Retro Review: Abbott & Costello Meet Frankenstein (1948)

“You don’t understand—in a half hour the moon will rise, and I’ll turn into a wolf…”

“You and 20 million other guys.”

There are the great horror films, and there are the great comedies. But great horror comedies? Films that work equally well as both, and can scare you and make you laugh in equal measure? Few and far between. Possibly the first really great one, and for many still the best, would be the 1948 timeless classic Abbott & Costello Meet Frankenstein. All these decades later, and it can still leave us in stitches, while delivering a healthy dose of authentic Universal monster madness. The fact that this movie even happened both was and is a gift to movie fans of all ages.

By 1948, both Abbott & Costello and the Universal monsters, two cash cow franchises for the legendary studio, were sort of on the ropes. Bud and Lou had made their name at the studio during the war years, but the act was starting to wear thin with audiences. As for Dracula, Frankenstein and the gang, they were far removed from their halcyon days of the 1930s and early ‘40s, having been reduced to flimsy team-up flicks for kids.

So what did the powers-that-be at Universal decide to do, but cross the two franchises, in one of the most inspired movie mashups ever conceived. Lon Chaney Jr. may have later condemned the film as the death knell of the classic monsters, but the hindsight of film history has revealed it as a beloved gem that, rather than tarnish the reputation of the monsters, has kept their legacy alive for generations.

In short, Abbott & Costello Meet Frankenstein is the perfect “gateway movie” for getting children into horror. I should know; I used it in exactly that way for my own kids. It’s hilariously funny on a level that can be appreciated by people of all ages, and the creep factor is there in copious amounts, especially for young children not too familiar with horror in general. It causes chills and laughter in equal measure, as we watch Bud and Lou mix it up with some very scary individuals.

In the end, that’s what makes the movie work so well. Neither franchise is compromising its integrity. Abbott & Costello are doing what they do best, getting into ridiculous situations and doing the whole straight man/childish fat guy routine. In fact, this film is probably their funniest moment, in a movie career that spanned nearly two decades. As for the Universal monsters, they are playing themselves here. There’s no campy hamming-it-up going on. Although Bela Lugosi’s Dracula may feel a bit different than his 1931 interpretation, he is playing Dracula to the hilt—just as Glenn Strange is playing the Monster, and most impeccably, Lon Chaney Jr. is playing Larry Talbot. I defy you to find any difference between the Talbot here and in any of his previous appearances. There is no “winking at the camera” on the part of him, Lugosi or Strange.

The perfect blend of horror and comedy make this, for my money, one of the most downright fun movies ever made. There are so many unforgettable set pieces here—particularly the predicaments the hapless Lou constantly finds himself in; from accidentally sitting in the Monster’s lap, to the scene in Talbot’s hotel room with the fruit bowl. And of course, the scene most people remember from this movie, in which Lou first encounters Dracula at the House of Horrors, all the while trying breathlessly to explain it to an incredulous Bud. This is effortless, timeless comedy from two masters, and best of all, is so true to the material that you can honestly imagine that this is what would happen if Abbott & Costello were to encounter Frankenstein, Dracula and the Wolf Man.

Costello cracked up Strange so much during this
scene that it had to be shot numerous times.

We get Lugosi in his only other film appearance as Dracula after his first iconic turn in 1931. That alone is enough to recommend the film! We get an excellent score from Frank Skinner—so good, in fact, that it would be lifted outright for future A&C movie installments. We get a rip-roaring monster-laden finale that is the perfect payoff for all the insanity that has come before. And, at the risk of “spoiling” a 65-year-old movie, we get an unforgettable final-shot cameo by Vincent Price as the voice of the Invisible Man! What more can you possibly ask for?

Abbott & Costello Meet Frankenstein succeeded in redefining both franchises. Going forward, the A&C series continued trying to recapture the new formula. The series took on a decidedly fantastical slant that was very different from the releases of the early ‘40s, pairing the comedy duo up with other monsters and villains like the Mummy, Dr. Jekyll & Mr. Hyde, and even “The Killer, Boris Karloff”. It may have been a gimmick, but it was a gimmick that kept the act going for nearly another decade. As for the Universal monsters themselves, this film became their last appearance for the studio. But it needs to be said that it also reinvented them for a whole new generation of young moviegoers, and helped give rise to the kitschy “Monster Kid” culture of the ‘50s, ‘60s and beyond, raising the studio’s creations to the level of pop culture gods.

Personally, the film brings me back to those lazy Sunday afternoons of my youth, spent with family, food and syndicated New York television. If you’re a fan of classic horror, I encourage you to check it out. Particularly, this movie is a joy to watch with young children. If you don’t have your own, go and steal someone else’s—it’s worth it. I screened it at one of my kids’ Halloween parties, and few sights in my memory will ever match the sight of a room full of initially skeptical 7-10 year olds, falling out of their seats with laughter and yelling at the screen in comic frustration. 

I’m so glad the world of Abbott & Costello and the Universal monsters crossed paths, and I enjoy revisiting it whenever I can. Give it a try, and I think you’ll be hooked as well.

And if you ever wanted to catch this gem on the big screen, then you’re in luck! I’ll be screening it on Thursday, December 27, as part of my BEDLAM AT THE BIJOU series at Bridgeport’s Bijou Theatre. I hope you’ll join me for BEDLAM AT THE BIJOU: Scared Silly, in which I’ll be pairing this movie up with another classic Universal-themed comedy, Young Frankenstein. Check out the Facebook page for more info, or the official Bijou website!

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Three Decades of David: The Man Behind the Wolf

I'm closing out 2011 with one last edition of Three Decades of David, my year-long celebration of the 30th anniversary of An American Werewolf in London. This time out, we take a look at the man who brought this visionary and influential horror film to life, and one of the most underrated directors in the entire horror canon, Mr. John Landis.

Known equally for his work in comedy and horror, Landis has been a fixture in Hollywood since the late 1970s, when he exploded onto the scene with National Lampoon's Animal House, the film that established him as a top filmmaker. Nevertheless, filmmaking had been a passion for the Jewish-born Chicago native since he was a small child absorbing in amazement the work of Ray Harryhausen in movies like The 7th Voyage of Sinbad.

In fact, it was 7th Voyage that first put the directing bug in the boy's head, as he started wondering exactly whose job it was to make movies, and if he could take part. So from the beginning, it was the fantastic and surreal that drew Landis to the world of directing, and that attitude would be reflected in much of his later body of work:

I had complete suspension of disbelief—really, I was eight years old and it transported me. I was on that beach running from that dragon, fighting that Cyclops. It just really dazzled me, and I bought it completely. And so, I actually sat through it twice and when I got home, I asked my mom, “Who does that? Who makes the movie?” - The Film That Changed My Life, by Robert K. Elder

Landis got his start as an assistant director in Yugoslavia on the 1970 war comedy Kelly's Heroes, and also spent some further time in Europe assisting on movies like El Condor and Sergio Leone's Once Upon a Time in the West.

His actual feature film debut came in 1971 at the age of 21, when he wrote and directed the low-budget monster movie tribute, Schlock. But most of the '70s were tough for the young Landis, as he tried to break into Hollywood, taking any odd job he could along the way. He got a major break in 1977 when he directed the Zucker brothers breakout Kentucky Fried Movie, but it was Animal House a year later that put him on the map.

It was that movie that pushed Landis into a vibrant creative circle that included hot directors like Steven Spielberg and many of the masterminds behind America's new cutting-edge sketch comedy series, Saturday Night Live. In fact, his next feature would be the first film to be adapted from an SNL skit, namely The Blues Brothers starring Dan Akroyd and John Belushi.

His name established as a comedy director, Landis at last felt comfortable delving into an area that had long been his passion: horror. When he got the word out that his next project would be a personal labor of love called An American Werewolf in London, a lot of people were surprised that the director of such happy-go-lucky, light-hearted fare was tackling such a supposedly heavy project. Little did they know how close to his heart the material was. Actually, the original concept came to Landis while working on Kelly's Heroes in Yugoslavia, when he witnessed some peasants burying a man suspected of being a werewolf.

For 12 years, Landis had nursed the AWIL project, and to this day it is considered by most to be his finest work. Deftly weaving black comedy and real horror in a way not quite seen before, Landis crafted a truly innovative, preeminently influential motion picture, one worthy of being called one of the greatest fright films of all time. Best of all, he brought his unique comic sensibility to the project, making it a movie that's pretty tough to compare to anything else.

Finally having broken through to the genre he cherished best of all, Landis continued on for a bit in the horror vein, joining forces with none other than Steven Speilberg to produce a movie based on the classic Rod Serling TV series, The Twilight Zone. Also directing a portion of the anthology film, Landis ran into some serious trouble that nearly derailed his career when famed actor Vic Morrow and two child extras were accidentally killed in a helicopter during filming. After a trial for involuntary manslaughter and child endangerment, Landis and company were acquitted of all charges, but the tragedy and controversy has haunted the producer/director to a certain degree ever since.

Regardless of the Twilight Zone debacle, the 1980s was something of a golden era for John Landis. He would go on to direct the most famous music video of all time, Michael Jackson's "Thriller", which is in and of itself something of a horror short subject. He then settled back into his comedy comfort zone for much of the decade, putting out fondly remembered '80s flicks like Trading Places, Spies Like Us, Three Amigos and Coming to America.

If the 1980s was a golden age for Landis, then his directorial career took a decided dip into silver or bronze territory in the 1990s. This was the decade that gave us the Sylvester Stallone turkey Oscar, and the ill-conceived Tom Arnold vehicle The Stupids. Even a return to the franchise that once brought him such acclaim resulted only in the completely forgettable Blues Brothers 2000. Similarly, Beverly Hills Cop III did nothing to change the trend.

Although certainly not anywhere near the same ballpark as American Werewolf, Landis did make a brief return to horror in the 1990s with the vampire/gangster comedy Innocent Blood. While entertaining and possessing something of that Landis horror/comedy spark, it was a far cry from what the director had accomplished a decade prior.

Perhaps recognizing this downward trend, Landis shifted gears in the new century, turning to documentary filmmaking for much of the first decade. And now, the producer/director has reportedly shown interest in returning to the horror genre in the coming years, a rumor which is supported by his executive producing of last year's underground horror/comedy hit Some Guy Who Kills People.

Although his body of work can adequately be described as erratic, John Landis nevertheless deserves recognition as one of the brightest, visionary genre directors of his time. Just the achievement of An American Werewolf in London alone would be enough to afford him a fond remembrance in the hearts of horror and comedy fans. Add his successful SNL-alum comedies of the 1970s and 1980s, and you have a filmmaker who more than made his mark on his era.

Inspired by genre great Ray Harryhausen in that darkened theater, Landis grew to become a genre great himself.



Three Decades of David:

The Movie That Changed Werewolf Movies (And Horror!)
How the Dr. Pepper Pitchman Became a Horror Icon
The Music of An American Werewolf in London

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EXCLUSIVE! The Abominable Dr. Phibes DVD Commentary, with B-Sol & Capt. Cruella!

Few films--or, truth be told, life experiences--bring my soul as much pure joy as The Abominable Dr. Phibes, Vincent Price's camp masterpiece of 1971. A gift of unadulterated bliss from the movie gods, Phibes holds a special place in my heart, and its viewing has become nothing short of a transcendent experience.

And so, it was with great glee that I approached the concept of recording a DVD commentary for the picture. Suggested by Captain Cruella as a followup to our recent Zombi 2 commentary, the idea was simply too good to pass up. After all, I'd certainly seen the film enough times to be able to pontificate about it with confidence, and we both relished the opportunity to convey our adoration for it.

I hope you get a kick out of watching the movie with our commentary if you choose to do so, and that it adds something for those of you who, like myself, have lost track of how many times you've seen it. As with previous VoH DVD commentaries, simply sync up the movie with the commentary by (more or less) simultaneously starting our audio track and the movie itself on your DVD, in order to watch the film while you listen to us blabbing about it. You can find the audio embedded below, or head over the brand-new Vault of Horror DVD commentary podcast page and download it!

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TRAILER TRASH! Horror Comedy Edition!

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Three Decades of David: The Music of An American Werewolf in London

It's hard to believe that it's been 30 long years since John Landis' comic horror masterpiece, An American Werewolf in London, was first released to theaters in the summer of 1981. There can be no doubt that this film is one of the all-time greats of modern horror--or of all horror cinema, for that matter. And it deserves recognition during this lofty anniversary. Therefore, in the grand tradition of previous efforts here in the Vault, such as A Quarter-Century of Krueger and Psycho Semi-Centennial, I bring you Three Decades of David--a celebration of all things AWIL that will continue throughout the remainder of the year.

For this, the first installment of Three Decades of David, I'm taking a look at one of the most integral and memorable elements of An American Werewolf in London: The music. Short as it may be, the soundtrack to this film is one of the main reasons why it is so beloved to this day, and stands as one of the most definitive touches brought by Landis to the picture.

Carrying over a popular '70s device (arguably first introduced by Martin Scorsese in Mean Streets) Landis achieved a true masterstroke by introducing familiar 1960s pop tunes into his movie, dropping them into a scenario in which they would seem to have no business being, thus benefiting the film by their very juxtaposition. And yet as "out of place" as these tunes may seem to be, we all know the very simple, clever reason they were all incorporated: All the songs have one thing in common, the word "moon" in the title. And we all know the connection between werewolves and the moon, right? A very simple conceit, there can be no doubt. Perhaps too simple. But who can argue with the results?

Let's take a look at the five "moon" songs included in the film:

1. "Blue Moon" by Bobby Vinton
Played over the opening credits and shots of the ominous English moors during the daytime, this recording was made in 1963 by Polish-American crooner Bobby Vinton. It was already by that time a very well-known pop standard by the team of Rodgers & Hart, and the first of three versions of the song included in the movie. The beautiful melody and vocals would stand in jarring contrast to the shocking content soon to follow.

2. "Blue Moon" by Sam Cooke
The second of the three versions of Rodgers & Hart's 1934 classic to be included, this one is performed by the soulful Sam Cooke, and was recorded in 1960. I'll admit, I would have liked to have seen more varied "moon" songs included, rather than have the same one repeated thrice--"Moonglow", anyone? "I Wished on the Moon", perhaps? "Moonlight Becomes You"? Oh well...

3. "Moondance" by Van Morrison
The title song to Morrison's 1970 album of the same name, this very sexy recording is very suitably used to further dramatize the burgeoning romance between David and his nurse-turned-girlfriend Alex.

4. "Bad Moon Rising" by Creedence Clearwater Revival
Perhaps the most fondly remembered of all the recordings used in the film, this was arguably Creedence's most well-known tune (a #2 hit from their 1969 album Green River), used to lead into the breathtaking Rick Baker werewolf transformation scene. The light-hearted tone of the music, mixed with the ominous message of the lyrics, perfectly sum up the effect of the movie itself.

5. "Blue Moon" by The Marcels
And finally, we have the third and last rendition of "Blue Moon", the boldly reinterpreted 1961 doo-wop version by The Marcels, used by Landis over the closing credits. It kicks in just as we see David shot dead in the street by the woman he loves. Used in this way, the brash, buoyant (standard traditionalists might even say abrasive) vocals are utterly striking.

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It's the Bride of Blackenstein, Baby!

Classical Universal horror met '70 blaxploitation last night on Saturday Night Live, and the result was Bride of Blackenstein, featuring Jesse Eisenberg and Nicki Minaj. First Jim Carrey's hilarious spoof of Black Swan, and now this... I'm sensing a pattern here, Lorne Michaels--keep it up! Anyway, just thought I'd share this little video with you, Vault dwellers. It's certainly the perfect post for a lazy Sunday (oh wait, that's an entirely different SNL clip...)

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Having Some Fun with Dave Reda's HORROR OF OUR LOVE...

It's been described as a "horror romantic comedy short film that twists your normal love's story's back until it breaks," and that just about sums it up. A tasty little sendup of '80s slasher cinema crossed with MTV kitsch, Horror of Our Love is the kind of morsel that will bring a smile to any died-in-the-wool fright fanatic. Being one myself, needless to say, it left me tickled pink, with a goofy grin on my face--and I'm not even a fan of slasher flicks!

Shortly after we checked out the short flick, Captain Cruella and I recently had the pleasure of interviewing Zombie Dave Reda, director of Horror of Our Love (you can give that interview a listen over at Cruella's Crypt). And I have to say, I'm hard pressed to decide which was more fun--chatting it up with the hilarious Mr. Reda, or checking out his clever film.

The encapsulated tale of unrequited love between a Jason-like slasher (played by Reda himself) and a would-be final girl, Horror of Our Love is made with an obvious sense of love and admiration for the type of cinema being lampooned. As the strains of Ludo's song of the same name play, we are treated to our anti-hero's clumsy, and brutally violent attempts to win the heart of his lady. Needless to say, some serious splatstick antics ensue--and not to give too much away, but it all ends up leaving the viewer with a nice, warm fuzzy feeling. Kind of like Friday the 13th Part 4. Except not at all.

Horror of Our Love has been showing at a few film festivals, including Dances with Films last summer, and most recently, Liz & Brenda Fies' Bleedfest. The Captain and I were privileged to have an opportunity to check it out, and we hope that you get a similar chance sometime soon. Here's to more brilliant bits of horror comedy gold to come, from the twisted mind of Zombie Dave!

In the San Diego area for Valentine's Day? Check out Horror of Our Love as part of Miguel Rodriguez' Horrible Imaginings film festival on February 12, in which it will be screening alongside Bride of Frankenstein!

Dave Reda at Cruella's Crypt

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TRAILER TRASH! Vampire Comedy Edition!

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The Lucky 13: Week Five: Horror Comedies

This week in The Lucky 13, we take a look at one of my personal favorite sub-categories, the horror comedy. There's just something about horror in general that will often provoke a perversely humorous response in us, sometimes even when not intended. Maybe that's why it's so much fun when a horror film overtly embraces the humor that seems paradoxically inherent in the genre.

There are countless great horror comedies worth remembering , and I'd just like to tip my hat to several that have not been represented either here or at Brutal as Hell--gems like Abbott & Costello Meet Frankenstein, An American Werewolf in London and Shaun of the Dead. So many great ones to choose from, but here's a look at our personal favorites...

B-Sol on The Return of the Living Dead

Believe it or not, the film that truly sparked my lifelong fascination with the horror genre was ROTLD. It was the first modern horror film I had ever watched from beginning to end, and as I watched it unfold, I was filled with a combination of revulsion and fascination.

Like most pre-teen boys, I suffered from an acute lack of irony, which naturally led me to take the film quite seriously as pure horror. Almost all the comedy was totally lost on me, which makes it all the more fun to watch it now and be able to laugh instead of shiver. It's amazing how much I didn't appreciate back then.

For me, The Return of the Living Dead was a gateway movie, opening the door to so much more. My next stop was the Evil Dead flicks; then came George Romero; and the rest, as they say, is history. Funny how I saw ROTLD before even having seen the Romero movies they were partially spoofing. It's also pretty amazing to think that a movie that easily could've been a throw-away '80s shlockfest merely aping great horror films has come to be considered a great horror film in its own right, even worthy of being mentioned in the same breath as Romero's series.



Marilyn Merlot on Zombieland

So I have to admit when I first saw the preview for Zombieland, I wasn’t much of a fan, and already had decided I wouldn’t see it. I was never into spoofs of horror or horror movies trying to be comedies. Then I started to hear good reviews, and people saying how they really liked it. Now my interest was piqued. And in the end, it really was a perfect mix. Firstly, it had a great cast of characters, which is really what made the movie. A tough/bad ass guy; the nerd just trying to survive; and a pretty girl with edge to her.

What makes you laugh right from the beginning are the zombie rules you need to go by to survive. Those of us who have watched endless zombie movies know these really are important rules. Soon Columbus, played by Jesse Eisenberg, meets up with Tallahassee, played by Woody Harrelson. These two embark on a road journey, meeting up with two sisters, Witchita (Emma Stone) and Little Rock (Abigail Breslin). The group sets out together to try and survive the zombie holocaust. The ensuing hijinks include a notorious overnight stay at the Hollywood home of Bill Murray.

The whole thing winds up in an amusement park, which is the perfect setting to show off both the action and the humor that make the movie work so well. Columbus and Tallahassee's rescue attempt of Wichita and Little Rock is both very exciting and hysterically funny. By the end of the film, all these different characters come together as a dysfunctional family, Tallahassee finally gets his twinkie, and everyone hits the road together…



From Beyond Depraved's Joe Monster on Creepshow

It was within the darkened den of my uncle’s California house that I was first exposed to this film. The glow from the television set illuminated my terrified face. But no matter how great my fear was, I couldn’t keep my eyes from the screen. I jumped like a startled cat when the rotting hand of a corpse jutted from a grave. I shrunk back in terror as a pair of beastly eyes stared out from the darkness of a crate. I got goose bumps as I imagined an army of carnivorous cockroaches crawling up and down my arms. Despite all these feelings of anxiety and shivering fright, I couldn’t deny one thing… I was having an incredibly fun time.

The beauty of Creepshow lies in its ability to illicit both screams and laughs from the viewer’s mouth. In my belief it stands as a true definition of the term “horror comedy”; it contains terrifying scenes that genuinely scare you, but the entire time you sense that the film’s tongue is firmly planted in its rotting cheek. It’s gallows humor with the highest quality noose. You may squirm at the sight of a stinking cadaver trudging through a misty graveyard, but then you’re tickled pink the moment it opens its skeletal mouth and gurgles “I want my CAAAKE!” I’m giggling just reminiscing about it.

Creepshow is a work of deep-rooted love for the genre, a valentine to horror fans and readers of the four-color terrors of yesteryear. The set design and lighting, with its garish reds and blues, gives this awesome anthology the authentic feel of an issue from E.C. Comics taken straight from the newsstands of the 1950s. It includes all the common stories that used to adorn those pages: ironic vengeance from six feet under, evil doers getting their just desserts in the form of their greatest fears, and Adrienne Barbeau getting her bitch face munched off by a furry crate critter! The film also has a dream team of horror luminaries working behind it. George Romero directs the ghastly proceedings, Stephen King provides the highly entertaining tales (and a lunkheaded performance as a mutated farmer), and Tom Savini showcases some of his best makeup work, with reanimated corpses and cuddly monsters.

As the years go by, my respect and love for this film increases with every viewing. I can sit down and watch it, no matter what the time or occasion. It’s as infectious as a zombie bite, its demented glee spreading to the dark cockles of one’s heart almost as quickly as Jordy Verill’s unfortunate gardening problem. From the unforgettable opening piano score to the last frame of revenge by voodoo’s pin, you’ll feel like you’ve finally come home to the ghoulish hilarity that’s escaped you for so long. After all, it’s the most fun you’ll have being scared!



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Head over to Brutal as Hell to see what Marc Patterson and his crew have come up with. And if you're interested in taking part in the future, just give Marc or myself a holler.

Week 1: Grindhouse & Exploitation
Week 2: Creature Features & Monster Movies
Week 3: Demons, Witches & The Devil
Week 4: Gore!

Join us next week as we turn our attention to perhaps the most pervasive movie monsters of them all: Vampires!

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ATTACK OF THE VEGAN ZOMBIES!!!

A Review by BJ-C

Back when I was just a wee little board whore on Bloody-Disgusting, I kept making a mention that there was potential business in a naturalized zombie outbreak that hadn’t been tapped into quite yet. However, thanks to first-time director Jim Townsend (and B-Sol), I finally got to see it put into motion! When a married couple’s farm produces yet another year’s worth of spoiled crop for wine production, the wife Dionne goes to her witch mother. Literally, she’s a witch. While Dionne has left behind her bewitching family craft, her mother helps cast a spell in order to save the next year's crop.

While most zombie freaks expect infected primates or crazy voodoo, with Attack of the Vegan Zombies we are given an entirely new origin for the undead. The ritual to save the crop required human blood and without a warning, the husband was volunteered. Well, the man lives on a vineyard, so what do you think was coursing through his veins? Dionysus would have been extremely proud of our husband character. Simpler terms? HOMEBOY WAS WAAAASTED. The crop comes in seemingly well, despite the unknown blood alcohol level. The crop is then harvested, new characters are introduced in pairs, vines go insane, and undead chaos ensues. I must make mention that the film has killer vines that attack like something out of a Sam Raimi forest. Literally.

However, the undead chaos isn’t exactly what you may expect. While the typical zombie is used to gnawing on human remains and slurping up brains, the zombies from the mind of Jim Townsend are of a higher class, if you will. They don’t want to eat brains and remains, but alcohol within your blood? That’s more like it.

The gore is kept to a minimum, there’s a lesbian scene that SO could have been longer, and the makeup on the zombies could've been applied using the contents of a crayola box. While I’m normally the one to complain about bad makeup, this is a film in which they weren’t trying to impress us; rather, they just added crappy green makeup and went on with their lives. A ballsy move, but I get it.

The film itself is quite enjoyable, but it is clearly an independent film. Most of the acting is downright painful, and the editing could really use some tweaking, but that almost adds to the film’s charm. Plenty of scenes absolutely scream "b-movie tribute", but there’s also a touch of spoof and monster flick tossed in for good measure. As much as the film is a b-movie, I regret to inform you that there is only one nude scene. Sorry, kids.

The film is extremely predictable, and it’s supposed to be. Those involved are clearly in on the joke, and it makes the film twice as enjoyable than if you take it too seriously. Fans of the dialogue of Army of Darkness will enjoy the script, and fans of “good-bad” movies will eat this up.

I’m not going to lie to you and tell you this is the greatest independent, low-budget b-movie ever made. I will tell you that if you’re into really obviously ridiculous films, you’re in for a treat. I’m one to always admit that I love “shitty” films, but not because they’re awful, just because they’re not trying to be something they’re not. Attack of the Vegan Zombies isn’t trying to change the zombie genre, and it’s not trying to reinvent the b-movie sub-genre. It just is what it is, and I respect the film for it.

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Lesbian Vampire Killers: More Than Just a Great Title

[Editor's Note: I'd like to welcome The Vault of Horror's newest contributor, Paige MacGregor of Fandomania, who joins us for the first time with a review of that recent UK horror comedy with the hard-to-miss name...]

In true buddy movie fashion, Lesbian Vampire Killers follows a pair of friends as they set out on an adventure into the wilds of the British countryside. After Jimmy’s “serial dumper” girlfriend Judy breaks up with him for the seventh time, Jimmy’s best mate Fletch—recently canned from his job as a clown—convinces Jimmy to go on holiday with him in order to forget about Judy (Lucy Gaskell).

Given their limited resources, Fletch and Jimmy set out on a hiking trip, leaving their destination to chance, and wind up in the small village of Cragwich. When the townspeople send Fletch and Jimmy to a nearby cottage, where they’ve already sent four gorgeous female university students also visiting the village, the two think they’re in for the time of their lives. Unfortunately, their weekend of debauchery is over almost as soon as it begins when the girls--Lotte (MyAnna Buring), Anke (Louise Dylan), Heidi (Tiffany Mulheron), and Trudi (Ashley Mulheron)--start mysteriously disappearing.

Lesbian Vampire Killers follows the traditional horror-comedy formula of movies like Shaun of the Dead, using exaggeration, comedic timing and over-the-top effects to poke fun at the stereotypes used in the horror genre. The film’s premise is a purposely ridiculous one, based on the idea that a powerful lesbian vampire queen named Carmilla (Silvia Colloca) cursed the village of Cragwich hundreds of years earlier, causing each of the girls in the town to turn into a lesbian vampire on her eighteenth birthday.

As is often the case in film, there is only one individual capable of killing the vampire queen once and for all—the last male descendant of the knight who initially killed Carmilla all those years ago—and it is that same individual whose blood can resurrect the vampire queen, making her more powerful than ever before. As those viewers familiar with this formula can imagine, it just so happens that one of our male protagonists is that particular individual, and it just so happens that he ended up in the village of Cragwich.

Each of the characters featured in the film represent an exaggeration of a traditional stereotype, from the exceptionally slutty stoner chick Trudi, to the overzealous village Vicar (Paul McGann) and his daughter, the soon-to-be-eighteen country beauty Rebecca (Emer Kenny). The way that Lesbian Vampire Killers’ plot hinges on these exaggerated character types, and on coincidence, does not take away from the film (as it might in a more serious genre,) but rather adds to its comedic nature.

As previously mentioned, Lesbian Vampire Killers functions very similarly to movies like Shaun of the Dead, but the combination of the dialogue provided by the film’s writers, Stewart Williams and Paul Hupfield, and the antics and repartee of actors Mathew Horne (Jimmy) and James Corden (Fletch) actually elevate Lesbian Vampire Killers beyond Shaun of the Dead and similar films, in my opinion. There are far more laugh-out-loud moments in Lesbian Vampire Killers than in any of the other British horror-comedies I’ve seen, making Lesbian Vampire Killers a must-watch for fans of the genre.

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TRAILER TRASH: Zom-Com Edition!

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Hump-Day Harangue: Harold Ramis, I'm Ready to Believe You

The confirmation seems to have finally solidified. Writer/producer/actor Harold Ramis, also known to fans as Dr. Egon Spengler, collector of spores, molds and fungus, has officially declared in an interview this month with Heeb magazine that the third film in the Ghostbusters franchise will lense next summer, with a 2011 release date planned. And I couldn't be happier.

Here's part of what he had to say:

Something's going to happen. Dan [Aykroyd] did write a spec GB3 screenplay a few years ago, but no one was motivated to pursue it. Now, 25 years after the original, there seems to be some willingness to proceed and apparently a substantial public appetite for a sequel. We'll introduce some new young Ghostbusters, and all the old guys will be in it, too. Think Christopher Lloyd in Back to the Future. [not sure what the heck that means]

Granted, I think I have a bit of a sunnier outlook on all these latter-day continuations of '70s/'80s franchises than some. While we can all agree that--with the exception of the second half of Revenge of the Sith--the Star Wars prequels were utter abortions, I wouldn't say the same, for example, about Indiana Jones and the Kingdom of the Crysytal Skull, which, although it was no Raiders by any means, I got a kick out of. I also geeked out hardcore to Bryan Singer's Donner-faithful Superman Returns, and was utterly blown away by Stallone's return in Rocky Balboa.

So, why not the Ghostbusters? As a kid, it was my favorite movie, hands-down. And while the sequel was one of the major letdowns of my young moviegoing years, I've still always held out hope that a superior third installment would happen. I even remember getting excited some years back thanks to rumors of a new GB flick that would include Chris Farley and Chris Rock amongst the new generation. Sadly, that never came to pass.

But now, this. Ghostbusters fever has been growing lately, as the '80s generation is now at the height of its decision-making power in Hollywood (see Transformers and G.I. Joe. Well, on second thought, don't.) We've seen major excitement this year surrounding just a new video game using the original cast members, so it was a no-brainer that interest would resurface in a Ghostbusters 3.

The optimistic part of me believes that with this many people involved--quality individuals mind you, the Murrays, Weavers and Reitmans of the world--it would have to be an impressive project to get them all on board at all (although I can hear the Crystal Skull haters chiming in on that one). Still, I particularly feel this way about Bill Murray. The guy has gone on to be such a bigger deal than he was even then, and has a rep for choosing solid roles. He has nothing to gain by being part of a lackluster sequel, and I'd bet he was the toughest one to convince to take part at all. So it gives me hope that he'd consent to be involved.

What also gives me hope is a very interesting tidbit of information leaked earlier this month. It's divided the fan community, but you can count me among the intrigued. Apparently, while promoting Avatar to the press, Sigourney Weaver let slip that in the new movie, Dr. Peter Venkman will be... a ghost.

If you've been monitoring the news, then that's no news to you, but I have to say that it has me more jazzed than ever. Talk about throwing the status quo out the window and going all-out! With Venkman as a spook, this will definitely be no by-the-numbers nostalgia-driven reunion movie. This is something different, unique, and interesting. This shakes things up.

What will be the dynamic? Will he be at odds with his fellow Busters since crossing over to the other team? Will he still be a part of the team, even in phantasm form? What, if anything, will be his relationship with Dana, and their son Oscar--who, at this point, is rumored to have grown up to be one of the famous paranormal investigators and eliminators?

Add to this the fact that the guys behind the American version of The Office are penning the script (possibly based on Dan Akroyd's older treatment?) and this is shaping up to be something of a potentially highly entertaining nature. It's been two decades since the boys in gray donned their proton packs (unless you count Ray Stantz' 1995 cameo in the Casper movie, which I sure as hell don't), and I'm more than ready to welcome them with open arms.

Back off man, their scientists.

From the Vault archive: My picks for the young Ghostbusters...

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High Anxiety, You Win: Mel Brooks' Masterful Hitchcock Spoof

Ask someone to come up with the unassailable Mel Brooks' classics, and the names you're most likely to hear are Young Frankenstein, Blazing Saddles and The Producers--three bona fide gems, no question. But one movie from the same early Brooks period which has not taken its rightful place among those greats is his absolutely superb parody of Alfred Hitchcock thrillers, High Anxiety.

To even call it a parody does it a disservice--it's actually a loving tribute, an homage. Yes, it helps to have a knowledge and understanding of Hitchcock when watching the movie, but it remains hysterically funny and very well written, even if you don't know criss-cross from apple sauce.

I had the pleasure of re-watching it again recently for the first time in many years, and I was completely taken aback by how excellent a comedy it is. For my money, it's completely at the level of the other ones previously mentioned, yet never seems to get the recognition it deserves. Some of that may be due to the fact that Brooks' other thriller/horror spoof, Young Frankenstein, is such an unquestioned classic that it's caused people to overlook this other Mel Brooks thriller comedy.

I would contend that Brooks lost a lot of steam as the years and decades wore on, and some of his later material I don't find funny at all. I think he usually works best when he has someone just as talented to collaborate with--remember he had the brilliant Gene Wilder with him for Producers, YF and Blazing Saddles. With High Anxiety, as the previous year with Silent Movie, he was more or less striking out on his own--although he did have two brilliant TV writers, Ron Clark (Smothers Brothers Comedy Hour) and Rudy De Luca (Carol Burnett Show) working with him, as well as future Oscar-winning director Barry Levinson.

Perhaps it was the lack of Wilder that caused High Anxiety not to attain the rarefied heights of its three predecessors. Nevertheless, I was very pleasantly surprised to be reminded just how great High Anxiety really is. The story goes that Brooks actually asked Hitch to be in the movie, but the legendary director politely declined, explaining that he only cameos in his own films. Still, it's reported that Hitchcock did indeed see the movie, and absolutely loved it.

Brooks himself takes the lead role--unlike with the three earlier classics--and is a study in understated straight-man comedy as Dr. Richard Thorndyke, the put-upon new director of the Psychoneurotic Institute for the Very, Very Nervous. It isn't typical for him to play it straight, yet he does it perfectly, almost appearing to be an actual lead character from a Hitchcock film, dropped into the madcap chaos of this parody--which is exactly the point.

Then there's that classic vintage era Brooks supporting cast. The late, great Harvey Korman as the masochistic Dr. Montague; Cloris Leachman, just as terrific as she was in Young Frankenstein as Frau Blucher, here as the sinister Nurse Diesel; Madeline Kahn, who in hindsight was clearly one of the finest comic actresses of all time, as prototypical Hitchcock vamp Victoria Brisbane. These people are excellent, and all click to form one of the great ensemble comedy casts.



Brooks can be erratic with his scripts, and some of his later material in particular falls flat. Not so here. This is a comedy screenplay filled with one gem after another. Again, not as well-remembered as some other Brooks movies, but so many great lines:

"What a dramatic airport!"

"I got it! I got it! I got it!... I ain't got it."

"That kid gets no tip."

"Professor Lil' Old Man!"
"Lilolman! Lilolman!"

"I beeped! I beeped! Take me away! Take me back to Russia! Put me in irons! I beeped! The mad beeper is loose!"

"You're the cocker's daughter?"

"Are we talking about number one, or cocky-doody?"

As I said, this is actually more than just a straight-up parody--it's a love poem to Hitchcock. Not only are his characters and plot situations referenced, but so is his style of lighting, editing and camerawork. At times it's pretty amazing, and this is also where it does pay a little to be a Hitchcock fan. The downward shot from the ceiling during which all the characters suddenly look up; the shot from underneath the glass table, as Korman and Leachman keep placing plates and cups down, blocking the camera; and of course, the creeping zoom shot in which the camera literally breaks through the fourth wall. Brilliance.

Did I mention that, during Thorndyke's hotel stay in the movie, he is granted a room on short notice thanks to the sudden cancellation of another occupant? The occupant's name? Mr. McGuffin.

Then, of course, there are the specific spoofs, peppered throughout. After YF, Brooks made movie spoofs his bread and butter, and some would argue they got a bit stale later on. But here he truly is at the height of his powers, parodying moments from Hitchcock that are genuinely clever and laugh-out-loud funny.

The take-off on The Birds in which the avian creatures shit all over a fleeing Thorndyke may be obvious, but no more so than the campfire fart scene in Blazing Saddles--just as funny, but far more legendary. And of course, the overarching parody of most of the movie is of Vertigo, the Jimmy Stewart featuring a guy who's afraid of heights...



You just knew that Psycho, Hitchcock's most famous film, would be targeted, and boy does Brooks make the most of it, with a very well-staged and paced scene. A young Barry Levinson plays an exasperated bellboy, who, after repeated requests for a newspaper, barges into the bathroom while Thorndyke is showering, and proceeds to "stab" him repeatedly with the rolled-up paper. The shower scene itself is copied almost shot-for-shot, with all the angles duplicated. Levinson's high-pitched screams of "Here's your paper!!" actually reference the screeching violins of Bernard Hermann's unforgettable score. And of course, we close with the ink pouring down the drain like blood. Genius.

But my personal favorite spoof scene has always been the death of Dr. Wentworth, played by Dick Van Patten. A takeoff on a scene from Hitch's last film, Family Plot--released the year before--it features Van Patten struggling to escape from a car while the world's most annoying rock song blares over the car stereo, until his eardrums explode. This ludicrous scene always cracks me up the most, and best of all, Brooks actually composed the rock song! ("If you love me baby, tell me LOUD! LOUD!")

Speaking of this, we all know now that Brooks has an ear for music given the success of The Producers on Broadway, but it really should've come as no surprise, as the guy has composed tunes for almost all his movies. Here we also get the eminently hummable "High Anxiety" theme itself, performed by Brooks in another of my favorite scenes--in which he puts over a Frank Sinatra impression that manages to be amusing, yet not over-the-top. An extra bonus for a Frankophile like myself...



As always with Brooks, part of what makes this movie so damn funny is his distinctly "New York Jewish"sense of humor. Some have no taste for Brooks because this style of humor has no appeal to them; others may find it dated. But here, it works so well precisely because it is so out of place in a Hitchcock-like setting. Take, for example, Brophy, the cartoonish chauffeur with the Brooklyn accent--a guy like this would never show up in a Hitchcock movie in a million years, yet here he is, looking like he just walked off the set of an Abbott & Costello movie.

And then there's the phenomenal airport security scene, which gets funnier every time I see it. Here is the one time the Thorndyke character breaks from the straight-man role, as Brooks and Kahn disguise themselves as an elderly Jewish couple trying to get through security. This is the one scene that resembles nothing at all from Hitchcock, and is instead Brooks gone wild. You can tell that he and Kahn were ad-libbing and playing off each other quite a bit here, and it is a testament to their collective comedy chops how well they pull it all off.

If you're like me, a Mel Brooks fan who hasn't checked this one out in a while, do yourself a favor and re-evaluate it. If you're a Hitchcock lover who's never seen it, give yourself a treat and watch it. It's one of Brooks' very best, and belongs right alongside Young Frankenstein as another loving tribute to the horror/thriller genres.

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