'Attack of the Giant Leeches' is boredom

Attack of the Giant Leeches (1959)
Starring: Ken Clark, Jan Shepard, Yvette Vickers, Bruno VeSota and Gene Roth
Director: Bernard L. Kowalski
Rating: Three of Ten Stars

A small town located on the edge of a swamp and inhabited primarily by unpleasant hicks is menaced by giant leeches. Will the studly game warden (Clark)--one of three citizens with a double-digit IQ--save the day?

"Attack of the Giant Leeches" is one of those movies where the various characters can't get eaten by the monsters soon enough. This is partly because they're portrayed by second-rate actors delivering badly written dialogue, but also because the film is just plain boring.

The movie reaches its high point when the local shopkeeper (Bruno VeSota) chases his wife (the town slut, played by Yvette Vickers) into the swamp after catching her with one of her lovers. There's some genuine tension and suspense in that scene, and it's the only bit that materializes in the entire movie.


(Later scenes might have had some suspense to them, but it's ruined by the fact the "giant leeches" are obviously plastic and their suckers look more like eyes than suckers. They effect is not one of horror but one of goofiness.)

There is one important lesson to be taken from this film: If you think you are hearing an angry leopard or wildcat while wandering through a swamp, it's probably just the mating cry of a giant leech.

I suppose, in fairness, I should acknowledge the fact that the movie lets us oogle a sexy chick getting dressed as her slobby husband oogles her getting dressed. I guess that's a little bit of entertainment value right there.



(Although it did make me wonder: Do most women really put their shoes on before they've even finished putting on the rest of their clothes? It seems like they always do it that way in the movies....)

'Zombies of Mora Tau' fails to live up to its potential

Zombies of Mora Tau (aka "The Dead That Walk") (1957)
Starring: Gregg Palmer, Autumn Russell, Allison Hayes, Joel Ashley, Marjorie Eaton, Morris Ankrum and Gene Roth
Director: Edward L. Cahn
Rating: Four of Ten Stars

A group of callous treasure hunters and the residents of an isolated African farm are beset by swimming zombies protecting a treasure trove of cursed diamonds.


While watching "Zombies of Mora Tau" my mind repeatedly wandered to the work of another director who was turning out cheap horror movies in the 1950: Edward D. Wood. This is film is not that much better than "Bride of the Monster", making it one of many bits of evidence that whoever first decided it was cute to slander Wood with the "worst filmmaker ever" label was an ignorant twat.

"Zombies of Mora Tau" is a film with a weak script being performed by a cast who are actors in the sense they can hit their marks and deliver their lines but who otherwise seem fairly free of any actual talent for acting. It further suffers from the fact that the costume designers or make-up artists didn't have the creativity to make the zombies look even halfway interesting--even "White Zombie", which is borrowed from/paid homage to on a couple of occasions here, did a far better job at this, way back at the dawn of the zombie movie genre--and it didn't have the budget to actually make the cool idea of underwater zombie attacks look believable.

This is one of those movies that is brimming with potential, but it remains nearly entirely unrealized because of the incompetence of the filmmakers and the paltry budget they had to work with.

Almost despite itself, the film manages to mount a number of creepy moments, such as when the slutty femme-fatale wife of the captain of the salvage ship (played by Allison Hayes) rises from the dead as a zombie and then sets about to kill her former colleagues, including her husband. However, even the creepiest moment in the film is marred by cheapness and bad acting.

As bad as I think this movie is, I did keep watching it and not because I was wondering if it could get any worse. No, in this instance, I kept hoping it would get better, because I kept thinking, "Wow... this could be a really scary scene if there was some more blood here" or "Good actors could have made this actually seem as intense as it's supposed to be" and so on.

I'm sure anyone who likes zombie movies will have a similar reaction when viewing this film. It is so full of what-could-have-been material that it will feed the imagination of any but the most braindead horror fan. This quality, coupled with the laughably bad execution of just about everything present on screen, makes it a great movie to consider for inclusion in a Bad Movie Night.

It's a shame that the film industry only seems interested in remaking movies that were already good to begin with. If there's a movie that deserves to be remade, it's "Zombies of Mora Tau". You wouldn't even need a new script. With a few minor tweaks and a modern approach to executing the story, the existing script would be the perfect foundation for a kick-ass film. (It would need a enough of a budget for decent diving and underwater scenes, though. Just imagine: "Into the Blue" with zombies! How cool would THAT be?!)

Picture Perfect Wednesday: Milla Jovovich

Ukranian-born American actress Milla Jovovich has a varied resume of films to her name, continuing to appear in a mix of big-budget fantasy/horror tinged films and small artsy-type thrillers.

A mystery-comedy that fails to excite

The Crooked Circle (1932)
Starring; Ben Lyon, James Gleason, Zasu Pitts, and C. Henry Gordon
Director; H. Bruce Humberston
Rating: Four of Ten Stars

The clandestine battle between the criminal society of the Crooked Circle and the adventurers and amateur detectives of the Sphinx Club comes to a head in a haunted house, as the villains attempt to discredit key Sphinx Club member Brand Osbourne (Lyon) and kill the club's leader.


"The Crooked Circle" is a chaotic comedy/suspense film that tries to cram entire too much into its brief running time. The idea of the Crooked Circle vs. the Sphinx Club is pretty nifty, as are the subplots and plot twists related to it. Similarly, the hijinx of the dimwitted motorcycle cop (Gleason) and the cowardly housekeeper (Pitts) in the haunted house are pretty funny. However, when the two portions of the movie are combined, they distract from one another and make the overall film messy and frustrating to watch.

This is one of the many hundreds of movies that is filled with great ideas that are badly executed. Although it features some decent acting (Pitts, Gleason, and Gordon--as a sinister Hindu with shadowy motives--are excellent in their parts) and some well-done sets and decent camera work, the film really isn't worth sitting through.

The early Hawkman tales are brilliant

Showcase Presents: Hawkman, Vol. 1 (DC Comics, 2007)
Writers: Gardner Fox and Bob Haney
Artists: Joe Kubert, Murphy Anderson, Carmine Infantino, Bob Purcell, and Gil Kane
Rating: Nine of Ten Stars


"Showcase Presents: Hawkman" is another mammoth collection of high-quality comics from the early 1960s. This one features the earliest--and very best--adventures of the "re-imagined" Golden Age hero Hawkman.


Written by master-scribe Gardner Fox, who also wrote a number of the original Hawkman tales during the 1940s, this collection of science-fiction tinged superhero adventures introduce the readers to Katar Hol and his wife Shayera who are police officers from the alien world of Thanagar who have come to Earth to study law enforcement techniques of our world. They come to be known as Hawkman and Hawkgirl, because their alien police uniforms and anti-grav technology make them appear like human hawks. The couple pose as the curators of the Midway Museum, and they augment their hi-tech equipment with antique weapons from the museum's collection as needed. They have to deal with alien menaces, Earth-based sorcerers, a few problems generated by artifacts at the museum, and even the bureaucracy of the Thanagarian police force.

The art is primarily by Joe Kubert and Murphy Anderson (with the latter providing inks over Carmine Infantino and Gil Kane on select stories). Kubert illustrates the first 1/4th of the book, and he once again shows himself to be a master of drawing things in flight--there are times when the reader can almost feel the wind rushing past Hawkman and Hawkgirl as they take flight or battle airborne foes. While Anderson can't match Kubert's ability to capture aerial motion, he nonetheless provided some of the very best work of his entire career on these "Hawkman" stories.

In fact, the writing and artwork is for the most part so excellent that the one average comic book story that appears here (a Aquaman/Hawkman/Hawkgirl team-up of all things, by Haney and Purcell) looks positively awful by comparison. In the context of the general level of material from the early 1960s, the Aquaman team-up is okay, but it can't hold up when compared to the rest of this book.

Originally presented in issues of "The Brave & the Bold", "Mystery In Space", "Hawkman" and a stray issue of "The Atom", the stories featured are universally clever, fun, and definately among the very best of the Silver Age. From the interesting relationship between Katar and Shayera (who more than once clash when personal and professional life cross over), to the supporting cast, to the always-interesting foes they confront, to the very interesting team-ups with other superheroes (two with the Atom--another happily married superhero--one with Adam Strange, one girl-magician Zantanna, and the above-mentioned Aquaman crossover), these are stories that are bursting with creative energy, exciting ideas, and that spotlight top talents using their skills to their utmost.

The book isn't flawless, though. I've alredy mentioned the out-of-place Aquaman team-up. There are also the occasional element that feels extremely hokey some 45 years after the tales originally appeared (the worst of these is that Katar Hol's father is the inventor of modern police procedures on Thanagar AND the anti-grav technology that elite officers like Hawkman and Hawkgirl use), but the many fun aspects of the book more than makes up for them.


"Showcase Presents: Hawkman" is an affordable collection of great superhero comics. I think it might even be a book that can appeal to a young girl, of you know one that you'd like to get interested in comics. Despite the title, Hawkgirl is featured almost as frequently as Hawkman.)

The book is even more affordable if you order it from Amazon.com, as it only costs around $13 once their discount is applied.

Picture Perfect Wednesday:Post-Racial Sexiness

I'm not entirely clear on why Americans of all colors and creeds continue to keep racism alive. For example, I'm not sure why the likes of Halle Berry is considered more black than white--although since she chooses to make a big deal out of her blackness [as exemplified by her Oscar acceptance speech in 2002], I suppose she's more black than white. The same is doubly true for Mariah Carey, who I didn't know was black until I read some articles that made a big deal out of it.

The same is true of Barack Obama, who is just as white as he is black. Yet, he and his mouthpieces like to play the race card every chance they get.

Oh well. America's obsession with race has given me an excuse to tie Picture Perfect Wednesday to Black History Month AND put up photos of two very attractive women.

Man on the run searches for 'The 39 Steps'

The 39 Steps (1935)
Starring: Robert Donat and Madeleine Carroll
Director: Alfred Hitchcock
Rating: Eight of Ten Stars

Richard Hannay (Donat) becomes drawn into a spy ring and is innocently accused of murder after a British counterspy is killed in his apartment. He is now on the run, and he must make it to an isolated part of Scotland so he can discover the secret of the 39 Steps, blow open the spy ring, and prove his innocence. There's just one drawback: He's handcuffed to Pamela (Carroll) who wants to see him captured by the police.


"The 39 Steps" is one of Hitchcock's earliest spy thrillers, and it is very, very good. It's got some expertly staged scenes where great tension arises either from the main character knowing he's about to be discovered any moment, if just the other people in the scene notice what he's seen, or from the viewer being in on secrets that none of the characters know. There are also some great moments of expectation reversals and unexpected plot-twists.

This is one of Hitchcock's best movies, and I highly recommend it to any lover of classic films. (I continue to be amazed at how many film buffs haven't actually seen this one!)

Cinematic Black History Milestone:First Black Sidekick Who's Smarter Than the Hero

King of the Zombies (1941)
Starring: Dick Purcell, Mantan Moreland, John Archer, Joan Woodbury and Henry Victor
Director: Jean Yarbrough
Rating: Four of Ten Stars

Mac (Purcell), Bill (Archer), and Jeff (Moreland) are forced to land on a mysterious island after their plane runs low on fuel. Here, they find a mysterious family who aren't at all what they seem... and who are the center of a Nazi cult of undeath.


"King of the Zombies" is one of those movies that you should not show to your ultra-liberal, hyper-PC friends. Their heads will explode when Moreland (as Jeff, friend and loyal servant to adventuresome pilot, Mac) starts in on his stereotypical, subserviant negro comedy routine--a character that was common in this sort of film through the late 1940s.

There's a difference here, however. Unlike most films where the black comic relief character is a cowardly goof who needs the guidance and protection of the dashing, capable white hero to get safely through the night, it's actually Jeff who recognizes the danger faced by the heroes. If Mac and Bill weren't a pair of racist jackasses, who dismiss everything that Jeff has to say without even the slightest bit of consideration, there would have been fewer lives lost as the trio struggles against the Nazi zombie master.

Unfortunately, I doubt the filmmakers were aware of this irony, either while reading the script, during shooting, or while assembling the final product. If they were, it goes unnoticed by any character in the film. Given the overall lack of quality in this too-slowly-paced, mostly badly acted low-budget part horror/part wartime propaganda film, I am almost certain the juxtaposition of the very clever black character against the dull-witted white heroes is a complete accident.

I can't really recommend "King of the Zombies", but I do think Mantan Moreland's performance is an excellent one, as he has great comedic timing and a whole raft of truly hilarious lines. The fact that Jeff ultimately emerges as the brightest character in the film is also something that's noteworthy, and I think it gives the film a unique twist.

Can dreams of death happen when awake?

Fear in the Night (1947)
Starring: DeForest Kelley, Paul Kelly, and Robert Emmett Keane
Director: Maxwell Shane
Rating: Seven of Ten Stars

Mild-mannered banker Vincent (Kelley) awakens from a horrible nightmare... only to find that elements of his dream seem to have followed him into the waking world. As evidence mounts that Vincent may indeed have murdered not one but two people, his brother-in-law (Kelly), a homicide detective, becomes involved. What is the answer to the mystery of a nightmare that has taken shape in the real world?


"Fear in the Night" is a quirky little mystery film that merges film noir and hardboiled detective elements with a horror film sensibility. There is very little action in the film--and what there is actually the weakest part of it--but Vincent's mounting horror as he realizes that the murder he dreamed about did happen, and the twists and turns the plot takes as the police detective gradually pieces together a theory about what happened. (His initial conclusion that Vincent is trying to play him a fool is one the viewer never really buys, but within the context of the film, it helps heighten the tension greatly.)

The ultimate solution to the mystery may seem a bit hokey to the modern viewer, but the deadly danger that the very sympathetic Vincent is placed in when the police make a couple of missteps more than makes up for that; I can't go into more detail without spoiling the film, alas. As mentioned above, the action sequence that takes place as part of the film's climax is probably the weakest and most unbelievable part of the film, and it robs it of some potential punch. However, the denouement pulls the film back from the edge and ends it on a high note.

A strong cast and a creative script make this a film that lovers of classic mystery movies need to see.

Picture Perfect Wednesday: Like-kind