DavidAnnandale

@DavidAnnandale@horrorhub.club

SFF, horror and thriller author. Writer for Black Library (Horus Heresy, Warhammer 40,000, Age of Sigmar) and Aconyte Books (Doctor Doom, Arkham Horror, Legend of the Five Rings). Member of the Hugo-nominated Skiffy and Fanty podcast team. University instructor. He/Him

#horror #HorrorMovies #scifi #SFF #fantasy #academia #books #writing #film

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DavidAnnandale, to random

Look at that wonderful monster claw clutching a steering wheel. This is the kind of moment this monster fan lives for, and it comes from The Night Caller (1965).

(Thread)

DavidAnnandale, to random

THE SPIDER LABYRINTH (1988) is an Italian supernatural conspiracy horror film with stop motion effects.

Frankly, that sentence should be enough to convince many of you (you know who you are) that you need to see this film.

(Thread)

#HorrorFilms #HorrorFam

Exterior street in at night, in the rain, in Budapest. The architecture recalls the exterior of the apartment building where the opening double murder of Suspiria occurs.

DavidAnnandale, to random

Re-watched SEVEN FOOTPRINTS TO SATAN (1929) for the first time in 30 years, and for the first time in a good print with English intertitles. It seems that Abraham Merritt wept when he saw what had been done to his novel, and I can’t blame him, especially given the ending.

(Thread)

#HorrorFilms #HorrorFam

DavidAnnandale,

But OTOH, the film is riotously entertaining, taking the Old Dark House tropes to their absolute limit and way, way, WAY beyond, and never letting the pace lag for a single second. It’s THE CAT AND THE CANARY pumped up with a lethal cocktail of speed and LSD. The screenshots below are all from a single scene, all within a few seconds of each other, and this isn’t even the climax.

A woman’s hand emerges from a coffin a scrabbles against the side.
A hideous figure (Sheldon Lewis) throttles the hero from behind.

DavidAnnandale,

In AMERICAN GOTHIC, Jonathan Rigby opines that the “mysterious house [contains] the most outrageous assortment of weirdos featured in any film before or since” and I really can’t disagree.

DavidAnnandale, to random

The Gorilla of Soho (1968) sees director Alfred Voher remake his own Dead Eyes of London (1961).

Instead of a hulking Tor Johnson clone committing the murders, we have a guy in a gorilla suit. Why, since no one sees him? Unclear. The film at times feels more like Carry On Edgar Wallace. There are some funny bits, some puerile ones, and it isn’t unentertaining, but it’s neither as exciting as the best krimi efforts, nor as amusing as The Hound of Blackwood Castle.

#HorrorFilms #HorrorFam

DavidAnnandale,

@thudfactor This is damn close. Though The Hound of Blackmoor Castle is a lot funnier.

DavidAnnandale,

@thudfactor Oops, I mean Blackwood.

DavidAnnandale, to Horror

Re-watched Gorgo (1961). Vinegar Syndrome’s restored blu-ray looks magnificent. Anglo-American colonialism and the patriarchy go down in flames beneath the feat of the wrathful, 200-foot Irish matriarch. The FX and model-work still look stupendous. And the colours! Oh, the colours!

#Horror #HorrorFam

Gorge’s mother closes in on Big Ben.
Gorge’s mother roars triumphantly as she smashes Big Ben.

DavidAnnandale,

@thudfactor It’s just stunning.

DavidAnnandale, to random

My goodness but THE POPE’S EXORCIST is fun. Dumb as a sack of exploding hammers, but hugely entertaining in a “The Exorcist meets National Treasure by way of Dan Brown” sort of way. It’s over the top, shamelessly ridiculous, and revels in the kind of Gothic settings we see so rarely now. Man, I wish it had done well enough to spawn the franchise it promises at the conclusion, where only copyright law prevented it from playing the Mission: Impossible theme.

#HorrorFilms #HorrorFam

QuirkyFilms, to random
@QuirkyFilms@c.im avatar

aka (1972) 🐰
Giant mutant rabbits terrorize the south-west.
📽️ 🎬

DavidAnnandale,

@cazabon @QuirkyFilms I absolutely adore this film. It gets better every time I watch it!

DavidAnnandale, to random

Hey kids! It’s time to play the Random Words Movie Title Game! Today’s winner is PSYCHOUT FOR MURDER (1969)! What on Earth does that mean? Who knows? Who cares! It’s Psychout for Murder!

Co-starring and directed by Rossano Brazzi, the film’s Italian title translates as “Saving Face,” which is a much more direct expression of the theme, where a family’s need to maintain its public image results in an act of unconscionable cruelty, which then backfires disastrously.

DavidAnnandale,

@thudfactor “Just throw some horror words together! Doesn’t matter which ones.”

DavidAnnandale, to random

By all rights, LEGEND OF HORROR should be abysmal.

Start with the title. Why not Curse of Evil or Terror of Fear while we’re at it?

It’s a cobbled-together concoction, with 40 minutes of US footage shot in 1966, wrapped around an Argentinian adaption of “The Tell-Tale Heart” lifted from an anthology film from 1960. Supplemented by a few shots taken from Corman Poe films and White Zombie (!), this B&W feature finally went out in 1972.

It’s a bold strategy, Cotton.

(Thread)

#HorrorFam

Mist swirls through a graveyard.
Poster for Legend of Horror. Text: “A DOUBLE DOSE OF HELL FILMED IN THE ‘BLOOD-CHILLING’ REALISM OF MAGICMATION. Edgar Allen Poe's HEART-QUAKING LEGEND OF HORROR. BASED ON THE CLASSIC "THE TELL TALE HEART"

DavidAnnandale,

The film looks like it was made in 1956, not 1966. The dubbing is awful. The American footage wants us to believe the setting is France, and not Southern California. This, we cannot believe.

DavidAnnandale,

All these strikes against it. And yet, and yet, it somehow works. The Argentinian segment expands the Poe story very creepily, shifting our perspective of who is villain and who is victim, and borrows a conceit from The Spiral Staircase. The US stuff uses stop-motion for its murders (the “magicmation” of the poster) and the effect is creepily uncanny.

DavidAnnandale,

When it gets dark, it gets REALLY dark, in ways I had truly not expected, with the darkness made all the more disturbing because the film feels so old-fashioned.

Turns out there’s a fine line between “creative” and “creatively bankrupt.” And Legend of Horror falls just on the right side.

RichTate, to random

#FollowFriday

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#FF

DavidAnnandale,

@RichTate Thanks so much! And a happy weekend to all! @ElizabethLeeCo @MibIH @thatkruegergirl @YayForThat @grryboy @miss_s_b @MevsMatze @stina_marie @ElmStreetVictim @LikeItOrLumpIt @hpkomic @CorinnaBechko @JohnShirley2023 @angelus_04 @puffer @optiMSTie @Gothfarts @KentuckyConjurer @DarcyTheMailGirl @kamikat

DavidAnnandale, to random

The Phantom of the Convent (1934) is a moody Gothic from Mexico, directed by one of the screenwriters of La Llorona (1933). It’s overlong at 85 minutes, its stately pace becoming lethargic as it gets bogged down in exposition. But it has great atmosphere, and deploys the supernatural in a way one doesn’t see in American horror films of the period, but would feel right at home in European ones of the 1960s.
#HorrorFilms #HorrorFam

Shadows of hooded monks in procession.
A cross blocks an utterly black cell that our hero ill-advisedly approaches.
Upright coffins filled with mummies lined up along a crypt wall.

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