Monster Movies

From Dusk Till Dawn (Dimension Collector's Series)

From a match made in heaven comes a movie spawned in hell! Young hotshot director Robert Rodriquez (El Mariachi, Desperado) teamed up with Pulp Fiction auteur Quentin Tarantino (offering his services as writer and co-star) to make this outrageous, no-holds-barred hybrid of high-octane crime and gruesome horror. QT plays Richard Gecko, a borderline psychopath who breaks his career-criminal brother, Seth (George Clooney), out of prison, after which they rob a bank and leave a trail of dead and wounded in their bloody wake. Then they hijack a mobile home driven by a former Baptist minister (Harvey Keitel) who quit the church after his wife's death and hit the road with his two children (played by Juliette Lewis and Ernest Liu). Heading to Mexico with their hostages, the infamous Gecko brothers arrive at the Titty Twister bar to rendezvous for a money drop, but they don't realize that they've just entered the nocturnal lair of a bloodthirsty gang of vampires! With not-so-subtle aplomb, Rodriguez and Tarantino shift into high gear with a nonstop parade of gore, gunfire, and pointy-fanged mayhem featuring Salma Hayek as a snake-charming dancer whose bite is much worse than her bark. If you're a fan of Tarantino's lyrical dialogue and pop-cultural wit, you'll have fun with the road-movie half of this supernatural horror-comedy, but if your taste runs more to exploding heads and eyeballs, sloppy entrails and morphing monsters, the second half provides a connoisseur's feast of gross-out excess. Bon appétit! --Jeff Shannon

It's nonstop thrills when George Clooney (THE PERFECT STORM, THREE KINGS) and Quentin Tarantino (PULP FICTION) star as the Gecko brothers -- two dangerous outlaws on a wild crime spree! After kidnapping a father (Harvey Keitel -- U-571) and his two kids (including Juliette Lewis -- NATURAL BORN KILLERS), the Geckos head south to a seedy Mexican bar to hide out in safety. But when they face the bar's truly notorious clientele, they're forced to team up with their hostages in order to make it out alive!

The Blob - Criterion Collection

What would the average sensible American do if he encountered a pulsing ball of protoplasm from outer space? That's right: he'd poke it with a stick. Thus begins the endearingly earnest and silly tale of The Blob. Young Steve McQueen takes on his first leading role as, um, Steve, a spunky teenager with plenty of heart. Steve sees the blob kill the local doc, but darn it, none of the town's adults will believe him! Yup, it's up to the teens to save the day! Steve and his trusty girlfriend Jane break their curfews(!) and head off into the night to find the Blob and warn the town. The Blob is a completely enjoyable watch from start to finish, offering the triple pleasures of 1950s morals, gee-whiz acting, and a whole lotta extras running around and screaming. The special effects, though primitive, certainly get the job done, and it is still a treat to watch the Blob ooze its way to its next meal. You may notice that the theme song is surprisingly bouncy for a horror flick ("Beware of the Blob! It creeps, and leaps, and glides and slides across the floor"). It was written by Hal David and a fresh young composer by the name of Burt Bacharach. --Ali Davis

"Beware of the Blob!" One of the great cult classics, The Blob melds '50s schlock sci-fi and teen delinquency pics even as it transcends these genres with strong performances and ingenious special effects. Made outside of Hollywood by a maverick film distributor, a crew experienced in religious and educational shorts, and a collection of theatrical talent from Philadelphia and New York, The Blob helped launch the careers of superstud Steve McQueen and composer Burt Bacharach.

Creature From the Black Lagoon

Jack Arnold's horror classic The Creature from the Black Lagoon spawned not one but two iconic images: the web-footed humanoid gill-man with a hankering for women and the leggy, luscious Julia Adams, the object of his desire, swimming the lagoon in a luminous white bathing suit. Not since King Kong has the "beauty and the beast" theme been portrayed in such sexually charged (though chaste) terms. Arnold turns an effectively B-movie plot--a small expedition up a remote Amazon river captures a prehistoric amphibian man, who escapes to wreak havoc on the team and kidnap his bathing beauty--into a moody, stylish, low-budget feature. The jungle exteriors turn from exotic to treacherous when the creature blocks their passage and strands them in the wilds. Much of the film is shot underwater, where the murky dark is animated by shimmering shards of sunlight, creating images both lovely and alien (the studio-built sets of the creature's underground lair are far less naturalistic, but serve their purpose). As with most of Arnold's '50s genre films, he's saddled with a less than magnetic leading man (in this case the colorless but stalwart Richard Carlson) and a conventional script, but he overcomes such limitations by creating a vivid and sympathetic monster (helped immeasurably by a marvelous suit of scales and fins) and establishing a mood thick with atmosphere. The film was originally shot in 3-D. --Sean Axmaker

Scientists drug and capture the creature, who becomes enamored with the head scientist's female assistant (Julie Adams). The lonely creature, "a living amphibious missing link," escapes and kidnaps the object of his affection. Chief scientist (Richard Carlson) then launches a crusade to rescue his assistant ans cast the ominous creature back to the depths from where he came. Well-acted and directed, and with Bud Westmore's brilliantly designed monster, Creature From The Black Lagoon remains an enduring tribute to the imaginative genius of its Hollywood creators.

Plan 9 from Outer Space

Sometimes a movie achieves such legendary status that it can't quite live up to its reputation. Plan 9 from Outer Space is not one of these movies. It is just as magnificently terrible as you've heard. Plan 9 is the story of space aliens who try to conquer the Earth through resurrection of the dead. Psychic Criswell narrates ("Future events such as these will affect you in the future!") as police rush through the cemetery, occasionally clipping the cardboard tombstones in their zeal to find the source of the mysterious goings-on. More than just a bad film, Plan 9 is something of a one- stop clearinghouse for poor cinematic techniques: The time shifts whimsically from midnight to afternoon sun, Tor Johnson flails desperately in an attempt to rise from his coffin, and flying saucers zoom past on clearly visible strings. Fading star Bela Lugosi tragically died during filming, but such a small hurdle could not stop writer-producer-director Ed Wood. Lugosi is ingeniously replaced with a man who holds a cape across his face and might as well have "NOT BELA LUGOSI" stamped on his forehead. Plan 9 is so sweetly well- intentioned in both its message and its execution that it's impossible not to love it. And if you don't, well, as Eros says, "You people of Earth are idiots!" --Ali Davis

This is it! The most popular Atomic Age cult film of the twentieth century. Winner of two Golden Turkey Awards for Worst Picture and Worst Director of All Time, the immortal Edward D. Wood, Jr.! It's all here, the not-so-special effects, aliens in skating skirts zooming around in string-powered flying saucers to implement the ninth plan of Earth's conquest (the first eight failed) with an army of zombies (well, three actually), Vampira, Tor Johnson and Bela Lugosi in his legendary "postmortem" performance (with Ed's chiropractor standing in for Bela after his death). This truly original movie, Ed Wood's "Citizen Kane," is a hymn to all those who have ever tried to create something intelligent and meaningful, only to fail miserably every step of the way.

From Dusk Till Dawn

From a match made in heaven comes a movie spawned in hell! Young hotshot director Robert Rodriquez (El Mariachi, Desperado) teamed up with Pulp Fiction auteur Quentin Tarantino (offering his services as writer and co-star) to make this outrageous, no-holds-barred hybrid of high-octane crime and gruesome horror. QT plays Richard Gecko, a borderline psychopath who breaks his career-criminal brother, Seth (George Clooney), out of prison, after which they rob a bank and leave a trail of dead and wounded in their bloody wake. Then they hijack a mobile home driven by a former Baptist minister (Harvey Keitel) who quit the church after his wife's death and hit the road with his two children (played by Juliette Lewis and Ernest Liu). Heading to Mexico with their hostages, the infamous Gecko brothers arrive at the Titty Twister bar to rendezvous for a money drop, but they don't realize that they've just entered the nocturnal lair of a bloodthirsty gang of vampires! With not-so-subtle aplomb, Rodriguez and Tarantino shift into high gear with a nonstop parade of gore, gunfire, and pointy-fanged mayhem featuring Salma Hayek as a snake-charming dancer whose bite is much worse than her bark. If you're a fan of Tarantino's lyrical dialogue and pop-cultural wit, you'll have fun with the road-movie half of this supernatural horror-comedy, but if your taste runs more to exploding heads and eyeballs, sloppy entrails and morphing monsters, the second half provides a connoisseur's feast of gross-out excess. Bon appétit! --Jeff Shannon

Humanoids From the Deep

The peculiar genius of schlock-king Roger Corman is in full bloom with this extremely gory, pointedly offensive homage to 1950s monster movies (with a generous helping of Alien thrown in for good measure), in which a legion of mutated salmon-men terrorize a small town in their search for unwilling female companionship. (Potential viewers should be warned that this movie goes to great lengths to show what earlier films in this genre had only implied.) A guilty pleasure for exploitation fans with a strong stomach and a twisted sense of humor. For what it's worth, director Barbara Peters has claimed that additional shock scenes were inserted by producer Corman without her knowledge. The glop-intensive special effects were devised by Rob Bottin, who later went on to gross out the masses with his work on Seven, Robocop, and John Carpenter's graphic remake of The Thing. --Andrew Wright

Dawn of the Dead - U.S. Theatrical Cut (Anniversary Edition)

George Romero's 1978 follow-up to his classic Night of the Living Dead is quite terrifying and gory (those zombies do like the taste of living flesh). But in its own way, it is just as comically satiric as the first film in its take on contemporary values. This time, we follow the fortunes of four people who lock themselves inside a shopping mall to get away from the marauding dead and who then immerse themselves in unabashed consumerism, taking what they want from an array of clothing and jewelry shops, making gourmet meals, etc. It is Romero's take on Louis XVI in the modern world: keep the starving masses at bay and crank up the insulated indulgence. Still, this is a horror film when all is said and done, and even some of Romero's best visual jokes (a Hare Krishna turned blue-skinned zombie) can make you sweat. --Tom Keogh

Tales from the Crypt Presents Bordello of Blood

Private eye Rafe Guttman (Dennis Miller) is hired by repressed, born-again Katherine (Erika Eleniak) to find her missing bad-boy brother. The trail leads him to a whorehouse run by a thousand-year-old vampire (Angie Everhart) and secretly backed by Katherine's boss, televangelist Jimmy Current (Chris Sarandon, wonderfully insincere and smarmy). Not for the squeamish or the easily offended (but you knew that from the title), Bordello of Blood is pulp horror as it should be--funny, fast, and full of gore. How many movies do you know where naked vampire hookers devour the still-beating hearts of their adolescent clients, or where the hero saves the day with a Super Soaker? Dennis Miller is at his wisecracking best as the oddest private eye since Elliot Gould played Philip Marlowe in The Long Goodbye. Angie Everhart devours her role with relish (yum!). And former Playboy Playmate Erika Eleniak seems to be enjoying the joke that in a movie filled with half-naked women, she's the only one who keeps her clothes on. --Geof Miller

Madam Lilith (supermodel Angie Everhart) runs a very unusual bordello just on the edge of town. She and her girls are more than happy to serve, but beware, they'll bleed you dry...literally. Don't fret, wisecracking private eye Rafe Guttman (Dennis Miller) is hot on their trail. Before movie's end, Rafe will battle a den of luscious, scantily-clad vampiresses as well as crooked Reverend Current (Chris Sarandon), who holds the key to an all-powerful talisman.

Night of the Living Dead

We can hardly imagine how shocking this film was when it first broke into the film scene in 1968. There's never been anything quite like it again, though there have been numerous pale imitations. Part of the terror lies in the fact that it is shot in such a raw and unadorned fashion that it feels like a home movie, and is all the more authentic because of that. It draws us into its world gradually, content to establish a merely spooky atmosphere before leading us through a horrifically logical progression that we hardly could have anticipated. The story is simple: Radiation from a fallen satellite has caused the dead to walk, and hunger for human flesh. Once bitten, you become one of them. And the only way to kill one is by a shot or blow to the head. We follow a group holed up in a small farmhouse who are trying to fend off the inevitable onslaught of the dead. The tension between the members of this unstable, makeshift community drives the film. Night of the Living Dead establishes savagery as a necessary condition of life. Marked by fatality and a grim humor, the film gnaws through to the bone, then proceeds on to the marrow. --Jim Gay

George Romero's classic 1968 zombie-fest (shot in black and white) offers some disturbing images, even decades later. In a Pittsburgh suburb people are being stalked by zombies ravenous for human flesh. In a house whose occupant has already been slain, two separate groups of people unite and board themselves in, hoping to fend off the advancing ghouls. Through radio and TV reports they learn that radiation from outer space is thought to be responsible for the wave of zombie attacks all over the eastern United States. Once the humans are trapped, Romero shifts the focus to the internal feuding between them as they decide how to handle their dreadful situation. What unfolds is an examination of human nature, and of the fear and selfishness that keep many citizens from getting involved in the world's problems. Appropriately, both the zombies and the authorities who later hunt them are equally soulless. This film could also be read as a criticism of white males--it is not merely a coincidence that the film's two most rational, constructive characters are a woman and a black man. It is also no coincidence that the sequel takes place in a mall infested by the undead--a perfect analogy for consumer culture. --Bryan Reeseman

Night of the Living Dead (Silver Screen Collector's Edition)

We can hardly imagine how shocking this film was when it first broke into the film scene in 1968. There's never been anything quite like it again, though there have been numerous pale imitations. Part of the terror lies in the fact that it is shot in such a raw and unadorned fashion that it feels like a home movie, and is all the more authentic because of that. It draws us into its world gradually, content to establish a merely spooky atmosphere before leading us through a horrifically logical progression that we hardly could have anticipated. The story is simple: Radiation from a fallen satellite has caused the dead to walk, and hunger for human flesh. Once bitten, you become one of them. And the only way to kill one is by a shot or blow to the head. We follow a group holed up in a small farmhouse who are trying to fend off the inevitable onslaught of the dead. The tension between the members of this unstable, makeshift community drives the film. Night of the Living Dead establishes savagery as a necessary condition of life. Marked by fatality and a grim humor, the film gnaws through to the bone, then proceeds on to the marrow. --Jim Gay

George Romero's classic 1968 zombie-fest (shot in black and white) offers some disturbing images, even decades later. In a Pittsburgh suburb people are being stalked by zombies ravenous for human flesh. In a house whose occupant has already been slain, two separate groups of people unite and board themselves in, hoping to fend off the advancing ghouls. Through radio and TV reports they learn that radiation from outer space is thought to be responsible for the wave of zombie attacks all over the eastern United States. Once the humans are trapped, Romero shifts the focus to the internal feuding between them as they decide how to handle their dreadful situation. What unfolds is an examination of human nature, and of the fear and selfishness that keep many citizens from getting involved in the world's problems. Appropriately, both the zombies and the authorities who later hunt them are equally soulless. This film could also be read as a criticism of white males--it is not merely a coincidence that the film's two most rational, constructive characters are a woman and a black man. It is also no coincidence that the sequel takes place in a mall infested by the undead--a perfect analogy for consumer culture. --Bryan Reeseman