Karl Schanzer Movies
- 1968
One of four low-rent Mexican horror productions from the 1960s which featured an ailing Boris Karloff in supporting roles (and released after his death), this sci-fi/horror quickie features Karloff as a 19th-century scientist who invents a powerful energy device capable of rendering any weapon useless. Although we're led to believe that military forces will soon step in to nab the device, the scientist's laboratory is suddenly invaded by aliens -- who consider the raygun too dangerous to be allowed to fall into human hands. To achieve their ends, the invaders take over the bodies of the scientist and his assistant, who also happens to be responsible for a series of sex-killings in the surrounding village. Several confusing plot twists later, Karloff regains control of his senses and sets the machine to self-destruct before it can fall into evil hands. The filmmakers barely had enough talent to adhere to the simplest of storylines, much less this hodgepodge of cut-rate H.G. Wells posturing and sleazy exploitation. ~ Cavett Binion, All Movie Guide
Exploitation titan Jack Hill, who went on to make such cult favorites as Switchblade Sisters, The Swinging Cheerleaders, and Foxy Brown, made his solo directorial debut with this fascinating, offbeat shocker. The three surviving children of Titus W. Merrye, who represent the end of his family's line, live in a dilapidated mansion where patient servant Bruno (Lon Chaney, Jr.) watches over the increasingly eccentric Virginia (Jill Banner), Ralph (Sid Haig), and Elizabeth (Beverly Washburn). All three Merrye siblings suffer from the same rare disease that felled their father and the other members of his family -- "Merrye Syndrome," a neurological ailment that begins to manifest itself at the age of ten, causing the brain to slowly decay and sending its victims into an alternately violent and infantile state. Bald, inarticulate Ralph is supposed to be a vegetarian, but "can eat anything he can catch," while Virginia, who seems to be in a perpetual dream state, imagines herself as a human spider and catches people in her "web" (a large net) and then kills them. While it might seem best to let nature to take its course and allow the family's sad legacy to die out, the Merrye siblings have two distant cousins, Emily Howe (Carol Ohmart) and Peter Howe (Quinn K. Redeker), who are interested in laying claim to the family mansion and any money remaining in the Merrye Estate. But not long after they pay a visit to Bruno, they start to have serious regrets about their decision to see the family. Shot in 1964, Spider Baby sat on the shelf until 1968, when it was briefly released as the second half of a horror double-bill on the drive-in circuit. But after it appeared on home video in the early '80s and was the subject of an enthusiastic essay in the book RE/Search: Incredibly Strange Films, the film began to develop a potent cult following and is now regarded as a minor classic of '60s horror. The film has also appeared under the misleading titles Cannibal Orgy and The Liver Eaters, as well as Spider Baby, or the Maddest Story Ever Told. ~ Mark Deming, All Movie Guide
A young Francis Coppola was given the job of directing this moody low-budget chiller after begging producer Roger Corman for the opportunity to reuse the sets for another film which Corman was shooting in Ireland. The story centers on the dysfunctional Haloran family, who live in a state of perpetual sorrow in a spooky Irish castle. Still mourning the death of her young daughter Kathleen -- who drowned in the lake seven years ago -- Lady Haloran (Ethne Dunn) tortures herself regularly by visiting the girl's grave (when she's not shrieking and collapsing in anguish every five minutes). When daughter-in-law Louise Haloran (Luana Anders) loses her husband to a heart attack, she manages to conceal the body for fear of being cut out of Lady Haloran's will. To further complicate matters, a mysterious interloper begins prowling the grounds with an axe to grind... a very big axe. This enjoyable, quirky psycho-thriller is enlivened by Coppola's inventive camera setups, atmospheric locations and Patrick Magee's over-the-top performance as the leering family doctor. Despite some ragged editing (probably not Coppola's doing), this has relatively high production values for a spare-change Corman project. ~ Cavett Binion, All Movie Guide
- 1961
Every filmmaker has to start somewhere, and in 1961, years before making The Godfather, The Conversation, or Apocalypse Now, Francis Ford Coppola was a UCLA film student looking to get his foot in the door. He took footage from a short nudie film he'd made called The Peeper, added material from an unfinished Western set in a nudist colony, and threw in some sequences filmed by Jack Hill. The result was Tonight For Sure, a nudie-cutie comedy about a pair of hypocritical blue-noses who want to shut down a local burlesque house, even though they're secret smut enthusiasts. Many scenes are presented as dreams or flashbacks in order to give the disparate sequences a sense of continuity. The film features a score by Carmine Coppola, Francis' father, who also wrote music for many of his later films; the cast features Playboy model Virginia Gordon. ~ Mark Deming, All Movie Guide
- Starring:
- Don Kenney, Karl Schanzer, (more)
