Tom Savini Movies

Two well-known directors each adapt stories by Edgar Allen Poe in this horror drama. George Romero's "The Facts in the Case of M. Valdemar" tells how the wife of an elderly, wealthy man and her lover--who also happens to be the husband's private physician--scheme to control his assets. Dying before they can carry out their plans, his soul is caught between life and death while they freeze the body to finish their work. In the Dario Argento-directed "The Black Cat" a crime photographer, known for his photos' gruesome content, kills his girlfriend's titular pet and then his girlfriend. Soon he gets a good look at what he's done. ~ Kristie Hassen, Rovi

Dolph Lundgren stars in this controversial action film directed by Joseph Zito (Missing in Action). The beefy Swede plays Soviet KGB agent Lt. Nikolai, who is sent to Africa with orders to eliminate a black rebel. Eventually, Nikolai begins to side with the locals, has a red scorpion tattooed on his chest by a shaman, and helps fight against the Cubans and the Soviets. Horror fans should note Tom Savini's expert gore effects during a torture scene, while others will be pleased with a fine supporting cast including M. Emmet Walsh, Carmen Argenziano, and Brion James. The film was originally commissioned by Warner Bros., which dropped it after controversy over its South African genesis, but they might as well have dropped it for its endless desert treks and uninvolving screenplay. An unrelated Canadian sequel followed five years later. ~ Robert Firsching, Rovi

The special effects wizard behind such legendary horror films as Dawn of the Dead, Creepshow, and Friday the 13th shares his many trade secrets with aspiring special effect make-up artists in this informative instructional video. ~ Jason Buchanan, Rovi

Over ten years after making the original Texas Chainsaw Massacre, Tobe Hooper returns to his deranged family of reclusive cannibals for another round of chainsaw chases and non-stop screaming. Hooper brings a real budget this time (having recently directed Poltergeist for Steven Spielberg) and the talents of veteran make-up artist Tom Savini. This means he can make things bigger, louder, and gorier than ever before -- and they are. He also brings a wacky, self-deprecating sense of humor, as if deliberately flaunting Texas Chainsaw Massacre's status as one of the first and still greatest "splatter" movies. The result is an impish take-off on the original film (and contemporary horror movies in general) that elevates its own clichés -- buckets of blood and gore, droll dialogue, the screaming female lead -- to the level of high camp. The movie is loosely concerned with a small-town disc jockey named "Stretch" (Caroline Williams, who does most of the screaming) and an embittered Texas Ranger named "Lefty" (Dennis Hopper). They team up and decide to put an end to the murderous activities of the Sawyer family once and for all (that is, of course, until Texas Chainsaw Massacre III). The real highlight of the film is when Stretch and Lefty find their way into the Sawyer family hideout -- a ruinous, winding abattoir underneath an abandoned amusement park -- and engage in a chainsaw-battle-to-the-death with Leatherface (Bill Johnson) and the rest of the clan. Jim Siedow is back from the first film as the acerbic Drayton Sawyer, the family cook and owner of the Last Roundup Rolling Grill. Chop-Top (Bill Moseley) and Leatherface do most of the movie's dirty work. ~ Anthony Reed, Rovi

When a college professor gets hold of a ring billed as once belonging to the infamous killer Jack the Ripper, he finds that powers emanating from the ring turn him into the second coming of the once-feared slasher. ~ Rovi

Produced by Starlog and Fangoria magazines, this documentary gives viewers a behind-the-scenes look at how special effects are created. Featured is make-up specialist Tom Savini, who was responsible for the make-up effects on such films as Night of the Living Dead, Friday the 13th and Dawn of the Dead. ~ Brian Gusse, Rovi

Two of the most venerable names in the horror field, author Stephen King and director George A. Romero, present this anthology of original twisted tales inspired by the E.C. horror comics of the 50's and 60's (themselves a more direct basis for the popular Tales from the Crypt TV series). The five stories are framed within the pages of a comic book which a boy's insensitive father has thrown in the garbage. The first tale, "Father's Day," features a zombie patriarch returning to claim his Father's Day cake; "The Lonesome Death of Jordy Verrill" stars King himself as a slack-jawed yokel whose discovery of a radioactive meteorite turns him into a walking weed; "Something to Tide You Over" presents a deadly-serious Leslie Nielsen as a cuckolded husband who plans an elaborate seaside revenge; "The Crate" unleashes its ferocious man-eating contents on the enemies of a meek college professor; and "They're Creeping Up On You" pits obsessively-clean billionaire E.G. Marshall against a swarm of cockroaches in his sterile penthouse. The chapters are uniformly creative, filmed in garish comic-book colors, and Tom Savini's makeup effects are quite memorable (particularly the monster from "The Crate"), though the campy treatment does become exhausting after two hours' runtime. The final segment is the most impressive, thanks to Marshall's over-the-top performance, though the planned scope of the cockroach invasion was drastically reduced (no doubt due to budget constraints). ~ Cavett Binion, Rovi

Knightriders may well be the only cycle flick ever to be played out in suits of armor. A hardcase motorcycle gang led by Ed Harris has found itself a neat money-making gimmick. Dressed as the knights of the round table, the cyclists pick up a few bucks at local "renaissance" fairs, selling handicrafts made by the more talented members of the gang. Harris' great rival is Tom Savini, who has his own band of "black knights." Keep an eye out for a chucklesome unbilled bit by novelist Stephen King. ~ Hal Erickson, Rovi

Apart from early appearances by Jason Alexander and Holly Hunter, an interesting score by Rick Wakeman, and some typically effective work by effects icon Tom Savini, this slasher film is also among the more frightening of its kind. The plot concerns a summer-camp caretaker named Cropsy (Lou David) who is horribly burned by mischievous teen campers during a botched practical joke. Years later, he leaves the hospital as a disfigured gloppy mess with an axe (actually, hedgeclippers) to grind. After dispatching a local prostitute, Cropsy heads out to the wilderness to terrorize a group of campers. They're the usual bunch of horny, obnoxious teenagers, but there are some interesting performances by Larry Joshua as a mean-spirited bully and Brian Backer (of Fast Times at Ridgemont High) as a put-upon nerd. The campers visit an island and, in a scene heavily cut by the ratings board prior to release, several of them die in a horrifying mass slaughter aboard a boat. The remaining teens are brutally picked off one by one until Cropsy is finally defeated. ~ Robert Firsching, Rovi

One of the longest-running horror film series began with this gory shocker from director Sean S. Cunningham, who had previously produced Wes Craven's classic Last House on the Left. Entrepreneur Steve Christie (Peter Brouwer) re-opens Camp Crystal Lake after many years during which it has been cursed by murders and bad luck. The young and nubile counselors all begin to die extremely bloody deaths at the hands of an unseen killer during a rainstorm which isolates the camp. A woman is chopped in the face with an axe, another has her throat sliced in amazingly gruesome fashion, a male counselor (Harry Crosby) is pinned to a door with arrows, and a young Kevin Bacon has an arrow shoved through his throat from below a bed. Victor Miller's script is not particularly impressive, but Cunningham's tense direction, and some remarkable special-effects by acclaimed makeup artist Tom Savini are enough to make it worthwhile. 1950s quiz show regular Betsy Palmer appears as the cook whose son, Jason (Ari Lehman), drowned 25 years earlier while neglected by romancing counselors. Palmer was reportedly cast because she was willing to drive her own car to and from the set. Trivia buffs should note the decapitation scene near the end, in which the female killer exhibits rather hirsute hands clutching at the air. The hands belong to Savini's assistant, Taso N. Stavrakis. Friday the 13th made nearly 40 million dollars at the box office and spawned numerous sequels. ~ Robert Firsching, Rovi

Director George A. Romero's epic sequel to his legendary Night of the Living Dead has firmly established itself as the equal of its ground-breaking predecessor. Though shot in 1978 -- ten years after the first films' release -- Dawn's story begins as if the events in Night had happened only a few months before: after shambling armies of the recently-dead take over every major city -- seeking warm human flesh for food -- the U.S. government imposes a state of martial law, sending in special National Guard units to attack and destroy zombie infestation where they find it. Two members of one such unit, Peter (Ken Foree) and Roger (Scott Reiniger) have been tasked to overthrow a nest of zombies in a Pittsburgh housing project (one of the film's most explicitly gory scenes). When the job turns ugly and Peter is forced to terminate his own berserk, racist commanding officer, the pair decide to split the outfit with the help of his friend Stephen (David Emge), a traffic pilot for WGON-TV, and the station's floor manager, Stephen's girlfriend Frances (Gaylen Ross). Together they steal the station's helicopter and head for less-populated areas, but after some narrow scrapes with flesh-hungry redneck ghouls in the country outside Harrisburg, they opt for a more secure hideout. Eventually they find the perfect solution: a massive, sprawling shopping mall. After the lengthy process of purging the building of zombies is complete, the four secure themselves snugly in the miniature city, consigned to live out their lives in a dull but cushy consumer's paradise... but the arrival of a menacing gang of nomadic bikers proves that this is not to be. With their survival instincts weakened by a mallful of toys and trinkets, the crew are again forced to face grim reality as they face both living and undead foes in a final battle. Romero's excellent, multi-layered story combines high-adventure heroics, three-dimensional characters and explicit gore (by the always masterful Tom Savini, who plays a small role as a leering biker) to excellent effect. The subtext comparing the glassy-eyed behavior patterns of the ghouls to those of American consumers is clear, but not overdone: "It's some kind of instinct," Stephen comments, observing the zombies' attraction to the mall; "This was an important place in their lives." Despite the glimmer of hope offered by the film's closing scene, the outlook for humankind is grim. Perhaps it is Frannie who best expresses Dawn's outlook for humanity: "We're not gonna make it, are we?" Several versions of this film are available on video, including a faster-paced European version edited by overseas distributor Dario Argento and a "Director's Cut" with a great deal of exposition restored (though Romero is quoted as having preferred the unrated cut released initially to U.S. theaters). The shooting script also contains a more downbeat ending, which was never filmed. ~ Cavett Binion, Rovi

Unlike its contemporary The Texas Chainsaw Massacre and predecessor Psycho -- both of which were very loosely based on the gruesome antics of notorious Wisconsin killer/graverobber Ed Gein, who killed, skinned, devoured or made furniture out of his many victims in the late '50s -- this gritty, disturbing and underrated production purports to be a semi-accurate account of Gein's crimes. Roberts Blossom turns in a frighteningly effective performance as Ezra Cobb, the crusty old farmer with unique decorating ideas, an intense interest in the occult, and a decidedly unhealthy attachment to his domineering mother, whose body he preserves after her death. When evenings with his stuffed mom prove less than comforting, Cobb goes into town to seek young female victims whose corpses he uses for a variety of grisly household projects. Exiled in distribution limbo for 20 years, Deranged was available only in severely-cut prints, missing much of the film's goriest footage (which featured the early work of makeup maestro Tom Savini), although a pristine uncut print briefly surfaced in the mid-'90s. ~ Cavett Binion, Rovi