the services for young men. We then meet Fred McSweeney, a mortician, as he picks up a male prostitute. That job is just a cover for his true love — a Satanic coven that meets at night, inside the mortuary, where they have orgies with dead bodies. McSweeney takes the young man to his workplace, where he pumps the manwhore full of embalming fluid while he’s still alive, all while Lindsay goes to another funeral where she tries to make out with Bobby. She’s surprised by Alex (Lyle Waggoner, TV’s The Carol Burnett Show and Wonder Woman, as well as the honor of being the first nude centerfold in Playgirl and the appointed mayor of Encino, California), the man’s brother.

Speaking of that embalming scene, it goes on and on and on, with the young man screaming, “I’m blind!” over and over. It’s nearly campy instead of frightening. To say this film has a tone issue is an understatement.

Lindsay sneaks out to Bobby’s funeral, where she starts to associate Alex with her father. He’s a wealthy gallery owner, and they begin a romance—one she refuses to consummate, even after they are eventually married. Every time she sees him, she gets yellow-hued flashbacks with a music box soundtrack of her playing with her father. But more about that in a little, OK?

McSweeney speaks to Lindsay after he catches her at a funeral, telling her about a group she should join. Yet she tries to remain normal, even going on a date with Wade that ends in failure. That’s when she decides to see what McSweeney’s group is all about.

She walks into an orgy with the dead, which freaks her out enough to go back home. Then she and Alex fall in love with no dialogue, just a montage. It’s a strange part of an incredibly strange film, with this happy-go-lucky relationship coming out of nowhere in a film otherwise about sex with dead people.

Lindsay keeps talking to the cult and ends up getting a dead body of her very own. But Wade follows her and is killed by McSweeney. She screams in horror. This scene wasn’t in the original script, nor was the Satanic group in the one that follows, but they were used to pad out the film and add more horror elements so it would play better at drive-ins.

Again — tone being all over the place — we’re treated to a nude cult disrobing Wade’s corpse and having their way with it before Lindsay awakes screaming. But the marriage isn’t working out well, with Alex following her all over town and their maid — complete with the most stereotypical Irish accent ever — telling him that his wife spends her days at her father’s grave, wearing pigtails and dressed like a little girl. You should see the look on Alex’s face when he catches her as she yells, “This is not your place, go away!”

Alex tries to get Lindsay to go on a holiday to visit his mother, but he discovers a registered letter from McSweeney to his wife for a meeting at 10 PM. He follows her to the mortuary, where he discovers his wife surrounded by nude devil worshippers as she makes love to a dead body. She looks frightened and then McSweeney murders Alex, which calms her.

McSweeney drugs her as she lies in her bed, then brings in her husband, now embalmed so he can last forever, finally a man whom she can be attracted to: the combination of her father — who we see in flashback being shot accidentally by her — and the man she fell in love with. The editing here — combined with dissonant instruments and a remix of the title theme — is crazy, like this film has suddenly become Beyond the Valley of the Dolls.

We see intercut shots of Lindsay getting under the covers with her dead husband and her getting in the coffin with her father as everything goes sepia tone and the theme song returns.

Love Me Deadly isn’t for everyone. It’s one of those films that I hesitate to recommend to normal folks. But it is the kind of movie I text people about in the middle of the night.

This is…well, it’s something. If you enjoyed The Baby, well, then you’re on the right wavelength for this one.

You can watch this on Tubi.