POPCORN FRIGHTS 2023: Nightmare (1981)

After mutilating and murdering a family, George Tatum has been jailed for years. Now, he has been given the opportunity to be reprogrammed and returned to society. That said — he still has nightmares of his childhood and a trip to a Times Square peep show unlocks flashbacks that make him a killer all over again.

En route to Florida — where his ex-wife, daughters and son live, George follows a woman home and kills her. Meanwhile, his doctors have no clue that he’s left the city.

Imagine his wife’s surprise when she starts getting all manner of threats over the phone. All she wants to do is carry on with her new boyfriend, Bob. She has enough to deal with, as her son C.J. is the worst of all horror movie kids. He often plays pranks that go way past the line of good taste, like covering himself in ketchup and pretending to be dead. So when the kid says that a man is following him, everyone thinks he’s just up to his normal young serial killer in training mischief.

After killing some of C.J.’s fellow students, George breaks into their house and kills the babysitter while mom is at a party. But C.J. calmly and cooly deals with it — he shoots his father with a revolver while dad has a flashback of catching his dad engaging in BDSM games with his mistress before he decided to kill them both with an axe.

The movie closes with C.J. sitting in a police car, mugging for the camera, while his mother returns to see her ex-husband’s body being removed from the house. How does C.J. know the camera is there? Has he learned how to break the fourth wall? Will he soon be able to hear his own theme song, much like Michael Myers? And when I’m asking questions, isn’t the full title, Nightmares in a Damaged Brain, way better than just Nightmare?

Director Romano Scavolini started his career in porn, which might explain the incredibly casual nudity in the film and its devotion to giving the viewer exactly what they want from a slasher. It knows exactly why you’re here and gives you what you need. He stated about the film that he wanted to tell a story that has roots in reality and not just fantasy. A story of no hope, because mankind is at the mercy of its own demons. And, perhaps most importantly, a story where a young boy is unable to deal with the fact that his parents might just happen to be down with BDSM.

According to Matthew Edwards’ Twisted Visions: Interviews with Cult Horror Filmmakers, Scavolini claimed that prior to receiving distribution through 21st Century Film Corporation, Warner Bros. and Universal Pictures had both wanted to buy the film, but only if the gore was cut down. Scavonli refused, feeling that “the strongest scenes had to remain uncut because the film should be a scandalous event.” Yeah, I’m gonna call bullshit.

This is a scummy, down and dirty affair. C.J. is an annoying kid, but who can blame him, He has the worst parents possible — one’s a serial killer and the other would rather party on down with Bob than deal with the wretched fruits of her ex-husband’s loins. Remember those 20/20 exposes on how horrible slasher movies were? This is one that lives up to those warnings.

Nightmare is part of the Popcorn Frights Film Festival. You can get a virtual pass to watch the festival from August 10 to 20. To learn more, visit the official site. To keep track of what movies I’ve watched from this Popcorn Frights, check out this Letterboxd list.

A Monstrous Corpse (1981)

I’ve really been getting into the Unsung Horrors podcast and was overjoyed to discover a remake remix rip-off movie that I never knew about. Even better, it’s based on one of my favorite movies: The Living Dead at Manchester Morgue AKA No Profanar el Sueño de los Muertos (Don’t Disturb the Sleep of the Dead), Let Sleeping Corpses LieThe Living DeadBreakfast at Manchester Morgue and Don’t Open the Window.

Kang Myeong — the George Meaning of this movie — gets a ride from Soo-ji — Edna Simmonds — on his way to a seminar on the environment while she’s traveling to check up on her sister Jyun-ji. — Katie — and her husband Yeong-tae Jeong — Martin — only to learn that he’s dead.

Well, not for long.

One of Kang Myeong’s American teachers is now working at a supersonic transmitter that is removing insects in a more humane way, but it’s also animating the nerves of the newly dead. We learn this when the town drunk — who has been dead for several days — attacks Soo-Ji.

What’s different here is that nearly everyone has had their sharp edges smoothed off. Kang Myerong is never as mean to Soo-Ji as Geroge was to Edna, but then again, he isn’t as gorgeous as Ray Lovelock. But otherwise — up until three-quarters of the way through this movie — this is the same movie that you know and love under so many titles. It’s also missing the gore and when a movie is known for just how upsetting its moments of violence are, that’s a pretty big loss.

The other thing you might miss is that the cops come around a lot faster and the head officer is in no way as much of a real cop as Arthur Kennedy was.

Yet what makes up for this is just how weird it is that we have an alternative reality version of this movie and that the zombies are basically all painted silver, which is again in contrast to the very realistic dead bodies that populated Jorge Grau’s horror masterpiece. It attempts to make up for this with shocking photos of actual birth defects, as the movie goes further than its inspiration by stating that the machine is turning new babies into monsters.

Another title for this South Korean zombie xerox is Strange Dead Bodies, which is a fabulous alternative and one that would get me into the theater (or, you know, in front of my TV).

You can watch this on the Korean Film Archive YouTube channel.

CBS LATE MOVIE MONTH: Omen III: The Final Conflict (1981)

EDITOR’S NOTE: Omen III: The Final Conflict was on the CBS Late Movie on October 17, 1986.

Directed by Graham Baker (Alien Nation) and written by Andrew Birkin (Slade In Flame), this was released in Germany and Hungary as Barbara’s Baby, as if the third Omen movie wasn’t enough of a reason to get people into theaters.

It starts with the U.S. Ambassador to the United Kingdom killing himself, setting Damian Thorn (Sam Neill) up for his father’s old job and his final path toward taking over the world. Yet Father DeCarlo (Rossano Brazzi) has found the Daggers of Megiddo from the ruins of the Thorn Museum that burned back at the end of Omen II, While Damian romances reporter Kate Reynolds (Lisa Harrow) and tries to take over her son Peter (Barnaby Holm), the priest and six other holy men attempt to destroy him.

Oh yes — after the alignment of stars in the Cassiopeia constellation on March 24, 1981, a second Star of Bethlehem appears and Damien orders his followers to kill all boys born in England on the morning of March 24, 1981, as one of them may be Jesus Christ. One of the followers even kills her own son with an iron.

But man, the end of this movie? Jesus himself shows up to kick Damian’s ass. I can only imagine that some audiences found this inspiring, others found it over the top and a lot just stayed home. I kind of love this movie for just how wild it gets, but it’s so far removed from the other films in the series. I can’t wait to see the fourth.

CBS LATE MOVIE MONTH: Evil Stalks This House (1981)

EDITOR’S NOTE: Evil Stalks This House was on the CBS Late Movie on January 8, April 29 and August 4, 1987.

This was a pilot for a horror anthology that would be called Tales of the Haunted. According to IMDB, this series was broadcast in syndication as 30-minute episodes shown over five consecutive nights. That means that each story would be a five-parter and then edited down to a 96-minute film.

Sadly, the initial syndicated run of this episode didn’t get great ratings.

Who knows if whatever would have emerged if this had become a series and if it would have been as deliriously weird as this movie, but one could hope, because wow — this one really goes for it.

Hosted by Christopher Lee — that part doesn’t appear on many of the roughly taped YouTube videos that are all the evidence that remains of this show — this tells the story of Stokes (Jack Palance), who drifts into two with two kids in tow who may or may not be his. After their car breaks down in a downpour, they make their way to the home of Maggie and Dody (Helen Hughes and Frances Hyland), who seem to be two easily conned older ladies taking care of a mentally handicapped man.

Stokes learns that there are valuables all over the house, so despite promising to leave, he never does, even stealing the ladies’ heart medicine to keep them enslaved to him. They’re not so helpless, however, and the house is filled with horrifying traps like a quicksand pit in the basement, a deadly spider and a witch coven in the attic that bedevils Stokes and another grifter who also comes to take advantage.

The end of this movie totally steals the shock ending from The Baby and I could not love it any stronger.

Nearly a stage play that’s been shot on video, this was directed by Gordon Hessler (Cry of the BansheePray for DeathThe Woman Who Wouldn’t Die) and written by Louis D. Heyward (Dr. Goldfoot and the Bikini MachinePlanet of the VampiresThe Crimson Cult), I’ve seen this written up quite dismissively in reviews. But why? This is such a lost moment of strangeness with Palance absolutely snarling and hissing out every line with so many nightmare moments for impressionable kids who stayed up way to late to watch it on the CBS Late Movie.

You can watch this on YouTube.

CBS LATE MOVIE: Lovely But Deadly (1981)

EDITOR’S NOTE: Lovely But Deadly was on the CBS Late Movie on May 24 and December 6, 1985; May 29, 1986 and July 25, 1988.

Mary Ann “Lovely” Lovitt (Lucinda Dooling, The AlchemistSurf II) has gone back to school to get revenge for the drug overdose death of her brother. Yes, twentysomething teenagers, martial arts, bad drugs and more await in this film directed by David Sheldon, the writer of Grizzly and the director of Devil Times Five. He also co-wrote this with Lawrence David Foldes (Young Warriors) and Patricia Joyce.

Stay for fistfights with cheerleaders in the locker room and an appearance — as one of the bad guys! — by former Pittsburgh Steelers running back Rick Moser as drug dealing football player Mantis Managian (he even dates Pamela Jean Bryant from H.O.T.S.). Mel Novak is his boss!

Dooling is great in this and I’ve seen it described as a white girl version of Coffy, which pretty much says it all.

You can watch this on Tubi.

CBS LATE MOVIE: Outland (1981)

EDITOR’S NOTE: Outland was on the CBS Late Movie on July 30, 1986 and December 16, 1988.

Federal Marshal William O’Niel (Sean Connery) has been assigned to the titanium ore mining outpost Con-Am 27, operated by the company Con-Amalgamate on the Jovian moon of Io. It’s rough work in a place where gravity a sixth of Earth’s with no breathable atmosphere and the men are forced to work in heavy spacesuits with hardly any air. But there is money and productivity is up ever since the new manager, Mark Sheppard (Peter Boyle), was hired.

O’Niel is left behind with his wife and son leaving for Jupiter, but he does have a mission. That’s because several miners have died from getting stimulant psychosis and tearing off their suits. That may be because the miners are abusing polydichloric euthimal, a drug that allows them to stay awake for days at a time. The side effect? After ten months, they go insane.

With only one person on his side — Dr. Lazarus (Frances Sternhagen) — O’Niel has to battle the corrupt mining company and their men, many of whom don’t want a chance to their way of life, no matter how wrong it is.

Outland is pretty much a Western in space, directed and written by Peter Hyams, who told Empire, “I wanted to do a Western. Everybody said, “You can’t do a Western; Westerns are dead; nobody will do a Western.” I remember thinking it was weird that this genre that had endured for so long was just gone. But then I woke up and came to the conclusion – obviously after other people – that it was actually alive and well, but in outer space. I wanted to make a film about the frontier. Not the wonder of it or the glamour of it: I wanted to do something about Dodge City and how hard life was. I wrote it and by great fortune Sean Connery wanted to do it. And how many chances do you get to work with Sean Connery?”

If you love this movie, I recommend the comic book adaptation by James Steranko.

The CBS version of Outland features scenes that were cut from the movie to extend parts of the film. This allowed the network to sell more commercial slots to advertisers.

CBS LATE MOVIE MONTH: Red Flag: The Ultimate Game (1981)

EDITOR’S NOTE: Red Flag: The Ultimate Game was on the CBS Late Movie on November 2, 1984.

Major Phil Clark (William Devane) and Major Jay Rivers (Barry Bostwick) share a unique bond. Having flown together in Vietnam, they were later assigned to the elite Red Flag Air Force Fighter Weapons School at Nellis AFB, Nevada. Clark, with his loud and self-confident demeanor, is a stark contrast to the quiet Rivers. Their friendship, however, is strong. But when Rivers begins to outshine his mentor, Clark, the dynamics of their relationship are put to the test. Can they maintain their friendship?

Chuck Yeager was the advisor on this, and you get some great F-4 Phantoms in flight. However, a substantial part of the film delves into the on-the-ground relationship drama between Rivers and his wife Marie, played by Joan Van Ark. This aspect of the film adds emotional depth and character development, making it more than just a military action movie.

The IMDB trivia page for this and the goofs are filled with deep military knowledge, so if you want to know what medals Devane has or why some parts are wrong, well, some servicemen are happy to help.

Red Flag: The Ultimate Game was directed by Don Taylor, a seasoned filmmaker known for his work on Stalag 17Ride the Wild SurfEscape from the Planet of the ApesThe Final CountdownThe Island of Dr. Moreau and Damian: Omen II. The script was written by T.S. Cook, who also penned the screenplay for the acclaimed film The China Syndrome. With such a talented creative team, you can expect a compelling and well-crafted film.

You can watch this on YouTube.

Chattanooga Film Festival Red Eye #8: Silver Slime (1981), Killing Spree (1984) and Possibly In Michigan (1983)

Silver Slime (1981):

Christopher Gans has made some great movies and gets little credit. His better-than-the-game Silent HillCrying Freeman, his segments in Necronomicon and the incredible Brotherhood of the Wolf are among his many accomplishments.

As a student, he made this film, which pays tribute to Bava, complete with a dedication at the end. And you know, in just around 15 minutes, Gans gets it. He understands how giallo works, and instead of making the kind of modern Giallo that everyone tries these days, he crafts a film that looks bad with love and then goes forward, taking what works and creating a near-lunatic energy that feels like where you’d hoped Argento would have kept going after Tenebre and Opera.

Only two actors are credited: Aissa Djabri as Le témoin (the witness) and Isabelle Wendling as La victim (the victim). Like all Giallo directors of ill repute, one must assume that Gans is the killer or at least their hands.

Phillipe Gans and Jean-François Torrès created the music for this, and much like the visuals, it takes the sound of the form and makes it more hard-driving and powerful, while Jérôme Robert has gone on to plenty of work in the French film industry.

This just knocked me out.

You can watch this on YouTube.

Folies Meurtrières (Killing Spree) (1984): Shot on Super 8 at some time in the early 80s in France, this film is 52 minutes of a killer aimlessly killing, killing and killing some more while a fuzzed-out synth soundtrack plays, the kind of music that those that say their films are “inspired by John Carpenter” but just have a neon color palette and a few keyboard songs on the soundtrack dream and wish and hope and pray that they could achieve.

Then everything changes.

And by changes, I mean the end of Maniac gets ripped off.

Look, I get it, this is a cheap knockoff of a slasher that may be bright enough to make fun of the things we accept in these films. But man, I love these lo-fi movies that want nothing more than to make their own effects and do their best to entertain you. They’re not significant movies — they were never intended to be — but they were a lot of fun to make.

I’ve heard that this movie is in the genre Murderdrone, in which “90% of the movie is people wandering around and getting murdered set to shitty lo-fi bedroom synths, and it’s increasingly hard to pay attention, but you can’t look away, and you’re stuck in a murdertrance.” This Letterboxd list has some more of those…

As for the man who made this, Antoine Pellissier, he’s a doctor now.

Possibly In Michigan (1983): Made with funding from the National Endowment for the Arts and the Ohio Arts Council, video artist Cecelia Condit’s nightmarish short has had many lives: as an art project to help her heal from her past, as a scare tactic shown on the 700 Club and as a viral video that got shared without context and was rumored to be a cursed film.

Starting with her film Beneath the Skin, Condit uses her video work to attempt to deal with the cycles of violence that she felt were all around her and so close to her. That’s because, for a year, she dated Ira Einhorn, the Unicorn Killer, who was also one reason we had Earth Day. The entire time that they dated, the rotting body of his ex-girlfriend, Holly Maddux, was in a trunk. A trunk that Condit constantly walked past, one assumes.

It made it onto religious television because, in addition to examiningt the self-destructive behaviors of men toward women, it alsoexaminest female friendships and love.The lead characters, Sharon and Janice, may be a couple, or they may just be supportive women. Or both. Who are we to put any bounds on their relationship?

It’s become a viral sensation several times, as teens try to copy its strange musical numbers and send it to one another as a curse straight out of The Ring.

Our ladies are just trying to shop for perfume — this was shot at Beachwood Place in Beachwood, Ohio, where Condit sat outside the building manager’s office until she was allowed to shoot there; she was given twenty-minute blocks of time, which was a challenge — when Arthur begins to stalk them, a man whose face changes with a series of latex masks.

Arthur is the kind of Prince Charming who shows his love to women by hacking them to pieces; his always-changing face is a way of showing the roles that abusive men have taken in their relationships. We also discover that Sharon is attracted to violent men but also likes making them think that violence is their idea. Regardless, love should never cost an arm and a leg.

The songs, written and performed by Karen Skladany (who also plays Janice), are insidious in the way that they worm their way into your brain. This is the kind of weirdness that is completely authentic in a way that today’s manufactured social media creepypasta weirdness cannot even hope to be a faint echo of.

As frightening as this can be, it’s also a film about absorbing — eating a cannibal is one way, right? — and getting past the worst moments of life without being destroyed by them. This also lives up to so much of what I love about SOV in that while we’ve been taught that the 80s looked neon and sounded like a Carpenter movie, the truth is that the entire decade was beige and sounded like the demo on a Casio keyboard. This doesn’t nail an aesthetic as much as document the actual 1983 that I lived within, minus the shape-changing cannibal and singsong happy tale of a dog in the microwave.

Consider this absolutely essential and one of the most critical SOV movies ever.

The Chattanooga Film Festival is happening now through June 29. To get your in-person or virtual badge to see any of these movies, click here. For more information, visit chattfilmfest.org and follow us on Facebook, Twitter and Instagram.

THE FILMS OF BRIAN DE PALMA: Blow Out (1981)

EDITOR’S NOTE: This was originally on the site on April 26, 2023.

Neo-noir. Hitchcock influenced. Mystery thriller.

Or just call it a giallo.

Blow Out is even based on an Italian film — Michelangelo Antonioni’s Blowup — but switches photography for audio recording and trades future giallo star David Hemmings for John Travolta, a man who follows the path of many a giallo hero. Once he believes that he has recorded the sounds of a killing, he must become a detective as his need to know is too much.

In post-production on the low-budget slasher film Co-ed Frenzy, sound technician Jack Terry (Travolta) is searching for better wind effects and the perfect scream. As he takes his equipment into a park late at night, he watches a car fly off the road and with no hesitation, dives into the water to save Sally Bedina (Nancy Allen). As he sits with her in the hospital, he asks her to get a drink and is asked by associates of the man killed in the car — Presidential candidate Governor George McRyan — to get her out of the hospital.

Sally has used her feminine wiles to ruin men before, working with Manny Karp (Dennis Franz), a man who just so happened to film the accident. Jack wants Sally to work with him to solve the murder, but he’s blinded to her because, well, she’s gorgeous and he’s the hero, a man who left behind a government commission to stop police corruption after an exposed wire caused the death of an undercover cop named Freddie Corso.

This is the kind of conspiracy where you think there is one because there is one. Sally and Karp were just pawns in the schemes of  Burke (John Lithgow), who wanted to go beyond just getting photos of the politician with a sex worker and blew out his tire with a bullet. But now that he’s ruined that, he has to clear up loose ends and is killing any hooker who looks like Sally as the Liberty Bell Strangler.

He eventually lures Sally to meet him and we learn that Jack is the hero, but not a perfect one. He’s able to stop Burke but not before Sally dies. All he has left of her is her final scream, recorded as he tried to find her, and that’s what lives forever, or as long as Co-Ed Frenzy plays grindhouses. He covers his ears because he’s reduced someone he grew close to into just another piece of sound in just another movie.

I literally yelled at the screen.

Working again with Travolta and Allen, De Palma also gathered others he’d made movies with before. In this, he is different than Argento — an artist I often compare him to, as they have so many similarities such as the same age, following Hitchcock, marrying and divorcing their leading lady, having a middle-age career decline — who seemingly switched up crews between films. Here he’s working with De Palma filled the film’s cast and crew with a number of his frequent collaborators: Dennis Franz (Dressed to Kill, Body Double), John Lithgow (who was in the Tenebre ripoff shot in Raising Cain) cinematographers Vilmos Zsigmond (Obsession) and Lazlo Kovacs (who came in when the parade scene footage was lost), composer Pino Donaggio (who also scored modern giallo Nothing Underneath) and editor Paul Hirsch (who worked on another giallo-tinged De Palma film, Sisters).

Pauline Kael said that this movie was one “where genre is transcended and what we’re moved by is an artist’s vision…it’s a great movie. Travolta and Allen are radiant performers.” Roger Ebert said that it was “inhabited by a real cinematic intelligence.” It sits with Rio Bravo and Taxi Driver as Tarantino’s top three movies. And yet it failed with the public. Today, however, it’s seen in a much warmer light.

The opening where Travolta wanders out of the recording studio and into the film office is a joy, as you can see posters for Island of the Damned (one of the American titles for Who Can Kill a Child?), FantasexThe Food of the GodsSquirmEmpire of the AntsThe Other Side of JulieThe Incredible Melting ManBlood BeachWithout Warning and The Boogey Man.

I have no idea why I waited so long to watch this movie. It’s perfect — a film about making films, a movie where movies don’t play out like movies and a thrilling exploration of how De Palma can guide you through a film and into places you had no idea you would go.

Zen Kwan Do Strikes Paris (1981)

I’m kind of obsessed with John Liu. If all he did was New York Ninja or Ninja In the Claws of the CIA, I’d still be into him. But I keep finding his movies and they’re all as strange as the next. What a shame that there’s only one more that he made, Dragon Blood, for me to check out.

And yes, this also goes by a ninja title.

Avenging Ninja.

Beyond being the founder of the Zwen Kwan Do fighting system, Liu also directed and wrote this movie. And stars in it as himself.

Now you see why I’m so fascinated.

Liu was once a martial arts teacher but now he’s part of the Hong Kong film world. Well, for now. Because his father, an American aerospace scientist, has just been kidnapped and now he has to go to Paris, as the title promises us. What it delivers is a plot that literally confounds all attempts to explain it.

Let me try.

Liu had a romantic scandal that rocked the world of Zen Kwan Do. He fell for a wealthy woman named Catherine and her father came after him, which left one lover dead, another as a nun and Liu’s daughter somewhere out there, out where dreams come true like Fievel. But not in America.

Instead of finding his father, John fights goons. And fights a guy in an American flag gi. And fights more henchmen. He even fights when he goes to put flowers on Catherine’s grave. And then he meets two girls who are pretty much going down on an ice cream sundae and he follows them onto a little yacht, gets knocked out and has to fight again, this time Roger Paschy, the same guy he’s fought numerous times in this movie but never on a little boat before.

He mentions that he still has to find his daughter, but then the movie ends. What about his dad? Maybe he had another fight to get ready for.

Living up to the spirit of all martial arts movie that I love, this uses “My Way” and “Live and Let Die” with absolutely no concern for copyright. It also uses music from Lipstick — the disco music, not the baffling audio soundscapes that Chris Sarandon will sexually assault you to — and that really freaks me out in the best of all ways possible.

Honorable fighting, yes. Music rights, no.

There’s nothing like a martial arts vanity project. I have no questions in my mind that the real John Liu also impregnated every woman in this movie and they all ended up in French convents too. Then he flashed that smile, titled down his sunglasses and screamed, “The Budokan spirit will never die!”

You can watch this on Tubi.