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Thursday, March 28, 2013

Steve's Church-less Movie Of The Week: Special Semi-Rerun Double Feature ...

To make up for my lack of free movies lately, here is a semi-rerun double feature. I originally showed the first movie as part of a double feature a number of years ago. It's pretty darn good, too. The second movie is a certified gore CLASSIC and there's a nifty bit of intermission fodder there as well!


Enjoy!




Yoinked from the wiki gods, Video Dead movie blog and my boys at 1000misspenthours.com as well as my own intense bad movie knowledge (because I'm awesome) ...


"The Snow Creature is a 1954 black-and-white sci-fi monster movie produced and directed by W. Lee Wilder, and written by Myles Wilder. It stars Paul Langtonand and Leslie Denison as members of a scientific expedition to the Himalaya's that encounter and capture a Yeti. The creature is then brought back to the U.S., only to escape and run havoc in Los Angeles. It's basically the east coast King Kong, only strange and boring and without any discernible talent.


Director W. Lee Wilder was the same talentless clod who gave us Killers from Space and The Man Without a Body, and The Snow Creature is every bit as shabby and lackluster as either of those turkeys. The movie has been released on DVD in numerous bargain basement versions and is now considered a cult classic.




The movie has two acts, the first taking place in the exotic locale of the Himalayas and the second occurring in Los Angeles, California. While the first act takes place in an undisclosed Himalayan country (presumably bordering India) the actors portraying the locals speak Japanese for some reason. Whatever, freaking Japs.


So The Snow Creature was the first of several 'Yeti/Abominable Snowman' themed movies. It also bore some strong resemblance to King Kong, in terms of plot, with act-one in an exotic setting and act-two taking place in an urban setting. The monster is captured in the first act and is brought to the urban setting in the second act, only to be set loose -seeking out a habitat similar to its home (in this case, the snow creature runs to the sewers of L.A.). Finally, both films feature a monster that is drawn to women.


Beyond the singularly tacky monster suit (it’s nothing but a bunch of cheap furs sewn haphazardly together), the excessive reliance on voice-over to propel the story, and a cast that deservedly spent most of its respective careers playing characters with names like Farmer, Policeman, and Japanese Ambassador, The Snow Creature suffers from the deadliest of all shortcomings... it’s a fairly boring monster flick.


Apart from the specific nature of the monster, there’s nothing here you won’t have seen done better a hundred times already, and even its one distinctive selling point, the Yeti, was done better several times in subsequent years. But I guess it gets points for being the first.




This film is supposed to be the world's first abominable snowman flick. It's probably also one of the world's worst snowman flicks. Everything from the crappy costume (just a tall guy in a furry suit that kind of looks like footy pajamas with his face clearly visible) to the slow pacing (you see the same scene of people climbing a mountain over and over until you drift softly to sleep) to the stupid KING KONG rip-off plot.


Anyway, it's a fairly entertaining bad movie and you'll have fun watching it. So watch."


And now ...



... and now, time for part two of our amazing double feature ...




Yoinked from wikipedia and bmoviecentral.com ...


"Blood Feast (also known as Egyptian Blood Feast and Feast of Flesh) is a 1963 American horror film directed by Herschell Gordon Lewis, often considered the first splatter film. It was produced by David F. Friedman. The screenplay was written by Alison Louise Downe, who had previously appeared in several of Lewis' other films. Lewis also wrote the film's score.




Popular with members of Lewis' small but loyal cult following, as well as by some B movie fans, Blood Feast is a low budget horror film about an insane Egyptian caterer who kills people so that he can include their body parts in his meals and perform sacrifices to his Egyptian goddess Ishtar (the deity in question is actually Babylonian). Blood Feast immediately became notorious for its explicit blood, gore and violence. Blood Feast is often cited erroneously as one of the first films to show people dying with their eyes open (earlier examples include D. W. Griffith's 1909 film The Country Doctor and the 1931 film The Public Enemy).


Mal Arnold plays deranged murderer Fuad Ramses, described by author Christopher Wayne Curry in his book A Taste of Blood: The Films Of Herschell Gordon Lewis as 'the original machete-wielding madman,' and the forerunner to similar characters in Friday the 13th and Halloween. Lewis said of the film, 'I've often referred to Blood Feast as a Walt Whitman poem. It's no good, but it was the first of its type.'




What's really funny about this film, is that the acting sucks and it was shot for only $24,500, but the low budget and the lack of acting talent made no difference whatsoever. The final result of Herschell Gordon Lewis' and David Friedman's efforts shone with a golden light and honestly changed the horror genre forever.


They had inadvetrently created a new phenomenon and broken new ground by bringing us the very first film that focused on real gore. The blood was in your face and all of the gore effects were not only highly realistic looking, but also highly shocking by the standards of the time. Even by today's standards, some of the effects still hold up really well.




Blood Feast is the first part of what the director's fans have dubbed 'The Blood Trilogy.' Rounding out the trilogy are the films Two Thousand Maniacs! (1964) and Color Me Blood Red (1965). After the third film, producer David F. Friedman said, 'I think that for now we're going to abandon making any more 'super blood and gore' movies, since so many of our contemporaries are launching similar productions, causing a risk that the market will quickly reach a saturation point.'"




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