Joan Rivers could have a major force in movies, but she somehow never found her niche despite several attempts from both sides of the camera. Actor/writer Joe Mannetti offers his insight in this episode of “The Online Movie Show” podcast, which details Joan’s highs, lows and missed opportunities in the movie world.
The Z Movie to end all Z movies, “Frankenstein’s Daughter” is both a cult classic and a classic piece of cinematic trash. It’s a god awful attempt to take the Frankenstein tale and retro-fit it in to a teen horror drama about coming of age, legacy, and uncomfortable scenes of men aggressively hitting on high school girls. In either case, “Frankenstein’s Daughter” is something of an anomaly, it’s a movie that’s been widely accepted within the genre, but it’s just so painfully bad when you finally experience it.
The sequel you knew was coming!
This 4th year, folx know what to expect: a calendar focusing on horror. In particular this year, its indie creators with a queen of the horror world who is a regular of indie films, big budgets, and everything in between as the cover lady. If you have not recognized her yet, she is the one and only Eileen Dietz (The Exorcist, Itsy Bitsy, a total of 119 credits to this day).
When left under their grandma’s care while their parents go on vacation, a brother and sister find themselves without electronic devices. When they meet two local kids and find a mysterious book, they work together and awaken a Kratt who is hellbent on causing mayhem if not kept occupied with a job at all times.
BOOTLEG FILES 782: “Understanding Stresses and Strains” (1968 animated Disney short for the educational market).
LAST SEEN: On YouTube.
AMERICAN HOME VIDEO: None.
REASON FOR BOOTLEG STATUS: A film that fell through the cracks.
CHANCES OF SEEING A COMMERCIAL DVD RELEASE: Unlikely, unless it is part of an anthology of Disney’s non-theatrical films.
During the 1960s, Walt Disney Productions began to curtail its output of animated short films for the theatrical market. From a commercial viewpoint, this made perfect sense because fewer cinemas were including animated shorts as part of their exhibition slate.
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You could pretty much build an entire library of horror films based on or around scarecrows and their tendencies to provoke or be involved in inherent horror or the supernatural. There’s just something so mystifying about the scarecrow where horror creators always go back to that same device, and most times it works. Take 1981’s “Dark Night of the Scarecrow.” The horror thriller by Director Frank De Felitta and writer J.D. Feigelson, celebrating its 40th anniversary this year, was unleashed on the CBS Network and managed to build a pretty loyal cult following over the years.
Following a worldwide pandemic, a man retreats to the woods where he lives a simple life by himself. When a woman shows up at his property, things quickly become complicated (and violent).