Linkshoch Wonderful Movie

Nonureva Really Surprised!

LouHomey From my favorite movies..

Ezmae Chang This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

lastliberal This film doesn't waste any time with gruesome murders. Two occur withing the first 10 minutes, and they are tied to roles played by movie star Lance Hayward, on whose estate the action takes place. Hayward has disappeared and his mansion is falling into ruin, but something is going on.This is an interesting take on slasher murders that I have not see before. Tying them to movies was interesting. Too bad Aldo Ray got the hook before he could finish.As a motorcycle pair and a group of young people sneak into the mansion, and some comedy ensues as they think each other are ghosts. Seeing Michelle Bauer running through the halls naked was a real bonus. Even better than seeing Jamie Summers in the tub earlier. More murders will occur with different movies as their theme and different costuming. It was really interesting.

slayrrr666 "Terror Night" is a fine and impressive slasher entry.**SPOILERS**After hearing a strange news report, friends Jake Nelson, (Alan Hale Jr.) Kathy, (Staci Greason) Chip, (William Butler) Todd, (John Wildman) Greg, (Ken Abraham) Sherry, (Jaime Summers) and Lorraine, (Carla Baron) decide to head over to investigate. Realizing it's the house of old-time movie star Lance Hayward, (John Ireland) they rummage through the house looking for a good time. Realizing they are not alone, they into Angel, (Timothy Elwell) and Jo, (Michelle Bauer) also hanging out at the house. Slowly dawning that they're disappearing one-by-one, they come across a killer killing them off in the inspiration from several of the actors biggest films, and they race to get away before becoming prey for the madman.The Good News: This one here was actually pretty good. The fact that there's a really enjoyable and unique storyline to this, which is a little off-the-wall, manages to derive some fun parts to it. As it's about a famous Hollywood actor trying to regain his past through using his best-known gimmicks as the basis for killing people off, there's a lot to this one which sticks out. This one has some nice stuff to come along with that, as the killer in this does tend to dress up appropriate to the kill, dressing up like a samurai when he uses a knife or a jungle explorer to kill them using bows and arrows, which is really well-done for what's happening in the scene. That also means that the kills in here are actually rather good and gory, which always helps. There's a great decapitation, an impaling in the back with a spear, one grabbed around the neck and forced backward, breaking the neck, another is thrown out a window and lands on a picket fence, a meat hook to the head and the highlight, being tied to a tree with a rope attached to a car that then snaps the person in half. It's a fantastic way to open in the film and serves as a really great introduction to the rest of the film, which is just as bloody and brutal. This one also has a great amount of suspense in this, which comes from several superb stalking scenes that deserve some good points. The main one through the house has a great air to it, with the first realization of the killer being there is actually good, searching for the group and stumbling upon the other friends is all good stuff. There's also the film's high quality nudity, which is always nice and here comes through with two great scenes, where a couple take a bath together and a later one where another couple are stumbled upon sleeping with each other. They both provide nice nudity, and along with the other factors, provide the film's good points.The Bad News: There wasn't much to this one that didn't work. The ending here is the biggest one in the film, as it has a couple points wrong with it. The main one is that it forces the ending in the house to feel really cheated, ending before it has a chance to get going. There's not even a fairly decent chase through the house from the killer, as it just bursts into fire before there's anything done with it. That's probably the biggest part of this, as there's no real reason why this one had to be done in such a manner without including at least one chase for this. That would've also eliminate the really uncomfortable ending that plagues the film, which here is really terrible. There's the rather painful and confusing addition of the policemen into the story, plus there's the just plain confusing manner in which the film ends, with the costumed re-enactment of a play with each other, and it leads to perhaps one of the lamest and bloodless deaths in the history of the genre. It's just really flawed and doesn't make much sense. The other flaw to this is that there's too much of the old-time advertisements to this, and it's hard to enjoy this because of that. These here are the film's bad points.The Final Verdict: An incredibly enjoyable slasher that has a lot going for it and manages to mostly make up for it's few flaws. Recommended for fans of the style of 80s slashers or find this one relatively interesting, though those who aren't big on slashers should heed caution with this one.Rated R: Graphic Violence, Graphic Language, Full Nudity and a sex scene

capkronos 1920s film star Lance Hayward is missing to the world at large, but people begin mysteriously dying around his abandoned estate. Three teen couples (including a woman who is a huge fan of the presumably deceased actor) end up going there on an otherwise boring weekend and rummaging through the place. They find old movie props, a locked vault, nitrate movie cans (that come in handy during the fiery finale) and some other interesting things until they start disappearing one by one. There are also a few barely-seen Zoot Suit-wearing phantoms who lurk around the woods and use two cars to pull a guy in half. Director Nick Marino's contribution to the 80s slasher cycle does not fully overcome the familiarity of the premise, but stylistically he is trying something a little bit different, beginning with mock silent screen credits and a great song by Ian Whitcomb which is also an effective evocation of the Golden Age of Hollywood. Before each murder, we get a flurry of movie clips from anonymous films and comic-book like shots of movie stills and lobby cards, all edited with quick precision and all tinted monochrome, so it doesn't look as sloppy as it otherwise would have. The clips may also explain why this film did not find a wide release until about fifteen years after it was made (the filmmaker may have come across some copyright problems when using this footage). The special effects are certainly bloody enough and there are a variety of murders here. A man is pulled apart by two cars, a hand is chopped off, someone is impaled on a picket fence and there's a pretty good decapitation (followed by a bloody head on a platter gag). Other deaths involve everything from a bow and arrow to fencing sword. The sets are minimal, but effective. But the screenplay could have definitely used another polish; the stereotyped characters are thrown into the mix with a killer who is not only wholesale boogie-man material but whose motivations and reason for existing are so hopelessly muddled that you never know for sure just what he is or why he is doing what he's doing. The clarity is almost non-existent, but I assumed the man is a ghost since he pops up all over the place and appears in both youthful and elderly forms. But, hell, by the time it's all over with, you can't totally hate this one. After all, somehow it ends up letting the cultured heavy and lone female survivor do some passionate Shakespearian stage work somewhere in limbo!Now get ready for some major name dropping. The credits on this film read like a who's-who of exploitation of the 1980s. As with most slasher films from the period, the performances are highly variable. The veterans in the cast all have about one scene each and get through BLOODY MOVIE with a bare minimum of embarrassment. Aldo Ray is a wino who gets a hook in the head, Dan Haggerty is impaled, Cameron Mitchell is a detective who is strangled and hung and Alan Hale, Jr. (The Skipper from Gilligan's Island) is a wide-eyed security guard (and the only one without a death scene). John Ireland receives top billing as the killer, but he doesn't even materialize on-screen until the very end (though to his credit, it is still a creepy cameo). Of the younger cast, we have some familiar faces; Bill Butler (LEATHERFACE, NIGHT OF THE LIVING DEAD remake), Ken Abraham (CREEPOZOIDS), Carla Baron and John Stuart Wildman (both from SORORITY BABES IN THE SLIMEBALL BOWL-O-RAMA), and 'Denise Stafford' (that's her head on the platter on the DVD cover; Stafford apparently is a porn actress who goes by the name Jamie Summers). Though leading lady Staci Greason (who played the first victim in Friday THE 13TH, PART VII) is quite good and gives the most professional showing of the younger cast, it is Michelle Bauer who steals this film away from her co-stars with a full blown comedic performance. She carries on quite capably here and nails the most laughs as a drunken punker chick who ends up stumbling her way through the mansion with her annoying biker boyfriend before getting whipped and pushed down a flight of stairs. I appreciate the filmmakers for having the common sense to keep her around until near the end. Though I am sad to report that sleaze great Jay Richardson, who is in just as many of the schlock horror films as Michelle, is barely visible as one of the forest-lurking phantoms.Originally titled TERROR NIGHT, this was worked on by a lot of prolific and familiar Z-movie production people. It was co-scripted by Kenneth J. Hall (who also helped cast the film), was co-produced by Nancy Paloian (producer of DUDE, WHERE'S MY CAR?, hence the misleading packaging) and shot by Howard Wexler. The special effects are by Cleve Hall (who was also the 2nd unit director, along with porn purveyor Fred J. Lincoln) and John Vulich helped shoot and edit it. Given special thanks in the end credits are Andre de Toth (the director of the original version of HOUSE OF WAX; he lent directorial assist to Marino and is actually listed on here as being the co-director), David DeCoteau and Fred Olen Ray.

FieCrier Released on an inexpensive DVD as "Bloody Movie" and an even cheaper DVD under its original title, perhaps people will get a chance to see this one. It's not bad!A 1920s film star who never made it to sound pictures hasn't been seen for years, since he sold the rights to his films (he'd bought them all) to television. Think Errol Flynn, and in fact clips from his films are shown and his estate is thanked in the credits.People get killed in ways people died in the star's movies. During the killings, clips from relevant pictures are shown, as well as the poster for the movie, and piles of still from it. The killer is dressed as "The Gaucho" and kills people with a Zorro-like blade, etc.Two bikers, and a group of young people separately break into the star's estate, and they too get killed. The star would be 90 if he is still alive....Really pretty enjoyable. The older stars in the movie: Alan Hale, Cameron Mitchell, etc. have only brief cameos.