BLACK MAGIC 2
GOU HUN JIANG TOU
1976, AGFA, 85 min, Hong Kong/Singapore, Dir: Ho Meng-Hua

Ho Meng-Hua's sleazy, hilarious, creep-tastic, bonkers, turned-up-to-11, sorcery-vs-science sequel to his own BLACK MAGIC weaves the absurd tale of skeptical city doctors visiting a small village as reports pour out of bizarre inexplicable maladies plaguing the townspeople. The madness includes spell-induced zombification inflicted via squeamishly long nails in skulls, skin worms, puss, oozing sores, pulsating wounds, a breastmilk-eternal-life-elixir-consuming sorcerer, necrophilia and even more! Elevated by periodic hypnotic surrealism, gothic decor, voodoo dungeon lairs, an effortlessly cool performance from Shaw regular Lo Lieh (DIRTY HO, THE ONE-ARMED SWORDSMAN), and a funkadelic soundtrack featuring the likes of Nicolas Flagello's absurdly catchy theme song “Wailing Wail,” plus “Last Bongo in Belgium” by Viner's Incredible Bongo Band (later sampled by the Beastie Boys for the track “Looking Down the Barrel of a Gun”). Assuredly one of the wackiest, most unhinged slices of exploitation horror heaven from the gloriously trashy days of the Shaw Brothers, you'd have to be a mindless zombie yourself to miss this one!


THE HOUSE BY THE CEMETERY
1981, Grindhouse Releasing, 82 min, Italy, Dir: Lucio Fulci

Italian director Lucio Fulci already had a track record of surreal giallo thrillers before he cranked out the DAWN OF THE DEAD knock-off ZOMBIE, which put him on the map with fans of extreme genre cinema. Dubbed the king of Italian goremeisters after following up with CITY OF THE LIVING DEAD and THE BEYOND, Fulci turned out this very atmospheric (and gory) ghost/zombie saga. Katherine MacColl and her husband and son move into an ancient house owned long ago by the insane medical experimenter Dr. Freudstein. Ghost sightings, mysterious disappearances and bloody killings begin, and the traumatized family wonders if perhaps the good doctor is still around.


THE STEPFATHER
1987, 89 min, USA, Dir: Joseph Ruben

Jerry Blake (Terry O'Quinn) tries to be the perfect husband and father, and he expects the same perfection from his family - when they don’t measure up, he murders them and assumes a new identity in a new town to start the process all over. Inspired by the case of killer John List, this is one of the 1980s’ most effective thrillers, powered by terrific performances by O'Quinn and Jill Schoelen as the increasingly suspicious stepdaughter.


Syndicate content