{"id":3200,"date":"2018-10-29T11:55:23","date_gmt":"2018-10-29T17:55:23","guid":{"rendered":"http:\/\/theboisebeat.com\/?p=3200"},"modified":"2018-10-29T11:55:56","modified_gmt":"2018-10-29T17:55:56","slug":"movies-till-dawn-mad-monster-party-i","status":"publish","type":"post","link":"https:\/\/theboisebeat.com\/index.php\/2018\/10\/29\/movies-till-dawn-mad-monster-party-i\/","title":{"rendered":"Movies Till Dawn: Mad Monster Party I"},"content":{"rendered":"

\"\"“The Evil Dead<\/a>” (1981, Lionsgate) A quintet of Michigan college students makes the unfortunate decision to read from a book of incantations, which unleashes demonic forces determined to turn them, as the great drive-in critic Joe Bob Briggs<\/a>\u00a0rightly put it, into “Spam in a cabin.” Ferociously energetic no-budget horror indie launched the careers of writer\/director Sam Raimi<\/a>, actor Bruce Campbell<\/a>\u00a0and producer Robert Tapert<\/a>, as well as a genre-bending franchise that includes two comedic\u00a0<\/a>sequels<\/a>, a straight-ahead remake<\/a>\u00a0and a terrific, short-lived series<\/a>\u00a0(all of which thankfully dropped the film’s most unpleasant element, an ugly encounter between actress Ellen Sandweiss and some animated branches) ; its no-holds-barred gore and breakneck camerawork have also been echoed in countless horror films over the last three decades (see the recent “Mandy”). Lionsgate’s double-disc set includes 4K Ultra-HD and Blu-ray presentations and includes amusing commentary by Raimi, Campbell and Tapert.<\/p>\n

<\/p>\n

\"\"“Exorcist II: The Heretic<\/a>” (1977, Shout Factory) Doomstruck priest Richard Burton<\/a>\u00a0is dispatched by the Vatican to investigate the death of Father Merrin (Max von Sydow<\/a>) during the events depicted in “The Exorcist<\/a>,” and finds that the now-teenaged Regan (Linda Blair<\/a>) is not entirely free of the demon Pazuzu. There’s no need to play the retcon card with “Exorcist II” \u2013 there are plenty of solid reasons why John (“Deliverance”) Boorman<\/a>‘s film gets a bad rap, ranging from a tin-eared script and Regan’s tap-dance routine to Louise Fletcher<\/a>‘s disco biofeedback machine and James Earl Jones<\/a>\u00a0in locust drag, though having to not only follow but try to top a cultural phenomenon like William Friedkin’s film is its biggest hurdle. Having said that, “Exorcist II” also has moments \u2013 the cast, which includes Ned Beatty<\/a>\u00a0and Paul Henreid<\/a>\u00a0in his last screen performance, maintains gravitas in the face of absurdity (Blair, in particular, does Herculean work in this regard), Ennio Morricone provides a memorable, acid-soaked\u00a0score<\/a>, and the exorcism set pieces (the fiery opening, flashbacks with Father Merrin in Africa, and the final showdown) are all special effects powerhouses – that suggest there’s something worth exploring under all those misfires. “Exorcist II” is probably best enjoyed as a psychedelic transmission from a reality where Friedkin’s film never existed, and for those willing to go the distance, Shout Factory’s two-disc Collector’s Edition, issued through its Scream Factory imprint, provides both the theatrical cut and a shorter (and less comprehensible) alternate cut, extremely detailed commentaries by the late Boorman and Scott Michael Bosco<\/a>, interviews with Blair and editor Tom Priestley<\/a>, and a barrage of trailers and promotional material.<\/p>\n

\"\"“The Baby<\/a>” (1973, Arrow Video) Social worker Anjanette Comer<\/a>\u00a0(“The Loved One<\/a>“) is assigned to the Wadsworths, a family unit comprised of imperious mom Ruth Roman<\/a>\u00a0(“Strangers on a Train”), hot-and-cold sisters Marianna Hill<\/a>and,\u00a0Suzanne Zenor<\/a>, and Baby (David Manzy\/Mooney<\/a>), who, despite his name, is not a toddler, but rather a grown man forced into infantilism to satisfy Roman’s extreme ideas about motherhood and (more importantly) maintain a steady flow of disability payments. Though free of any graphic content, “The Baby” \u2013 directed without a whit of camp or dark humor by TV vet Ted Post<\/a>\u2013 feels far more unseemly than even the grimiest exploitation, largely because of the matter-of-fact way in which the family has harmed Baby, and the queasy joke that reveals his (and Comer’s) fate. Arrow’s Blu-ray includes interviews with Hill and audio from conversations with Post and Mooney, as well as a scholarly discussion of the film by writer Rebekah McKendry.<\/p>\n

\"\"“Boris Karloff Collection<\/a>” (1968-1971, MVD Visual) Though most mainstream sources cite Peter Bogdanovich<\/a>‘s “Targets<\/a>” as Boris Karloff<\/a>‘s last feature film, the horror icon completed four additional films for Mexican producer Luis Enrique Vergara<\/a>\u00a0before his death in 1969. Age and poor health prevented Karloff from traveling to Mexico, so his scenes were shot in Los Angeles by writer-director Jack Hill<\/a>\u00a0(“Spider Baby<\/a>“) and then folded into footage filmed in Mexico. Though their premises are nonense \u2013 “Torture Zone” (aka “Fear Chamber”) concerns a living, bloodthirsty boulder, while “Dance of Death” (aka “House of Evil”) features life-sized toys dispatching Karloff’s greedy relatives \u2013 all four possess a sort of cut-rate haunted house atmosphere, bolstered considerable by Karloff’s presence, even in his wheelchair-bound state. MVD’s two-disc set also includes “Alien Terror” (aka “The Incredible Invasion” and “Cult of the Dead” (“Isle of the Snake People”).<\/p>\n","protected":false},"excerpt":{"rendered":"

“The Evil Dead” (1981, Lionsgate) A quintet of Michigan college students makes the unfortunate decision to read from a book of incantations, which unleashes demonic forces determined to turn them, as the great drive-in critic Joe Bob Briggs\u00a0rightly put it, into “Spam in a cabin.” Ferociously energetic no-budget horror indie launched the careers of writer\/director […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[25,26],"tags":[212,700,973,39,1007,369],"class_list":["post-3200","post","type-post","status-publish","format-standard","category-movies","tag-arrow-video","tag-lionsgate","tag-mvd-visual","tag-paul-gaita","tag-scream-factory","tag-shout-factory"],"yoast_head":"\nMovies Till Dawn: Mad Monster Party I - The Boise Beat<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/theboisebeat.com\/index.php\/2018\/10\/29\/movies-till-dawn-mad-monster-party-i\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Movies Till Dawn: Mad Monster Party I - 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He has written for The Los Angeles Times, LA Weekly, Variety and The Fix, among many other publications, and was a home video reviewer for Amazon.com from 1998 to 2014. He has interviewed countless entertainment figures from both the A and Z lists, but his favorites remain Elmore Leonard, Ray Bradbury and George Newall, who created both Schoolhouse Rock and the Hai Karate aftershave commercials. 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