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Peeping Tom

Mark (Karl Boehm) is a film technician/sound man who moonlights by photographing beautiful, nude models.  However, Mark is less than normal.  He has a growing fascination with the natural, physical imperfections of his models and begins killing his models with a spiked tripod, capturing the exact moment of their deaths on film.  Due to a twisted childhood, caused by his equally twisted and sadistic, psychologist father (played by director Michael Powell), Mark painstakingly documents the killings and the ensuing police investigations.

  You see, Mark’s childhood was spent as the subject of fear experiments and non-stop audio taping by his father, who must have attended medical school while taking Mescaline.  Their house was a network of microphones, recorders and cameras, which documented every single minute of Mark’s day.  Now as a grown-up, Mark rents out rooms in his house and similarly documents the lives of his tenants, not unlike the recent film Sliver.  Does the blind tenant know what Mark is up to?  When the police begin to close the dragnet around Mark, can he create the ultimate artistic act of photographic verité? 


Peeping Tom



Peeping Tom was basically a lost film after its release in 1960.  It was rarely seen, and even then, only in midnight showings and on late-night television.  We have Martin Scorcsese to thank for giving rebirth to Peeping Tom by re-releasing it into theaters in 1980.  Like Todd Browning with Freaks, Peeping Tom ended the career of Michael Powell who had previously directed such classics as The Red Shoes and The Thief of Bagdad.  At least Powell had the satisfaction of ending his career on a high note and on such a personal film.  As The Phantom of The Movies suggests, Peeping Tom is more than a thriller, it is a satirical jab at commercialism in cinema and more importantly, the voyeuristic tendencies of both filmmakers and film viewers.  We at the House highly recommend that you see this film! ---DRIVE IN NATE



Blood Feast

A series of gruesome murders has brought Miami to a screeching halt as  women are being viciously mutilated by a homicidal madmen.  Strangely missing from the victims are certain body parts or limbs.  The police remain baffled as they search for clues to stop this brutal killer while across town Mrs. Fremont (Lyn Bolton) enters the shop of one, Fuad Ramses (Mal Arnold), exotic cater. Looking to surprise her daughter Suzette (Connie Mason), Ramses promises to provide Mrs. Fremont with an authentic ancient Egyptian feast, one that he has been planning for a long time.   

As the murders continue, Connie and her would-be boyfriend Detective Peter Thornton (William Kerwin)  attend a lecture being giving on Egyptian cults. There they learn the grime details of an ancient blood ritual performed to celebrate the goddess, Ishtar, 5000 years ago.  As they prepare to depart news  blares across the airwaves regarding a possible survival from this murderous rampage. Peter races across town to the hospital hoping for a clue only to hear the dying words of the victim, repeated "Etar, Etar".  


Blood Feast



As Mrs. Fremont makes final preparations for her daughter's party, the violence strikes closer to home  as  Suzette's friend Trudy mysteriously  disappears. All the while Ramses continues to prepare for the feast. Finally, Peter puts the pieces together, but will he arrive in time to prevent Suzette from becoming the main course?? 

After a successful run of nudie cuties, Lewis and his partner David Friedman were itching for a change of pace.  In 1963 born out of the tradition of the "Grand Guignol", 19th century theater rooted in a gore-filled desire to shock and repulse its' audience, came the release of a little gem called, "Blood Feast", which would alter the face of cinema as the world would know it.   Variety magazine offered its own review of the film calling it "incredibly crude and unprofessional from start to finish, (and) an insult even to the most puerile and salacious audience", but the joke was on them as "Blood Feast"  would go on to establish a new genre (splatter or gore)  while taking exploitational filmmaking down a new and exciting path and forever shaping the impressionable minds of millions of budding filmmakers.  All modern filmmakers, horror and mainstream alike, own a tremendous debt of gratitude to the chances that a film like "Blood Feast" took in    breaking down the barriers of the 50's McCarthyism way of thinking. This film is a definite requirement for any inspiring horror fanatic!!!!



2000 Maniacs

A simple detour down a backwoods road leads six unsuspecting Yanks into  the little town of Pleasant Valley (Pop. 2000), where a centennial celebration of some sort is taking place.  As they pull into town, the massive party spills around them and Mayor Buckman (Jeffery Allen) declares that the "guests of honor" have finally arrived and the festivities can now begin. 

After being  put up in the best (and only) hotel in town, bizarre events start  happening.  First, the frisky Bea Miller (Shelby Livingston ) meets her gruesome demise when she sneaks off for a lover's stroll with the debonair Harper (Mark Douglas).  Later her equally promiscuous husband John (Jerome Eden) is quartered after a night of  feasting on a strangely tasty barbeque.  Tom White (William Kerwin) and his traveling companion Terry Adams (Connie Mason) starts to become suspicious when they are unable to make contact with the outside world and stumble upon a plaque marking the historic ramification of this celebration of blood. The carnage reaches new heights when a  teetering rock and a barrel roll are introduced into mix.


Two Thousand Maniacs



When the truth is finally revealed, Tom and Terry attempt to make a mad dash for freedom. They solicit the help of local bad boy Billy to recover their car, but will they be able to escape this town bent on blood thirsty revenge or is the South gonna rise again????  Check it out!!!!!

Following in the highly successful footsteps of "Blood Feast" a year earlier "Two Thousand Maniacs" became the second film in Herschell Gordon Lewis' Blood Trilogy.  Built on a stronger storyline, a combination of "Brigadoon" meets the Mansion Family, a larger budget  (3 times that of "Blood Feast"), and superior acting (featuring the fine citizens of the now extinct St. Cloud, FL), "Two Thousand Maniacs" is by far my favorite H.G. Lewis film. The wildly outrageous ways in which this town of blood thirsty maniacs disembowels their unsuspecting "guests of honor" is truly a goremiester's wet dream and comes in a close second only to Lewis' own "Wizard of Gore" on the entrail scale. 



Horror of Dracula

rivia question, "Who is the most portrayed horror villain in cinema history"? If you guessed "Count Dracula" you would be correct. As a credited character, "Count Dracula" has appeared in more than 60 films. Second trivia question, "Who has portrayed "Count Dracula" the most times on the silver screen"? If you guessed Christopher Lee, you would be correct again. Christopher Lee has played "Count Dracula"  ten times to date with seven of those being in Hammer Films. So where did it all start?  In the film "Horror of Dracula" , Christopher Lee assumes the role that will forever change his life. Although his performance may not be accepted as the definitive standard for the role (that honor would have to go to "Bela Lugosi"), he was able to give him more depth. This film also marked Peter Cushing's first-time duties as legendary vampire hunter,  Dr. Van Helsing. Cushing, a mainstay at Hammer, went on to play the good Dr. opposite Lee's "Dracula" in three films (and also in a few other Hammer films), but Baron Von Frankenstein was role he reprised an amazing six times. 


Horror of Dracula

[More Vampire Films]



This is your standard retelling of Bram Stoker's classic novel "Dracula", with a definite Hammer twist. It is probably my favorite film version of Stoker's novel, although I thoroughly enjoyed Francis Ford Coppala version, as well as, that of Tod Browning's. My favorite part is the end battle between Cushing and Lee. It is one of the best  all-time classic clash in the history of horror, ranking right up there with "The Exorcist's" conclusion. 

Terence Fisher, the director of this film and other classics such as "Dracula: Prince of Darkness", "Curse of the Werewolf" and "The Devil Rides Out", did a wonderful job  with the vision and atmosphere of the film. This film marked his emergence as one of Hammer's big time directors. Fisher, along with Lee, firmly established "Dracula" as a British film legend. The musical undertones  were deliver by James Bernard and really added to films' eerie atmosphere


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