William Austin Movies

The Great Sioux Massacre is an entertaining pack of lies about Custer's Last Stand. General Custer (Philip Carey) is herein depicted as a bastion of tolerance, whose efforts to secure fair treatment for the Indians lead to several confrontations with corrupt government officials. Custer is forced to retire, but is soon approached by a machiavellian senator (Don Haggerty) who convinces the General that he is presidential material. The best way to attain the White House, Custer reasons, is to wrest control of the upcoming Little Big Horn campaign from the officer in charge (Frank Ferguson). This, alas, proves to be "Yellow Hair's" undoing. The Great Sioux Massacre costars Joseph Cotten and Darren McGavin as Custer's fellow officers Reno and Benton. ~ Hal Erickson, Rovi

In this western, the sole survivor of an Apache ambush rides out to save a young boy who has been captured. The hero was a captured outlaw en route to his trial. ~ Sandra Brennan, Rovi

Ray Milland both starred in and directed the morose, minimalist sci-fier Panic in the Year Zero! (original title: Panic in Year Zero!). En route from Los Angeles to a vacation in the mountains, Harry Baldwin (Milland), his wife, Ann (Jean Hagen), and his teen-aged children, Rick (Frankie Avalon) and Karen (Mary Mitchell), are appalled to see a mushroom cloud forming over the L.A. skyline. With the highways clogged by panicking motorists, Milland and his family decide to head to the shelter of their fishing spot, there to wait until more news about the nuclear disaster is available. Everywhere they drive, however, the family is confronted by rampaging looters, heavily armed survivalists, and doped-up motorcycle punks. Attempting to remain calm and collected in the face of Armageddon, Milland ends up as violent and animalistic as everyone else. Though it avoids proselytizing for the most part, Panic in the Year Zero! does fall back on the old reliable "The Beginning" fadeout title. The most powerful aspect of the film is the "normalcy" of Milland's family: we are made to feel throughout that what happens to them could very well happen to us, and how then would we react? ~ Hal Erickson, Rovi

A curious "gimmick" movie in the William Castle tradition (though not itself a Castle project), screenings of this film featured a hokey but creative "Hypno-Magic" process allegedly designed to hypnotize the theater audience. The otherwise mundane psycho-thriller plot features Jacques Bergerac as stage mesmerist "The Great Desmond," whose act includes hypnotizing entire audiences into performing rather dull Simon-says maneuvers and such. The real trick, it turns out, involves Desmond's Svengali-like seduction of his more comely female patrons -- most of which end up horribly disfigured the next morning, the victims of apparent self-mutilation. Thanks to several scenes hinting at the obvious hatred Desmond's wife and assistant, Justine (Allison Hayes), harbors toward her husband's pretty subjects, there's not much of a mystery here. Nevertheless, the police are baffled, leading one victim's best friend to set herself up as bait and trap the guilty party -- whose secret is revealed in the "shocking" climax. The Hypno-Magic gimmick, though certainly ineffective, provides some of the film's more hilarious diversions, and thoroughly disarms any potential for suspense. ~ Cavett Binion, Rovi

Seasoned serial director Spencer Gordon Bennett helmed this story of a one-eyed, octopoidal space alien, wreaking havoc upon atomic subs at the North Pole. The monster is determined to take over the world, though it seems ill equipped for that purpose. Heroes Arthur Franz, Dick Foran, and Brett Halsey head underwater to neutralize the alien's submerged flying saucer. The cast is peopled with such veterans as Tom Conway, Bob Steele, Victor Varconi, Selmer Jackson, and Jack Mulhall. Movie buffs may wish to take note of the exterior scenes in Atomic Submarine; several of them are played out in front of the easily recognizable studios of Allied Artists, formerly Monogram and later the home of LA's PBS channel 28. ~ Hal Erickson, Rovi

A standard crime story with a dash of a disillusioned generation of men thrown in for good measure, The Rebel Set, also known as Beatsville, is about an armored car hold-up. Mr. Tucker (Edward Platt) is the man who comes up with the idea and plan of how to carry out the robbery, and he recruits three men who are down on their luck. John Mapes (Gregg Palmer), is an out-of-work actor, Ray Miller (John Lupton) is a writer who cannot get published, and George Leland (Don Sullivan) is the wastrel son of a has-been movie star. Tucker should have thought twice about who he was recruiting -- if these men have failed at life so far, why should they succeed in something as daring as a million-dollar robbery? ~ Eleanor Mannikka, Rovi

This legendarily campy sci-fi epic (shot in color and CinemaScope, and rather lavish for a sci-fi film of this period) concerns a team of astronauts (all men -- this was 1958, you know) who are drawn off course and land on the planet Venus, only to discover it's populated entirely by beautiful women! The space travelers spend a lot of time drooling over their new hosts, dressed in highly practical mini-skirts, but the Venusian queen (Laurie Mitchell) does not much care for her visitors and wants to see them executed. However, not everyone on the planet takes such a hard line against the male gender. One of the Venusians is played by Zsa Zsa Gabor in what is probably the highlight of her film career; the original story was written by Ben Hecht. The producers helped stretch their budget by borrowing costumes and props from a number of other films, including spacesuits from Forbidden Planet, a spaceship from Flight To Mars and sets from World Without End (which was set on Mars, not Venus, though the differences must have escaped the film's scientific advisors). ~ Mark Deming, Rovi

Frank Lovejoy plays the title role in Cole Younger, Gunfighter. The scene is post-Civil War Texas, when the state was under the despotic control of the "bluebellies"-corrupt law enforcement officials, answerable only to carpetbagger-governer E. J. Davis. Persecuting Texans in general and Rebel sympathizers in particular, the bluebellies make life hell for everyone with whom they come in contact. Only a few courageous souls like Kit (James Best) are willing to stand up to these uniformed bullies, and in so doing they find themselves branded as outlaws. While hiding out from the authorities, Kit befriends desperado Cole Younger, believing him to be a kindred spirit. Younger proves that he's a "right guy" by saving Kit from a trumped-up murder charge. ~ Hal Erickson, Rovi

Joel McCrea essays the title role in this moody little western. McCrea is a Union officer wounded in battle, who joins up with a wagon train heading westward. He is ostracized by those passengers who'd fought on the Confederate side, though leading lady Virginia Mayo welcomes his presence. McCrea redeems himself in the eyes of the ex-Confederate homesteaders when he acts as mediator in a range dispute with a land baron (Barry Kelly)--who happens to be McCrea's own half brother. Tall Stranger is based on a novel by the prolific Louis L'Amour. ~ Hal Erickson, Rovi

East Indian actor Sabu plays "himself" in this inexpensive Arabian nights farago. First we see him rescuing a abducted princess from thieves. Next we see him make like Aladdin when he recovers a magic ring. The twin plotlines are only tenuously connected, mainly because Sabu and the Magic Ring is comprised of two TV pilot films, filmed in color by the Superman production team. This is the sort of movie that only shows up on TV during baseball rain delays. ~ Hal Erickson, Rovi

Pill poppin' truckers provide the focus of this anti-drug drama. Much of the story centers upon an investigator for the US Food and Drug Department who has been assigned to stop all truckers from taking amphetamines while they drive. The drivers take the pills to help them stay awake on long-hauls. Unfortunately, the "speed" is also causing major accidents. The investigator goes undercover as a driver to help find the main drug pushers. En route he falls for a beautiful woman. Unfortunately, he finds that she is one of the biggest pushers in the country. Though the film's original intent was very serious, it has become popular with fans of campy or cult films. ~ Sandra Brennan, Rovi

In this entry in the long-running "Bowery Boys" series Sach sells his soul to the Devil so he can atone for spending a charity fund at the track. The bargain enables the young man to successfully predict winning horses at the track. Soon Sach finds himself pursued by greedy mobsters who want him to work with them. Sach demurs and then ends up riding a horse in the big race. Despite his efforts to force the steed to slow down and lose, it wins. Fortunately, the horse is disqualified because Sach was an illegal rider. This has the added benefit of proving the Devil wrong and nullifying their contract. To pay for his crimes, Sach must work in a diner. ~ Sandra Brennan, Rovi