Ian McCullough Movies

Jeremy Irons portrays Nowak, one of four Polish laborers, living in England. In exchange for a place to stay, Irons and his buddies -- none of whom have British work permits -- agree to renovate their landlord's flat within a limited time-frame. Despite their hectic schedule, the boys agree never to work on Sunday: this is the day that they communicate with their loved ones in Poland. On one such Sunday, however, the Soviets declare martial law in Poland, cutting off all telephone and telegraph service to the outside world. Nowak, the only one of the four who speaks English, learns of the turmoil in Poland before his friends do; he decides to keep the news secret, rather than jeopardize their living arrangements. When the flow of money from home ceases, Nowak takes to stealing to finance the renovation project. He pushes his friends mercilessly to make sure the project is completed on time, secretly burning their letters so that they remain in the dark about the Soviet incursion upon their native soil. When they do find out, they physically vent their anger upon Nowak, perceiving him to be as much an enemy and oppressor as the Soviets. This is clearly the allegorical point that director Jerzy Skolimowski is hoping to make in Moonlighting; wisely, he avoids conveying his message in fluent tract, relating his story with generous doses of humor and irony. ~ Hal Erickson, All Movie Guide

This audaciously disgusting spectacle from the late master of gruesome horror, Lucio Fulci, was posited as a semi-sequel to George Romero's Dawn of the Dead, which was released in Italy as Zombi. Tisa Farrow and a group of vacationing tourists travel to an island where they find a doctor (Richard Johnson) who is attempting to cure a condition that reanimates the dead. Things quickly get out of control as undead Spanish conquistadors crawl from their graves hungry for human flesh. The nauseatingly graphic set-pieces by Gianetto de Rossi include a close-up of a woman's eye being pierced by a large shard of wood and a zombie fighting a Great White shark underwater. This relatively well-made shocker was enormously popular worldwide and led to the zombie-gore film becoming the dominant motif of 1980s Italian horror. ~ Robert Firsching, All Movie Guide

England's Tigon studios produced fairly sophisticated period horror films in the 1970s, including this drawing-room horror-mystery directed by Hammer stalwart Freddie Francis. Peter Cushing stars as a former priest who harbors a dark and horrible secret in his attic. The locked room serves as a prison cell for his crazed, cannibalistic adult son, who acquired his savage tastes in India during his father's missionary work there. Cushing fears that his son will escape to prey upon the effete guests at his rural English estate during a cross-country auto race... though there may be more to fear from one of his guests than from his monstrous son. Far too stuffy to generate any real suspense until the violent, blood-soaked climax, this is definitely one of Tigon's lesser efforts, benefiting mainly from the presence of Cushing and John Hurt as an unbalanced young gardener. Not to be confused with the 1933 horror classic of the same name. ~ Cavett Binion, All Movie Guide

This silly twist on the silent classic Der Golem stars Roddy McDowall as Arthur Pimm, assistant museum curator and would-be Norman Bates who, among other things, preserves the body of his late mother in his home. When Pimm and museum director Grove (Ernest Clark) discover a grotesque statue left intact after a fire at one of the museum storehouses, they transport the stone behemoth to the museum for study. After finding Grove mysteriously crushed to death under the statue, Pimm's curiosity is piqued, leading him to investigate its origins. He discovers that the figure is actually the legendary Golem, an indestructible creature of 16th-century Yiddish myth capable of destroying the enemies of any man who becomes its master. Pimm is eventually able to control the monster with his deranged mind, leading it on a rampage of murder and destruction that devastates half of London. Aside from McDowall's typically eccentric performance, this stodgy film is a fairly tedious exercise, shambling along more slowly than the monster itself and punctuated only by occasional over-the-top moments, particularly at the laughable climax. Director Herbert J. Leder's earlier horror film The Frozen Dead is much more enjoyable. ~ Cavett Binion, All Movie Guide