Is Hayley Mills a giallo queen? Let’s examine the evidence: She’s in the Agatha Christie movies Endless Night and Appointment with Death, as well as the Sidney Hayers psychological thriller Deadly Strangers. Heck, That Darn Cat! has a lot of elements of confused identity and mishearing critical evidence. You know, if The Parent Trap was slightly askew, you could see its tale of twins who never knew the other existed uniting to ruin relationships as an Italian thriller.
The jury is out on Ms. Mills being a giallo star — maybe if she’d made a voyage to Italy at some point — but Twisted Nerve really feels like it could fit into the post-Bava pre-Argento world of detective movies that were coming out of that country.
Martin Durnley (Hywel Bennett, who was also in Endless Night and The Family Way with Mills) is a rich young man with an invalid brother and a mother who has moved on to her new husband. So what else does he have to do than to become someone else, the mentally challenged Georgie, and start shoplifting toys and acting like a child? Especially if it gains the interest of Susan?
This movie pushes all the buttons, starting — instead of ending! — with a square up reel* that apologizes for suggesting that mentally retarded people are murderous. It then doubles down thanks to a scene where Martin sensually rubs his own chest while staring at a stack of male muscle magazines. And oh yeah — he’s obsessed with Susan enough to stage this charade yet when her neglected mother attempts to Mrs. Robinson him, he dispatches her with an axe. There’s also a shocking moment — for Susan — where Martin just casually disrobes in front of her and instead of her reacting with any arousal, she’s just confused and perhaps even upset as his alien nature makes seeing him in a sexual manner incredibly strange.
Yet even when he gets to touch her, it’s as if he can’t. Martin once had control over Georgie and thought it was all a ruse, but it looks like now he’s lost control.
I love that this movie has pretensions toward art. It quotes “Slaves” by George Sylvester Viereck — “No puppet master pulls the strings on high. Proportioning our parts, the tinsel and the paint. A twisted nerve, a ganglion gone awry predestinates the sinner and the saint.” — while also keeping one foot firmly in the world of exploitation. I mean, the tagline is “Cleaver. Cleaver. Chop. Chop. First the mom and then the pop. Then we’ll get the pretty girl. We’ll get her right between the curl.”
Even if you haven’t seen this movie, you may know its Bernard Herrmann score, which was whistled by Elle Driver as she attempted to kill The Bride in Kill Bill.
*”In view of the controversy already aroused, the producers of this film wish to re-emphasise what is already stated in the film, that there is no established scientific connection between mongolism and psychiatric or criminal behaviour.”
Take Noriaki Yuasa, the director of the original eight Gamera movies, and pair him with Kazuo Umezu, who created The Drifting Classroom, and have them make a movie that should be for kids but is the type of motion picture that destroys minds and reaps souls (and is filled with nightmarish visions and brutal murders).
Sayuri has returned to her family after years in an orphanage but trouble has followed her. Before she even arrives, a maid dies of a heart attack, her mother has amnesia from a car wreck and her sister won’t leave the attic, all while her father ignores them to study poisonous snakes and a fanged figure haunts her dreams.
Soon, our heroine is staying up in that attic with her scarred sister who tells her that she just wants to taste her hands and who breaks her dolls and oh yeah, rips a frog in half and throws it in her face. Yes, a kid-friendly movie.
And an amazing one at that.
The Snake Girl and the Silver-Haired Witch is making its worldwide blu ray debut and home video premiere outside Japan thanks to Arrow. This release also has commentary by film historian David Kalat, an interview with manga and folklore scholar Zack Davisson, a trailer and an image gallery.
It’s also available on the ARROW player. Head over to ARROW to start your 30 day free trial (subscriptions are available for $4.99 monthly or $49.99 yearly). ARROW is available in the US, Canada and the UK on the following Apps/devices: Roku (all Roku sticks, boxes, devices, etc), Apple TV & iOS devices, Android TV and mobile devices , Fire TV (all Amazon Fire TV Sticks, boxes, etc), and on all web browsers at https://www.arrow-player.com.
Courtesy of Bill Van Ryn, we know that Peter Carpenter had been selected by Russ Meyer for a small role in Vixen! after Carpenter’s then girlfriend included a photo with him as part of her audition materials. A role alongside Dyanne Thorne in 1970’s softcore drama Love Me Like I Do followed, and Carpenter’s later, one-two punch of his self-produced Crown International-starring vehicles of Blood Mania and Point of Terror, made with producer Chris Marconi, undoubtedly represented a bid for establishing Peter as a working actor—a Hollywood commodity, even. A career never manifested, and Carpenter disappeared. Despite rumors that he vanished because he died, he actually simply left the movie business, although he did pass away at the too-young age of 56—in Alhambra, Los Angeles County, on April 2, 1996, under his birth name: Joseph Nathaniel Carpenter, a former enlistee of the U.S. Air Force (thanks to Mike Perkins for that bio-postscript).
As Mike Justice of the Eerie Midnight Detective Agency site correctly pointed out: Peter didn’t do much in the way of acting in these films—but, in both, he did show a natural predilection for portraying a horny, muscular man who will stop at nothing to get laid. And I’ll have to add that quality carried to its zenith, with Pete as the red-jump suit clad n’ hip-swingin’ Tom Jones wannabe in Point of Terror.
So, how we ended up here, QWERTY’ing away in the B&S About Movies cubicles about these first two Peter Carpenter films is a tale of the coolness that is B&S About Movies. And this ain’t no trope of a tale we’re telling: B&S is a family of movie lovers who love film for film—a gaggle of crazy bastards and lazy sods who write for the love of film, money in our pockets for the efforts, be damned. (In fact, it’s how our newly-posted review of The Beast (1988) came together: reader feedback to our site. Ditto for our recent “Ancient Future Week” reviews of Future-Kill (1985) and Robo Warriors (1996): reader input.)
B&S reader and uber Peter Carpenter fan, Mike Perkins, a professional librarian, reached out to us upon discovering our review of Point of Terror with questions and some new, Pete-Intel. The Perk came to tell us he’s been working with B&S About Movies’ long-time friend and contributor Mike Justice to set the record straight on Peter Carpenter’s life and career.
It all began with Mike Justice asking the February 22, 2016, question in his article: Lost Actor: What Ever Happened to Peter Carpenter? on his site. So, Mike Perkins, the insane-uber Carpenter fan he is, started digging. And the two-Mikes’ investigations led to Mike Justice posting the follow up article: Lost Actor Found: Who Was Peter Carpenter? on March 7, 2021. Then Mike Perkins took it a step further by setting up a Flickr photo tribute page, finally convincing the IMDb to updated Peter Carpenter’s page, and setting up an all-new Find A Grave tribute page. Yeah, the Mighty Perk is working on that Peter Carpenter Wikipedia page, you know it!
The one thing we’re all in agreement on: Peter Carpenter was Tommy Wiseau before Tommy Wiseau was Tommy Wiseau making his The Room vanity project. And that Rudy Ray Moore was the blaxploitation version of Peter Carpenter—remembering Moore took the vanity route with Dolemite. And that we need a Peter Carpenter biographical dramedy, à la The Disaster Artist and My Name Is Dolemite. And that Jason Segel—as first suggested by The Great Protrubero, one of Mike Justice’s readers—should star.
Like I told Justice: If Netflix can bank roll Jack Black as the financial-scamming Jan “The Polka King” Lewen in a bioflick, then a Peter Carpenter film can be done.
Does anyone know how to reach James Franco and Seth Rogen? A Peter Carpenter movie—Point of Stardom—starring Jason Segel as Pete, must be done—if only to get Segel into a fringed, red-jump suit. And, in the way-back machine: Judge Reinhold.
Just think of it: A world where Peter Carpenter never left the business—and Peter, instead of Judge Reinhold—ended up as one of the (many) boyfriends of Elaine Benis on Seinfeld—or Carrie Heffernan’s gynecologist on The King of Queens (i.e., Judge, again). Why did you leave the business, Pete . . . the castings you missed . . . you could have been “the Close Talker” on Seinfeld! And yes, B&S readers: we’re accepting your casting suggestions for Dyanne Thorne and Russ Meyer in the comments section, below.
In fact, speaking of castings and Jack Black: If there’s ever a Paul Naschy biopic made, Jack Black is the man for the job. From Pennsylvania’s “Polka King” to Spain’s “Werewolf King”? Jack can do it!
And . . . Jack Black can be Russ Meyer to Jason Segel’s Peter Carpenter!!!
“Uh, the ‘rails,’ R.D. We talked about this. The rails. You’re friggin’ off them, again. Please get back to the movie,” Sam “The Boss Man” Panico, implores me.
Sorry, Sam . . . the Peter Carpenter love is, eventually, gonna getcha.
So, yeah. Bill Van Ryn. Eric Wrazen. Mike Justice. Mike Perkins. Sam “the Blender Master” Panico, and yours truly: We are family, and by golly, we’ll get the job done and solve The Case of Peter Carpenter. Get this: for the fun. We’re fracked up that way. And by hook or by crook, we will get that movie made, too.
Let’s roll Vixen! and Love Me Like I Do. To the aisle seats, Robin!
“The story of a girl who loves the joy of being alive.” — Now that’s how you pitch an X-rated movie
Yeah, you’re heard of this movie in the annals of X-rated films: it was the first film to be given the rating due to its sex scenes. Yes. It was a huge box office success ($8 million against $73,000) that not only inspired 20th Century Fox to green-light Beyond the Valley of the Dolls (Doh!), it also triggered the “Golden Age of Porn” with the likes of the equally successful Behind the Green Door, Deep Throat, and The Devil in Miss Jones. Howard Avedis, who we just did week-long tribute on, dove into the golden showers with this take on the trend with The Teacher. And speaking of teachers: Earl Barton’s Russ Meyer-wannabe, the sleazy drive-in take-a-shower-after flick, Trip with the Teacher, was his lone attempt at some “golden age” sexploitation.
Erica Gavin* (later of Meyer’s Beyond the Valley of the Dolls; stellar in Jonathan Demme’s Caged Heat for Roger Corman) is Vixen Palmer: an oversexed (big surprise), bored ne’er-do-well hottie stuck living in a Canadian mountain resort town with her naive, wilderness bush pilot husband (Larry Buchanan stock-player Garth Pillsbury, Mistress of the Apes).
While he’s off on assignments, flying tourists on fishing trips, the divine Ms. Palmer manipulates anyone and everyone to get her jollies: including an uptight, vacationing husband and wife flown by her husband, as well as a Canadian Mountie (cue Peter Carpenter to the set). Vix even dabbles in incest with her rough n’ tumble biker brother, Judd (because all Drive-In B-movie programmers must have a biker; played by Don Stroud lookalike Jon Evans). But Vix draws the line at interracial love: she won’t do the hoochie-mama with Judd’s black, riding buddy (Harrison Page, who carved a still-going, extensive U.S. TV career). Oh, and everyone has opinions on communism to go with their insights on the sexual revolution.
Sigh . . . sex and political dissertations with a side of racism: an exploitation Reece’s Peanut Butter Cup packed with M&M’s (or is that Skittles) if there ever was one.
When it comes to skin-flicks—and Meyer’s oeuvre, on whole—Vixen! is a solidly produced flick that’s well-directed with engaging cinematography. Courtesy of Erica Gavin going so over-the-top, along with Meyer working in messages on racism, communism, Vietnam, draft dodging, and the sexual revolution amid the nekked parts, this is not, not-an-entertaining flick. In fact, instead of flinching in repulsion, you actually laugh—with, not at—the film. How can you not chuckle, when Vixen and her brother lament on their special showers back when they were 12—as they have a nekked shower-sex reunion?
Look, this ain’t no 2 1/2 hour Zack Snyder zombie romp with the always career-bitching Dave Bautista: it’s a 70-minute skin flick from the limits-pushing Russ Meyer. (It could be worse: this was sliced to 63-minutes in other parts of the world.) So what’s not to likely? Take a chance, you analog masochist, to get your fix of Peter Carpenter strippin’ off that Royal Canadian Mounted Policeman’s uniform. Your own heart-breaking sighs for Peter, may vary.
Ugh. No trailers to embed. So log onto You Tube to watch them HERE and HERE. The DVDs abound, even on Amazon. Online streams. Yes. On torrent sites: don’t do it.
Love Me Like I Do
“I thought I was safe as long as I kept my eyes wide open and my knees tied together.” — Another satisfied Peter Carpenter conquest
Writer and director Jean Van Hearn shot seven sexploitationer skinners between 1961 to 1973: Eternal Summer, Nymphs Anonymous, We, a Family, The House Near the Prado, The Hanging of Jake Ellis, Did Baby Shoot Her Sugar Daddy?, and this one—the only one starring Peter Carpenter. Oh, and Dyanne Thorne. Did we mention that Dyanne impressed Pete, here, so he cast Dyanne as his lead in his forth and final film, Point of Terror? We just did.
So . . . if you need films with soft-core kink titillations, trannies, way-too-many strippers, a world where women seduce men—while another man is dead, stuffed under a bed—all done at an Ed Woodian ineptness that makes a Doris Wishman joint look better that it should, then Van Hearn’s always-hard-to-plot-follow, seven-film oeuvre should be on your watch list.
Now, back to the Peter Carpenter love.
Sharon Sloane (Dyanne Thorne, in a bad wig) is a loyal, seemingly content suburban wife with a nice husband, Bill (Peter Carpenter, in his first leading man role), house and family—and she throws mod-swingin’ backyard parties. Well, things were content: Sharon just discovered—as a way to deal with the stress of his business ready to collapse in a takeover by his partner, Keith (the one and done Paul Flemming)—ol’ hubs cheats on her with the local, neighborhood nympho, Nanette (Maria De Aragon**, Blood Mania for Peter; the lead in 1972’s The Cremators). So, Sharon—while she attends to the woe-is-me problems of her horny-divorcee best friend (Lynne Gordon, her final film was Robert Redford’s The Hot Rock for Peter Yates)—does the only logical thing: she goes off the deep end. And so does everyone else.
Sharon pops off a couple o’ rounds at Bill’s squeeze, Nanette? Check.
Bill’s business partner, Keith, wants not only the business, but Sharon? Check.
Does Keith fail at goading Sharon into adultery, so he rapes her? Check.
Does she like it? Check.
Does Bill, the cheater, beat the hell out of Sharon for cheating? Check.
Divorce? Stressed out little ones? Check and double check.
Sharon and Keith run off to Las Vegas—and Sharon, the girl who won’t commit adultery—turns into the very nympho her ex, Bill, enjoys. Checky check check.
Just wow. If this is what the sexual revolution of the ’70s did for film . . . then we need Estus Pirkle to break out the bible to inspire Ron Ormond to get the cameras rolling to get our souls in check.
Look, if you’re a Peter Carpenter fan—and you were able to make it through the movie-where-nothing-happens stylings of Blood Mania, but enjoyed the mania where-everything-happens of Point of Terror—sans the musical numbers and slasher overtones of that later sex opus—then there’s something here for you to do on a Friday night.
Thanks to our bud, Mike Justice, while we do not have an online stream of the full movie to share (there’s a few torrent-to-porn uploads out there: don’t do it: unless you’re into virus alerts and site redirects), you can watch these two clips from the film HERE and HERE (but embedded, below). You want the DVD? Well, the DVDLady has multi-regional DVD-rs, if you absolutely must have it.
I’m excited! Let’s make this Peter Carpenter bioflick happen!
About the Author: You can read the music and film reviews of R.D Francis on Medium and learn more about his work on Facebook. He also writes for B&S Movies.
* Did you know Erica Gavin has an official website? True story. Check it out at ericagavin.com. The link will take you into a deeper plot synopsis and backstory on Vixen!, as well as direct you to her insights on her other films.
** Maria De Aragon was under the Greedo make-up, hassling Han Solo at the Mos Eisley Spaceport in Star Wars? Is that urban legend?
ABOUT THE AUTHOR: When Frederick Burdsall isn’t at work or watching movies while covered in cats, you can find Fred in the front seat of Knoebels’ Phoenix.
Way back when in a faraway place I like to refer to as “The Sixties” (It existed kids, trust me) my local movie theater would frequently show a Saturday Matinee geared to kids and it was here I was introduced to the wonders of Roger Corman, Vincent Price and numerous monsters that still thrill me today but there was one in particular that really got my 9-year-old juices going.
A few weeks before, the theater was showing a little film called The Mad Monster Party and as always, I was parked in a seat halfway up the aisle with my popcorn enjoying the spectacle. When the dust settled and it was time to go I was handed a clip-on button as I exited that simply said “The Green Slime are Coming”. Slimy and Green, huh? Yes, please.
Well, my friends, an entire freakin’ month went by before I saw it on the marquee…The Green Slime are here Saturday at noon. Setting a new record getting home I rushed into the house and did the most horrible thing I have ever done in my life…I VOLUNTEERED to do chores because the Green Slime are here Saturday and I have to be there. The things we do for our passions. Let’s take a look at this brilliant piece of monster movie fun.
An asteroid is on a collision course and it falls on Jack Rankin (Robert Horton from Wagon Train) to rush off to Gamma 3 to blast it out of the sky. The base is run by Vince Elliott (Richard Jaeckel, one of my mom’s favorite actors) who at one time was a close friend but they clashed over Lisa Benson (Luciana Paluzzi, who played Fiona Volpe in the Bond film Thunderball) who conveniently is one of the doctors on the base. There is quite a bit of macho posturing before he is welcomed aboard.
Upon reaching the asteroid they encounter a greenish ooze which puts a damper on their project and forces them to hoof it back to the ship unaware that Dr. Halverson has some on the leg of his spacesuit. As the suits are decontaminated, it causes the slime to mutate and grow into a one-eyed, tentacled monstrosity that kills with electricity. ( I REALLY need a Green Slime Pop Vinyl figure…someone get on that.)
Nothing they do seems to harm it and if it bleeds, the blood becomes another monster….how do you kill it? After an attack on the infirmary, they decide to lure them to Block C and try to, at least, contain them but Dr. Halverson has all his research in there and the creatures are soon loose again. Deciding to evacuate, the doors won’t open because there are creatures all over the outside of the ship now and Elliott leads a team out to do battle in a last ditch effort to save their lives. How does it all turn out…Watch and enjoy The Green Slime and find out.
I can’t deny that there are times that I watch a favorite from my childhood and can’t believe how incredibly bad it really was…this is NOT one of them. I still get tears in my eyes when that psychedelic theme song by Richard Delvy starts up and I turn into a 9-year-old all over again and revel in the campiness of it all. I have a love for this movie that rivals the kind of love you have for family and friends and I hope I always will…..By the way…I STILL have the button.
As always, I’ll see you in the front seat of the Phoenix.
This Brazilian movie creates new versions of stories that appeared on the TV series Além, Muito Além do Além (Beyond, Much Beyond the Beyond): “O Acordo” (The Agreement), “A Procissão dos Mortos” (Procession of Dead), and “Pesadelo Macabro” (Macabre Nightmare).
In the first segment, “O Acordo” (The Agreement), a mother discovers that her daughter has an incurable disease, so she offers her soul to Satan himself. They ask her to bring them back a virgin. This segment was directed by Ozualdo Ribeiro Candeias.
The second story is “A Procissão dos Mortos” (Procession of Dead), which was directed by Luiz Sérgio Person. A young boy’s father is the only person brave enough to face the ghosts that haunt the village.
Finally — and most spectacularly — “Pesadelo Macabro” (Macabre Nightmare) is about a young man who is afraid of being buried alive, which is exactly and to no surprise what happens. This leads to tons of scenes of women being whipped, lizards, bugs and, yes, a premature burial that all feel like they’re the exact kind of bad trip that schoolteachers warned you that those blue acid star temporary tattoos would give you if any drug dealer tried to give you free acid, which I don’t think has ever happened ever. This was directed by José Mojica Marins, who we all know as Coffin Joe, and it lives up to exactly the kind of mania you expect from this man. He was actually the host of the TV show these stories came from for 21 years and sadly, hardly any tapes of them survive.
Federico Curiel was a maniac and I mean that in the very best of ways. He wrote tons of great movies like El Baron del Terror, as well as directing stuff like the Nostradamus vampire movies, lucha films with Neutrón, Blue Demon and Santo, Westerns such as Super Colt 38 and so much more. He’s also the man who brought together so many luchadors for The Champions of Justice series.
Here, he delights us yet again with the tale of El Murcielago, a former wrestler who has become disfigured and obsessed with singer Marta Romano as he sits in his cave, wearing a jeweled robe, playing an organ and being generally awesome. He takes this beautiful girl and hides her away from the rest of the world to watch him fight and kill a series of other wrestlers until Blue Demon decides that he’s going to save the wrestling business.
The joy of lucha libre movies is that astounding things can just happen. Men can be disfigured and take over caves filled with henchman who listen as they regale them with dibble dabble keyboard musings and the rantings of a madman. Beautiful singers can be kidnapped and scream at every rat they ever see. And Blue Demon can show up and solve everything with wonderful violence.
There are also four musical numbers, which feels just about the right amount.
You can watch this on the amazing White Slaves of Chinatown channel on YouTube.
If you have an issue with seeing brains outside of skulls, perhaps this is a movie to avoid, as it seems like the main story thrust of this is to show brains as often as possible, but there’s also plenty of neon-hued labs, swinging go-go dance numbers, Blue Demon wrestling matches, future science that never really came true and Noé Murayama, the son of a Japanese dentist, as a mad scientist with female zombies in his employ.
Director Chano Urueta also made one of the most deranged movies I’ve ever delighted to see more than twenty times, El Baron del Terror. He worked on several of Blue Demon’s movies and the Los Leones del Ring series, which had Jorge Rivero as twin luchadors. He started making movies as far back as 1928 and his career lasted the whole way up until 1974. Ureta also acted in several movies and shows up in Peckinpah’s The Wild Bunch and Bring Me the Head of Alfredo Garcia.
The best thing about a 1968 lucha movie is that it combines so many things that you love into one big combo. To wit: Eurospy movies, evil — and good — women in miniskirts and high boots (and occasionally berets), Adam West Batman-inspired sets, a caveman wrestling and so much more.
For some reason, it was decided that Blue Demon should have some superpowers in this film, so he learns how to teleport. He also can run through walls which is a great power to have.
I love the solo Blue Demon movies because I’d rather see him as a hero with agency instead of the foil or second banana to Santo. He just seems to try harder than the competition.
Carradine had sold everything he owned to start a traveling Shakespeare actor’s company and when it folded, he was penniless, which led to the kind of roles that we love him in. In fact, the actor would get to go wild in these parts unlike any straight films he’d made. He’d make several movies in Mexico such as Diabolical Pact, Enigma de Muerte, Autopsy of a Ghost and La Señora Muerte, but this time, he’s a vampire!
A Transylvania Airlines plane has crashed in Mexico. bringing Aura to the country — all of the male vampires are dead — and into competition for leadership of the vampire women with Dracula’s widow Countess Véria. They’re also biting luchadors and using them as henchmen, which puts Mil on their trail.
Meanwhile, the women have Count Branos (Carradine). Once he was such a powerful vampire that he was the man who taught Dracula. Yet now, after a vampire hunter put a stake through his brain instead of his heart, he’s become a moronic and sad man, crying in a cage and dreaming of the days when he ruled the world of the undead.
Yet its a ruse, as Véria sacrifices her own life to make him powerful again and man, Carradine goes absolutely wild in the role as an unbound master vampire. Sure, it’s all the way at the end of the movie, but man, it’s great.
Also: a car runs Mil off the road and it’s driven by bats. By bats!
Even better, this movie starts off as all Carradine movies should, with him speaking directly to the camera. All movies should start this way.
The first of five collaborations between Don Siegel and Clint Eastwood — which also include Two Mules for Sister Sara, The Beguiled, Dirty Harry and Escape from Alcatraz — this movie tells the story of Arizona deputy sheriff Walt Coogan (Eastwood), who travels to New York City to extradite escaped killer James Ringerman (Don Stroud). However, when he tries to get him out as soon as possible, the maniac escapes, which draws the ire of Detective Lieutenant McElroy (Lee J. Cobb).
While a controversial film due to its violence — there’s plenty of blood and Eastwood continually gets the worst of fights that he’s outnumbered in — this movie became the prototype for the action movies that Eastwood would star in for years. It also inspired the Dennis Weaver series McCloud, which was created by this film’s screenwriter Herman Miller.
This Kino Lorber blu ray release has some incredible extras, like a commentary track by filmmaker Alex Cox and another by Sledge Hammer! creator Alan Spencer. Plus, there are trailers, a radio ad and a poster gallery.
Translate this title as Hellish Spiders and you know what Blue Demon is up against and man, is there any better genre in the world than Mexican lucha libre movies? Get this. Blue Demon is up against the entire planet of Arácnea which is trying to cultivate human brains as food for their demanding queen. How magical!
This movie has an astounding wrestling match where Blue Demon’s opponent Arac suddenly has his hand turn into a spider hand that can bite and instantly kill people. Also, after a match, all sweaty, Blue Demon casually explains antimatter to a scientist and I lost what was left of my mind.
This movie needed a UFO scene so of all the movies they could steal a flying saucer from, Federico Curiel lifted the hubcap from Plan 9 from Outer Space. You know what they say: “El talento toma prestado, el genio roba.”