Tag Archives: Movies

Alpha Video’s Sons of Kong DVD Set (2005) Review

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Look, y’all know I loves me some King Kong, and with a brand new Kong epic hitting US theaters today (Kong: Skull Island, for the three of you that have apparently been holed-up in that sad, makeshift tree fort in your backyard for who-knows-how-long), what say we take a look at an artifact from the last time a brand new Kong epic hit US theaters? That was Peter Jackson’s 2005 remake, for the six of you whose accumulative memory has failed the past 12 years.

I saw the 2005 remake in theaters, and I liked it quite a bit. Super long, yes, but it was a film that, I feel, did justice to the 1933 original in a way that the 1976 remake did not. (The jury is still out on 1998’s animated The Mighty Kong, mainly because I haven’t seen it.) It wasn’t better than the ’33 original, but then, few movies are. Still, as far as remakes go, 2005’s King Kong was a winner, in my opinion.

And beyond the film itself, there was the merchandising. It wasn’t a little either; it was a lot. Sure, there was the officially-sanctioned stuff, but like any good blockbuster, companies the world over came out to get in on the action. It happened with 1998’s Godzilla remake (we got a lot of cool ‘stuff’ from that flick, including plenty of fresh new video releases of old Godzilla outings), and needless to say, it happened with Kong ’05, too. I haven’t been paying much attention, but I imagine it has happened, or will happen, with Kong ’17, as well.

Longtime readers will know that some of my favorite DVDs aren’t the high-end ones accompanied by a monster-sized (see what I did there???) promotional-blitz, but rather, the budget issues. That is, the single-disc or compilation sets that find a life in bargain bins for $1, $5, $10, whatever, and happily stay there for the duration. Typically consisting solely of public domain fare, these DVDs may not have the panache of major label issues, but where charm is concerned, baby, it’s off the charts. Well, sometimes, anyway.

Back in 2014, we looked at a budget Gamera DVD set that found a shelflife-spotlight during all the hoopla that was the ’14 adaptation of Godzilla, and this past July, I babbled incessantly about my love of Pop Flix’s 8-movie Bela Lugosi set. And now, I’ve got another DVD collection that reaches the upper-echelon of my personal “budget favorites,” and boy is it a doozy: Alpha Video’s 2005 release of Sons of Kong, a 10-movie collection that does proper service to the big legendary ape, despite not actually featuring the big legendary ape. Rest assured, if you were to capitalize on Peter Jackson’s King Kong via old, ape-themed movies, this is the way to do it.

That’s it above, before I wrestled it from its shrinkwrap prison. It’s a double-wide DVD case, housed in cardboard slipcase, featuring some impressively cool, lightning-tinged artwork and a 3-D gimmick so awesome that it automatically ranks this set above 99.9% other budget compilations. (Heck, it automatically ranks it above most “big time” DVDs, too.) Frankly, I can’t believe it took me the better part of 12 years to pick this up, because based on looks alone, this is quite obviously a must-have. Hey, better late than never, and trust me, you’ll need this in your life too, if you haven’t done so already. Read on!

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Alpha Video put out some neat stuff in the VHS years, but man, they’ve been positively amazing in the DVD era. As I described in a review this past September, they’ve been responsible for issuing to the general public (on legit factory-pressed silver discs, no less!) a ton of movies that in previous years were pretty much the sole domain of specialty video dealers – if they were available at all. I am constantly amazed to discover what they’ve put out on DVD, and at terrific prices to boot!

In this particular set, there are 10 ape-related films, and while half of them are veritable staples of the public domain, the other half are not as commonly found. They’re all welcome though, and to have them in one concise, Kong-themed package, that’s just awesome. Take a look at that line-up above, though we will go disc-by-disc in just a bit. Put on the brakes amigo, we’ll get there.

On a semi-related note, Alpha gets my everlasting thanks for not including King of Kong Island. I hate that movie; it’s not fun-bad, it’s just bad, and since it’s public domain, it’s pretty much everywhere. I initially thought it was a lock for a set like this, though much to my delight, it was excluded. Instead, the featured films span from the 1930s to the 1950s, some horror-themed, some jungle-themed, some both. Bela Lugosi shows up in three of them, Boris Karloff in one, Dixie from Emergency! is here, Buster Crabbe makes an appearance, and Lon Chaney Jr. and Ironside are also in attendance. When it comes to star-power, Alpha nailed this one.

“Hey, where’s King Kong, man?”

King Kong is not a public domain film, and thus the chances of it showing up on a set like this are effectively less than nil. The title of the set links it to Kong, or at least the idea of Kong, but it doesn’t state Kong himself will be there. Dig?

“So no Son of Kong either, then?”

No, that’s also not public domain. I can see some confusion there, as King Kong‘s sequel was, you know, titled Son of Kong, but this is the Sons of Kong, with the “sons” obviously being in a figurative sense.

I only mention all this because there’s usually that one person that asks “where’s so and so?” with sets like these; not everyone gets the budget, public domain thing, I know. At any rate, Alpha did a great job of definitively playing into the hype of Kong ’05 without making false promises. As a tie-in, you couldn’t ask for a cooler piece! And speaking of cool…

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LOOK AT THAT!

The cardboard slipcase and the DVD case itself share the same artwork, but the slipcase features one of, maybe even the, coolest gimmicks I’ve ever seen in a DVD set of this nature: the cover opens up to reveal a 3-D pop-up image of the artwork! That’s awesome. You just don’t see companies go that extra-mile with compilation sets like this very often; it really does give the whole package a mighty, Kong-ish vibe! Sure, there was that sticker on the shrinkwrap (scroll back up and see!) that promised this feature, but I had no idea how neat it would be until I saw it for myself!

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The DVD case itself is a sturdy, double-wide deal, with disc one housed on the left, and discs two and three overlapping each other on the right. Also included is a warranty card of some sort and a big thick catalog of other appropriate Alpha Video titles that seriously gave me flashbacks of the old Sinister Cinema catalogs I used to thumb through endlessly.

I really like that Alpha went with single-sided DVDs; with movies like these, the dreaded double-siders are often the case. Even though two of the discs feature three per, and one has four, and thus some compression is probably a danger, I still prefer this method to double-sided discs. I hate double-sided discs. Though not as much as King of Kong Island.

Also, the disc fronts are eye-catching, with nice colorful artwork. They look good!

Each disc kicks off with a cool menu featuring the ape artwork from the cover, tabs for the movies themselves, and a tab for Alpha’s movie catalog. It’s a simple, but attractive, menu.

As you’d expect of a set like this, the sound and picture quality varies from film to film, but all are watchable, and some are surprisingly sharp. Alpha does have their I.D. ‘bug’ somewhere on-screen for the start of each feature, but that’s not a big deal; when you’re dealing with public domain movies, you don’t need some clown copyin’ your material scot free and all willy nilly, after all.

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See, Mantan Moreland. Did you think I was lying? I wasn’t.

DISC ONE: Unfortunately, this is the disc I’m least familiar with, and I haven’t had time to fully digest it as of yet. It’s apparently the most “jungle-y” of the set, however, with White Pongo, The Savage Girl, and Law of the Jungle being the three features. White Pongo, as you may surmise, is about a mythical “white gorilla” (not the last time that idea will be found in the collection), The Savage Girl is basically “female Tarzan,” and Law of the Jungle is a wartime comedy featuring Mantan Moreland (look to the right if you don’t believe me), so you just know it’s full of wildly outdated humor.

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Nabonga = Gorilla. Update your diaries accordingly.

DISC TWO: Nabonga, The White Gorilla, The Gorilla, and Bride of the Gorilla are the four features of the second disc. I’d call it the most “gorilla-y” of the set, but that’s only because I just had to type the word “gorilla” 9000 times while listing the contents; I don’t think it’s really any more gorilla-y than the rest of the collection. Nabonga, a word which evidently translates to “gorilla” (as per the title screen; left), features Buster Crabbe, Ray “Crash” Corrigan, and, would you believe it, singer and Emergency! star Julie London! Cool winnins! As for The White Gorilla, somewhere in the back of my cluttered mind I recall it being an infamously bad movie, and thus one that I need to spend some actual time with here. The Gorilla is a Ritz Brothers comedy featuring Bela Lugosi that, frankly, I’ve just never been that fond of. But Bride of the Gorilla (with Lon Chaney Jr. and Raymond Burr), I go way back with that one; that was the movie shown when The Ghoul blew up my Fantasy Mission Force tape! It’s sort of a play on the werewolf theme, but, you know, with an ape. And Perry Mason.

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Not exactly Bela’s most esteemed work, but it IS fun…

DISC THREE: The third and final disc is my favorite; there’s only three movies on it, but it’s a powerhouse three. Relatively speaking, anyway. It kicks off with the poverty row Boris Karloff opus The Ape, a movie I also go way back with. I taped it off AMC (back when AMC showed these kinds of movies!) many, many years ago. It wasn’t quite what I was expecting (I think I was hoping for more of a King Kong knock-off, instead of the killer-ape-who-Karloff-makes-a-suit-out-of horror film), and thus I didn’t really dig it, though it has grown on me over the years, largely due to Karloff. After that, there’s Lugosi’s The Ape Man (right), which you know is a flick I love, as per my previously-linked Lugosi DVD set review. And to finish the collection off, Bela Lugosi Meets a Brooklyn Gorilla, also one I looked at in that previous review. It’s a painfully-stupid-but-entertaining-nevertheless horror/comedy featuring a fake Martin & Lewis team, with an ending so dumb you’ll be tempted to sit right down and sob.


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There it be, Alpha Video’s Sons of Kong DVD collection: 3-D slipcase, stylin’ double-wide DVD case, and painfully cool artwork. A proud new addition to my collection! What a neat set! Simply put, you just don’t see budget collections of public domain material presented as regally as this one; Alpha totally went above and beyond, and they absolutely knocked it out of the park. Even if the movies themselves are only sporadically “Kong-like,” the treatment given to them here feels appropriately larger-than-life. There were a lot of tie-ins to the 2005 remake of King Kong, but as far as I’m concerned, Alpha was one of the closest in doing justice to the Kong mythos with this collection – and the real Kong doesn’t even show up on it! That Alpha could pull this off is something to be celebrated. Now, nearly 12 years after it was first released and with a new Kong movie now upon us, it still feels special, and somehow, despite the material presented, fresh.

I heartily recommend Alpha Video’s Sons of Kong, and should you want your own copy (and you really should), they can still be had brand new (and currently very, very cheap) on Amazon. Get yours here and now!

Pop Flix’s Bela Lugosi Horror Collection DVD (2009) Review

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I simply can’t resist certain budget DVD sets. Throwing together a bunch of public domain movies in one ostensibly comprehensive collection for $5-$10? I’ll have at that all day. Granted, I draw the line at newer, no-budget, no-name horror/sci-fi/action collections, because I really, really don’t care. But compilations featuring classic movies and TV shows? Those are a severe weakness of mine. And I’m just fine with that. Just by taking a cursory look at the blog, it goes without saying that a premium is placed on those spotlighting the classic horror and sci-fi film genres.

In that arena, we saw TGG Direct’s 3-disc Japanese Monster Movies set a bit over two years ago, and nearly a year ago (almost a year already?!), we looked at Mill Creek’s The Best of the Worst, supposedly featuring the definitive worst movies ever made. Both of those comps were, and are, fun, and I continue to be fond of them. But our subject for today, this release, it’s just outstanding. I love it so much, and it was so cheap, that I seriously bought another copy just to keep sealed for collecting purposes. Not that I think it’ll really be worth anything in the future, but it’s so unabashedly cool, that having both a “watch” copy and a minty sealed fresh collectors copy, it just seemed right. No kidding, this may be my favorite “budget DVD set” ever, and I don’t say that lightly (I’ve got far more of these things littering my DVD collection than I care to admit).

Why the extreme infatuation? Because this set is dedicated to one of my top movie heroes, Bela Lugosi, that’s why! Released in 2009 by Allegro’s Pop Flix division, it’s an eight-movie collection primarily consisting of Lugosi’s 1940’s poverty row output, plus brief excursions into his 1930s and 1950s output. In other words, it’s a ridiculously entertaining set.

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Now granted, this isn’t exactly a revolutionary release. Most of the movies here are entries in Lugosi’s oeuvre that were made during his “B-Movie Period,” and subsequently lapsed into the public domain. (White Zombie being somewhat the exception; it’s the latter, but not the former.) That is, there’s been no shortage of DVD (and before that, VHS) editions out there, sometimes of individual titles, sometimes of compilations like this one. On that front, there are budget DVD sets that include far more of his public domain stuff than this one does.

So why do I like this one so much? Well, there’s something to be said for a clean, concise package, and as far as I’m concerned, that’s exactly what this is. It’s obviously up to individual tastes, but for me, Pop Flix has left out a lot of the “chaff,” and kept a fairly strong line-up. As far as PD Lugosi flicks go, there’s really not a dud in the bunch. Sure, some are better than others, but all are entertaining. Personally, there’s not a “man, skip this crap” on here. And it all stars Lugosi – you just can’t beat it!

Plus, I just really like the Pop Flix label in general. Their packaging, while still obviously in the “budget tradition,” is always clean and attractive (our subject above is a good example – kinda classy lookin’!), and they tend to give you a lot of bang for your buck. These sets generally run between $5 to $10, and even at the extreme of $10, you get your money’s worth. Because they specialize (?) in PD material, image and sound quality will of course vary from feature to feature, but I’ve never seen anything unwatchable put out by them. Indeed, in my experience, you’re usually better off going with Pop Flix. They get my thumbs-up, and as we all know, my thumbs-up are of tantamount importance.

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There’s our line-up, and like I said, not a dud in the bunch. I love the inclusion of original poster art by each title, and the synopsis’ are, by necessity, short and to the point. My only complaint? I wish they would’ve added the original release date of each movie to their respective entry.

“Hey, where’s Dracula, man?!”

It seems that’s a pretty common question whenever these releases are brought up. It’s a little amusing until I remember not everyone pointlessly knows the ins-and-outs of wildly obsolete films like I do. No, Dracula is not on here. Dracula will never be on here. These are public domain features; those without a valid copyright and thus can be distributed by anyone and everyone without having to pay a penny for the rights. Dracula is not public domain, nor will it ever be; Dracula is a Universal flick, and Universal doesn’t exactly play fast and loose with their film rights.

(Besides, whenever I want to watch Lugosi’s Dracula, I’ve got my official releases, I can wait for Svengoolie to run it again, or, you know, I can go the Superhost route.)

To be honest with you though, Dracula really wouldn’t fit here; Dracula is almost too good, too big budget, to work with this line-up. It would look like the one ‘real’ film and then a whole bunch of filler. The exclusion of Dracula (not that it ever had a chance of inclusion) allows these to stand on their own; most of them are fun, low budget, poverty row films from a period when Lugosi was down and needed the work. These kept his name on posters and money in his pockets, and no matter how outlandish the material, he always gave the performance his all. His presence can (and does) take a movie that would be a waste with most any other actor, and utterly transforms it. This set is excellent in demonstrating that.

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Again, I like how concise this whole thing is. Eight movies, spread over two discs, and both are good. Sure, like any of these compilations, there’s a film or two that could have been subbed out for something you’re more fond of (I wish Scared To Death was on here, for example), but it’s hard to complain about what is included. None of these are masterpieces, but they’re all wildly entertaining, and with most only clocking in at a bit over an hour, watching more than one in a single sitting is totally doable, especially at only four films per disc.

Rather than go with some mini-digipacks or a double-wide case or some such nonsense, both discs are housed in a single standard DVD-case, one per side. I like that. Doesn’t take up any extra space on a shelf, while still retaining the clean, attractive design of the whole thing. I dig it!

So, what about the picture and sound of the collection? Like I said before, and like any of these sets, they’re both going to vary from feature to feature. Now, if you scroll back up to that front cover, you’ll see the claims of “Digitally Re-Mastered” and “Sound Enhanced.” Sound-wise, this set actually exhibits pretty good sound quality. I’m not sure what exactly “Sound Enhanced” entails, but I could hear everything, which isn’t always the case with thousand-year-old movies like these.

As for the picture, it definitely varies, but it’s uniformly watchable. Oddly enough, the whole thing appeared considerably clearer and sharper when viewed on my old CRT TV than it did when taking the forthcoming screencaps on my PC. I’m not sure where the variation falls, or what the true representation of quality is, but either way, you’re still getting your money’s worth. Besides, these are the kind of films that really should be viewed on a good ol’ CRT TV – seems so much more ‘authentic’ that way.

Speaking of authenticity, the prints used do indeed exhibit dust, dirt, scratches, splices, and so on throughout. Occasionally the picture is too dark or too light. These were digitally remastered in some way, perhaps, but don’t let that fool you into thinking these prints look substantially different from other budget releases. And guess what? That’s a good thing; it totally plays into the vibes of the set.

“WAIT, you don’t want these as HD restored Blu-rays and whatnot bro?” Look, that’s missing the point. Okay, yeah, restored and cleaned up is of course always nice (Kino’s big deluxe The Devil Bat is definitely on my want list). But, with a collection like this, mainly representing Lugosi’s poverty row period, all the scratches and crackles and splices, they just totally evoke watching this or that at some local theater back in the 1940s or on some local UHF TV station decades ago. Clean these up all you want, it’s understandable and necessary, but there’s something to be said for being able to see the accumulated trips through the projector these prints took for who knows how long. Pristine? Not at all. Fun? Definitely. Evocative of the time period they came from? Absolutely.

But maybe that feeling is partly nostalgia on my behalf. Y’see, this set reminds me of my discovering these films and others like them back in the late-1990s, often via WAOH TV-29 and Son of Ghoul. As much as I anticipate watching Kino’s cleaned up The Devil Bat, I don’t think it’ll give me those same “old school vibes.” Sure, most of the prints that introduced me to this stuff back in the day weren’t that great, but I didn’t care; I was seeing a new-to-me old horror or sci-fi flick, and that “vintage cinema feeling” was just part of the fun. This DVD collection has that feeling in spades. (Plus, would you really expect a budget DVD collection to feature immaculate-looking film prints?)

Am I making any sense at all here? No matter, because with all that said, we come to the actual content of the collection…

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The main menu for each disc is basically the same, with only the movie selection changing (“gee, you don’t say!”). Clicking on any title will bring you to another menu with options to play or select a scene, plus a bit of poster art. Don’t go in expecting audio commentaries or deleted scenes, alright? You’ll get your scene selection and you’ll like it! Like the packaging itself, the menus are clean and to-the-point. I dig the bluish/purplish color scheme.

So, the first disc. It’s really good, but relatively speaking, the weaker of the two. With eight films to cover, I don’t want to go extremely in-depth here, lest this become a three-day read, but we’ll briefly check out each one included. I’m a rebel that way.

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Things kick off with 1932’s White Zombie. Unlike the other films in this set, this was made in the more-immediate aftermath of Lugosi’s Dracula triumph. It’s not a Universal film, though it was filmed on the lot. This was an indie production, and for whatever reason, eventually wound up in the often-murky arena that is the public domain.

Without a doubt, this is the most critically-acclaimed film in the set, with some people absolutely adoring it. I can’t claim to have ever been one of those people. Oh, I like it fine, there’s not a film in this collection I don’t like to some degree, but I was just never as enamored with White Zombie as others were/are. It has a great, almost Universal-like atmosphere, but the acting (besides Lugosi) isn’t all that wonderful, and even though this is apparently the first-ever zombie film (these ain’t your George Romero’s zombies, though!), the plot still leaves me a little cold.

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Set in Haiti, Lugosi plays “Murder Legendre,” a whiz at the voodoo he does so well (hence, whiz). With a first name like “Murder,” you can probably surmise he’s not the nicest of fellas. Murder is pretty good at creating “voodoo-brand zombies,” (those are the kind that don’t eat your flesh), and indeed, he’s got a whole league of them.

A bad situation is made worse when the local plantation owner makes eyes at young bride-to-be Madeleine. Through Murder’s powers, she is turned into a zombie (on her wedding night, no less), and it’s up to her new-hubby Neil to save her and stop Murder once and for all.

It’s not a bad movie, just not one that I ever loved as much as others do. Kind of like my weird Dracula analogy a bit ago, White Zombie almost sticks out as “too competent” here; it almost doesn’t fit with the rest of the cheapies in the set. It winds up skirting the issue, though I’d be hard-pressed to explain why. Maybe it has less to do with anything the movie itself does and more to do with the subsequent mega-public domain status it has acquired in the home video era. No kidding, it seems nearly every budget outfit had a release of White Zombie to call their own.

Or maybe it’s just because it’s a good, fun film. It’s not a great film, but that helps it fit in better than it should. I guess.

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Next up: 1942’s Bowery At Midnight. This was the big surprise of the set for me; when I first saw it listed on the package, I didn’t have high hopes. I don’t think I could recall whether it was a Bowery Boys flick (Bela did two of those), or a run-of-the-mill crime thriller. Either way, my initial response was akin to a big “meh.”

Naturally, I had to take at least a cursory glance for this review. As it turned out, while I may indeed have had a copy already (probably on another budget DVD set), I’m almost positive I’ve never actually watched it. In short order, I found myself becoming absorbed in the movie, quite unexpectedly on my part.

Bottom line: I loved it. No joke, Bowery At Midnight instantly found a place in the upper-echelon of my personal favorite “Cheap Lugosi” flicks. We’re talking a top-five’r here. This is just good, solid poverty row entertainment.

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I wasn’t totally off in my initial assumption regarding the movie. It is, for the most part, a crime thriller. But, there’s a surprising, legit horror twist that’s too random to not love.

Lugosi has a sort of dual-role here, though it’s really the same person: by day, he’s college professor Brenner. By night, he’s Karl Wagner, who runs a soup kitchen at the Bowery. Despite putting up a friendly facade (heck, the name of the soup kitchen is “Friendly!”), the whole thing is a front for Wagner’s life of crime; he has a habit of enlisting rough-types that wander into the kitchen for local heists, and then later offing them (often at the crime scene, no less) when they’re no longer of use. Naturally, you can only get away with that for so long before the cops start to piece it all together.

Where does the horror aspect come in? Hanging around Wagner’s secret hideout in the basement of the mission is one Doc Brooks. Doc likes to take the corpses Wagner leaves behind and use them for his own experiments. Eventually, it’s revealed he’s reanimated them as zombies! Honestly, the whole Doc character/horror aspect feels completely tacked-on, but it still, somehow, fits.

Though, I’m the first to admit I don’t quite get the ending. (CAUTION: spoilers for a 74 year-old movie ahead!) Near the end, the boyfriend (Richard) of Wagner’s employee (Judy) at the mission is shot dead by Wagner himself, and his body given to the Doc. At the conclusion, after Wagner is defeated, Richard is seen rescued, alive and well and engaged to married! Say what? Were these guys not really dead? Or does Judy just not care, since he’s up and talking? He appears perfectly fine, so yeah, I don’t get it.

Which of course means I love the movie all the more. Even with guys gettin’ shot and zombies and weird ending and so on, this all still manages to attain an early-1940s movie innocence. If you haven’t seen Bowery At Midnight, try to check it out!

(I’m trying to keep Lugosi in all the “action screencaps” of this piece, and technically the one above sticks with that; that’s him being killed by the zombies! And the scene actually manages to be genuinely claustrophobic and creepy, believe it or not!)

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Fun fact: we almost saw 1941’s Invisible Ghost here at the blog before. Y’see, a month or two back, I got in a real horror hosted-Lugosi mood. As longtime readers know, back in the late-90s and early-2000s, when I was first discovering all these movies, I was an avid watcher of The Ghoul, and two choices via his show popped into my head: The Devil Bat, and this film here, Invisible Ghost.

Now, whenever I review something like that, it’s from one of my old VHS recordings, and a good deal of the time, I haven’t converted it to DVD for posterity yet. So, no time better than the present! (Plus, it makes grabbing screencaps and going back-and-forth for whatever reason easier.) Problem that time was, I was either running low or down to my last blank DVD-R. Another pack required a trip to the store and spending money, neither of which I felt like. So, I had to pick between the two.

As it turns out, I chose incorrect. I made the DVD conversion and got as far as some preliminary writing before I realized the material just wasn’t really suited to a post. It would have turned into a plain movie review with some token looks at the Ghoul segments. I tried, but nothing doing, so I scrapped it.

(That’s not to say it won’t ever show up here, but as of now, there are no current plans for a post.)

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The movie didn’t give me a whole lot to work with, but that doesn’t mean it’s bad. The title makes it sound more ‘spooky’ than it really is though; It’s more of a psychological thriller than a full-fledged horror film to me.

Bela plays “Charles Kessler.” Kessler’s wife has left him, some time prior, and is presumably later killed in a car accident. She’s not actually dead though; she’s been hidden away in the basement by the gardener. Every once in awhile, she’ll ‘appear’ to Kessler, which then puts him in a murderous trance. Yep, Bela kills without really knowing that he’s killing.

Like I said, not a bad film, and prior to falling in love with Bowery At Midnight, *I* would have considered it a stronger ‘second-tier’ film here. As it stands though, this, for me, is one of the weaker entries, though that’s really only relatively speaking; this is still a good one, but it’s a bit overshadowed by some of the other flicks here, in my eyes.

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1941’s Spooks Run Wild finishes up the first disc. This is one of those Bowery Boys/Bela projects I mentioned earlier. Technically, this is an East Side Kids film, which is fine with me. Of the whole Dead End Kids/East Side Kids/Bowery Boys lineage, the East Side Kids entries were always my favorites.

This one is a lot of fun; it’s basically the 1940s matinee movie in a nutshell. It’s more of a comedy than a thriller, but the strong horror-vibe still makes it worthy of placement on the set. (1943’s Ghosts on the Loose was the other East Side Kids/Bela opus, and would have made a good choice for placement in this set, too.)

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If you’ve seen an East Side Kids flick, you can probably guess how a lot of this plays out. Muggs and his gang (The East Side Kids, man!) are New York street toughs; not really bad, just mischievous. In this entry, they’ve been tricked into attending reform camp. Naturally, they don’t hang around there very long, and upon splitting, they wind up at a “haunted” house. To make matters worse, a mysterious killer is on the loose. Wacky East Side Kid situations then ensue, only this time with Bela Lugosi in the vicinity.

Lugosi plays Nardo, who is assumed to be the killer, though in a nice change of pace, he’s not; he’s actually a magician! Also, as the back of the DVD cover correctly points, Bela’s Nardo looks a lot like Dracula. For all you “Where’s Dracula???” folks, there’s your precious, precious Dracula!

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And now we come to the second disc. Look, this whole set is good, but man, disc two is worth the price of admission alone; this is the cool winnins of the set! Just look at that powerhouse of a line-up above! Okay, Bela Lugosi Meets a Brooklyn Gorilla, that’s relatively “meh,” but those first three, all in a row like that? That’s where it’s at!

Remember when I was gushing about Bowery At Midnight, and I mentioned that top five thing? Yeah, those first three movies on disc two are easily in my top five. In my humble opinion, there are no better examples of Lugosi’s poverty row output.

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I’ve got to do a little backtracking here: if you’ll recall this terrible old post, you’ll know I was a little lukewarm on the subject of 1940’s The Devil Bat. Apparently it didn’t do too much for me when I first saw it years ago, and I was still riding on that. Well, intelligence allows for a change of opinion. In the years since that post, I’ve become more and more fond of The Devil Bat. It’s cheap, cheesy, and ridiculously entertaining. You just can’t hate it!

Unlike most of the movies on this set, which were Monogram productions (often through their Astor Pictures division), The Devil Bat is a PRC product (that’s Producers Releasing Corporation, folks). Despite the ubiquity of Monogram in the era, PRC is the studio I think of first when I think “poverty row movie.” They made some cheapies, that’s for sure. Immensely entertaining cheapies, though.

I’m not the only one who thinks there’s some merit to this film, either. Kino took the time released a remastered Blu-ray edition, and there’s even a newly colorized version of the movie out there! No one will claim The Devil Bat to rank among Bela’s most accomplished work, but obviously there’s something endearing about it. You know a film is worth checking out when Kino deems it worthy of a release!

And, unlike Invisible Ghost, there’s now a very strong possibility we’ll see The Ghoul’s showing of this episode at some point in the future.

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Because I’m now seriously planning on reviewing that old Ghoul episode, I’m not sure how much I want to divulge about the film right now. But then, this flick is so whacked-out (in a good way), I suppose a whole lot isn’t needed to sell this one.

Listen to this beauty of a plot: Lugosi is Dr. Carruthers, who has an axe to grind with the cosmetics company he works for. And just as any reasonable person with a grievance would do, he follows the obvious path of creating a big mean giant bat. What, that’s not enough? Okay, how about this: he also develops a special aftershave lotion that, when worn by a chosen “test subject,” attracts said big giant mean bat (“The Devil Bat,” as quickly labeled by the press), which of course then kills the aforementioned aftershave-wearer.

Yes, this means you get to see a helpless victim thrashing about under a gigantic rubber bat. And if that’s not enough to make you want to see this movie, well, then I just don’t know.

No kidding, this one is fantastic. I can’t believe I went so many years not loving it!

Fun fact: there was a 1946 sequel titled Devil Bat’s Daughter, which, as of this writing, has been seen by approximately 12 people since its release, and doesn’t star Bela. No Bela? Pass!

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Saaaay, haven’t we looked at this one before? We sure have! I kicked 2016 off with not only a review of this movie, but also Al “Grampa” Lewis, who hosted it for Amvest Video back in 1988. I go way back with 1942’s The Corpse Vanishes; it was of the first episodes of The Son of Ghoul Show I saw back in 1997 (I taped it, but unfortunately didn’t keep it – d’oh!), Mystery Science Theater 3000 tackled it once, I have a partial recording of the movie on Enigma Theater somewhere, and there were probably some other instances regarding it I can’t even recall right now. The public domain-status of the film (plus the not-as-lurid-as-it-sounds-but-still-pretty-cool title) ensured that The Corpse Vanishes really made the rounds in the decades since it was originally released.

I really, really like this movie. From the cheap sets to wacky-but-fun plot to, well, Bela, it almost comes off as the definitive 1940s poverty row horror film. (I say “almost” because, frankly, the movie preceding it and the movie following it are both strong candidates for that honor, too.)

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I want my Grampa / Amvest Video review to be my definitive (ha!) take on the movie, but real quick: Lugosi plays “mad botanist” Dr. Lorenz, who uses specially-formulated orchids to put prospective brides into a death-like state (on their wedding day to boot!). The brides are then spirited away to his laboratory, where special fluid of some sort is extracted and injected into Lorenz’s aging (and mega-bitchy) wife, in order to rejuvenate her. Reporter Patricia Hunter soon gets on his trail and helps put an end to such shenanigans – but not before we get to see Lorenz and his wife sleep in a cool pair of coffins!

The Corpse Vanishes is less overtly-wacky than The Devil Bat, but in its own way, just as much fun. As the years have gone by since I first saw it, I’ve only grown to appreciate it more and more.

Fun fact: a poster for this movie is plainly visible in the background at one point in Bowery At Midnight! Aw Monogram, you playful folks you!

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We’ve seen this one here before, too. Do I get around or what!

1943’s The Ape Man was included on that Best of the Worst DVD set I linked to earlier. The title-screen here seems to have some sort of weird border/cropping around it (Bowery At Midnight did too – what’s it mean???), though that’s a small price to pay to watch Bela walk around in a perpetual half-ape state.

This movie is fantastic. It manages to out-goofy The Devil Bat, which is really saying something. I can see similar movies being released in the 1930s, and the 1950s, and even beyond. But the sheer nutbar matinee innocence that rampages across the screen here? It’s a movie that really could have only come out in the 1940s. Oh how I love this one.

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Bela is Dr. Brewster, who has been messing around with apes. Wait, that sounds weird. I meant scientifically. Hold on, that still doesn’t sound right. He’s been experimenting on apes. There, that’s better.

And guess what? By doing so, he’s turned himself into the titular character! This is an undesirable affliction for at least 6000 reasons, so it’s up to him and his pet real ape (and by “real” I mean “very obviously a guy in a suit”) to kill people for their spinal fluid, which will turn him back into a full-human or some crap like that. It doesn’t really matter, because this movie is too insane to take seriously, which of course makes it absolutely terrific.

Also, secret special bodily fluids as a plot point again? Was that like the hot scientific whatever back in the 1940s? We saw it in The Corpse Vanishes, and here it is again. And three years prior, Monogram went this semi-route with Boris Karloff in The Ape, which also focuses on spinal fluid as a vital element. The stuff must be the fruit punch of bodily fluids! Wait, that sounds weird, too.

Louise Currie plays the female lead, a photographer, and she’s cute as a button.

Fun fact: there was a 1946 1944 sequel titled Devil Bat’s Daughter Return of the Ape Man, which, as of this writing, has been seen by approximately 12 8 people since its release, and doesn’t does star Bela. No Bela? Pass! Has Bela? Worth a glance!

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After that phenomenal three-pack that takes up a full 3/4 of this second disc, there’s really nowhere to go but down. Even my personal choice of Scared To Death would have seen a drop in quality (ha!).

1952’s Bela Lugosi Meets a Brooklyn Gorilla finishes up Pop Flix’s Lugosi collection. Like Spooks Run Wild at the end of disc one, this is more of a comedy than a full-fledged horror film. I wonder if that was intentional? End each disc on a lighter note?

The quality of the print here is easily the nicest of all eight films; crisp, clean, clear, with an actual richness and ‘depth’ to it. Which is a wash, because this is also easily the worst film on the set. It’s still entertaining, but it’s also painfully stupid. Like, really stupid. And keep in mind, we just saw a movie with Bela walking around all ape-like for the duration.

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Duke Mitchell and Sammy Petrillo are, uh, Duke Mitchell and Sammy Petrillo. They play themselves, nightclub comics who have crash landed on an island inhabited by stereotypical tribal natives. They also happen to be the dollar store versions of Dean Martin and Jerry Lewis. If you liked Martin & Lewis, odds are you’ll be severely offended by this ‘interpretation’ of their act. And if you didn’t like Martin & Lewis, you may want to take several steps back from the TV, because you’re liable to straight up karate chop it in half. Mitchell’s fake Dean Martin isn’t so bad, but Petrillo’s nasally Lewis-impression wears real thin, real fast. He makes the actual Lewis character look like Brando in comparison. I mean, Urkel wishes he could be this annoying.

So yeah, fake Martin & Lewis are stranded on this island, fake Martin falls in love with a native girl, they eventually run into Lugosi’s “Dr. Zabor,” who is naturally conducting weird experiments. In a surprisingly unsettling turn of events, Zabor is in love with the same native girl, so he turns fake Martin into an ape, all while fake Lewis continues to be a total spaz. And it’s all capped off by a phenomenally dumb ending that will make you feel all the worse for sitting through the whole thing.

In all seriousness, don’t think I’m not glad this flick is here, cause I am. It’s entertaining, but unlike the previous films, which were charmingly cheap entertainment, Brooklyn Gorilla succeeds as a slack-jawed, love-to-hate it film. It’s essentially harmless, and Pop Flix gets props for not going with the also-public domain and also-uber bad Bride of the Monster, but still, it’s markedly worse than anything else here. The other movies in this collection,it doesn’t feel right to call them out-and-out “bad.” Bela Lugosi Meets a Brooklyn Gorilla is bad. Entertaining bad, but bad nevertheless.

Honestly, the set as a whole works, but this is the only movie I have any doubts regarding. It steps a bit too far out of the poverty row line-up we’ve enjoyed up to this point; even White Zombie doesn’t stick out as bad. Ghosts on the Loose would have made a better capper, but still, this is a nice, dumb way to finish things up.

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You know what’s neat about this collection? It spans 1932 to 1952. 20 years of Lugosi’s career. No, it’s not a comprehensive set; it mainly focuses on his 1940s poverty row material. Lugosi did make some films for Universal during the time period, but those are absent for obvious reasons.

What Pop Flix has managed to do here is ably represent the Lugosi legend in more ways than one. Lemme explain: you start in 1932, he’s at the top of his game, and then you jump to the era of his career in which typecasting was in full, devastating effect: the poverty row cheapies of the 1940s. Then, you finish in 1952, the twilight of his career, where typecasting is still an issue, and the work is no longer A, or even B, grade. But, he’s managed to attain an almost a mythical aura; his name in the very title of the last movie here demonstrates that. He was legendary enough to receive such billing, even if such legend wasn’t recognized by the major studios.

And the great thing is, Lugosi’s performance never falters. At all. In any of these. Sure, some (most) of these pictures were done more out of necessity than anything else. But, he got paid, they kept his name alive, and he gave them his all. You can’t help but respect him for not half-assing it, whereas, given the material present, most any other actor would have. Like I said at the start of this post, he absolutely elevates a movie all by himself. That’s a good actor. No, that’s a great actor. And he’s on full-display here.

There are lots of budget Bela Lugosi DVD collections out there. A good many have any number of combinations of the same films seen in this one. But, I don’t think I’ve seen one that I’d enjoy as consistently as this Pop Flix product. At only eight films and two discs, that’s plenty of material without being overwhelming. And, it’s consistently entertaining, from start to finish. Even that last flick, as bad as it is, it still somehow works. For movies that have been circulating endlessly forever by this point, Pop Flix managed to do a great job with what they had. It all just clicks. It’s a set that’s far more satisfying than a budget DVD collection has a right to be.

This one gets a big recommendation from your Northeast Ohio Video Hunter. And you know, even if you’re still kinda on the fence about it, those first three movies on disc two alone…

Ghoulardifest 2015!

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Yes, it’s that time of year again: Ghoulardifest! It’s hard for me to adequately portray in words just how much I love going to this convention every fall season. I really do anticipate it the whole year round. Seriously, the very next day, I’m already jonesing for the next show. I’ve been to some conventions in my time, but because it’s so tailored to my tastes and my hometown (well, roughly; I’m an Akronite), I can say without exaggeration that Ghoulardifest is my favorite. There’s a reason I’ve made it a point to make it there every year since 2011. It’s like the Bruce Springsteen concert of horror/sci-fi conventions; one ain’t enough, I needs me more!

Besides, after sitting around going through thousand-year old videotape after thousand-year old videotape, it’s nice to get out once in awhile, y’know?

Ghoulardifest is, of course, the annual celebration of any and all things Ernie “Ghoulardi” Anderson. Not only is his pioneering character and show represented (gee, no kidding!), but also his successors, as well as Cleveland TV in general. Beyond that, a lot of it has more to do with the spirit of Ghoulardi, the era he came from, the music, the movies, that sort of thing. Of course, there’s also a lot of stuff that has no real connection to Ghoulardi, but instead would fit in at any typical horror convention. That’s not a complaint on my part; it all adds up to a lot of fun with something for everybody, except it’s all with a heavy Cleveland theme. That’s why I love it so much!

For the third year in a row, the show was held at the plush LaVilla Banquet Center, which is an absolutely terrific venue for the convention. Driving to the LaVilla to see Ghoulardifest around the same time every year (always on a Sunday; November 1 this year), it has really come to symbolize Fall and the end of the Halloween season and the start of the holiday season for me (even on those years where the show falls before or on Halloween). Some people get up early to shop the day after Thanksgiving, I plan around Ghoulardifest. Considering it’s less hectic and I find things I actually want, I dare say I come out on the winning end every year, but that’s just me.

And lest you forget, Ghoulardifest was almost certainly the reason for that Big Chuck & Lil’ John Ghoulardi Special I babbled about in mid-October (unless it wasn’t, in which case never mind). They ran it several times after that as well, and better promotion for Ghoulardifest I cannot think of.

(Also, should the mood strike you, check out my recaps for the 2013 and 2014 conventions, though I fear some redundancy among those two posts and this one.)

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(Click on any of the pictures to, how do you say, enlarge them.)

I was told there was going to be fewer vendors this year, and maybe there weren’t quite as many as previous shows, but there was still a lot going on. Indeed, it took several walks around the entire place to take it all in, and frankly, I seriously doubt I did take it all in. If anything, and this is just me talking, but less vendors gave the entire show this year a more balanced feel. Not that I’m promoting “less stuff,” but everything I look for at Ghoulardifest was well-represented, but not in an overwhelming way (unlike earlier years, where I was struggling to take it all in and afraid I’d miss “somethin’ good.”).

The heart and soul of the place is really the Cleveland stuff: Ghoulardi, of course, and Big Chuck & Lil’ John (don’t forget, the official title is Big Chuck & LIl’ John’s Ghoulardifest), Son of Ghoul (that’s him doin’ his thing above), and some of Cleveland’s newer horror hosts, plus lotsa Cleveland TV (and even some radio) memorabilia in general. For obvious reasons, it’s a very Cleveland-centric convention, as one would expect.

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That said, if someone from out-of-state were to waltz in without knowing what this was all about (just play along with the scenario, okay?), they’d probably be confused by all this Ghoulardi-hoopla, but they’d also still be able to find some stuff they’d want. There’s a lot of ‘general’ stuff there; that is, things that wouldn’t be out-of-place at any horror/sci-fi convention. Posters, lobby cards, toys, Star Wars, Star Trek, DVDs, music (lotsa CDs and vinyl). Heck, one guy even had a ton of Laserdiscs, and his box of Godzilla LDs was enough to elicit an “oh MAN!” reaction from me, though I was burning money so frighteningly fast that I unfortunately wasn’t able to partake of said Laserdiscs. I just know I’m going to regret not buying that Japanese King Kong Vs. Godzilla LD sometime down the road.

What I’m saying is that even if you’re not into Ghoulardi or the whole Northeast Ohio horror hosting thing, if you like vintage horror or science fiction films, odds are you’ll still find plenty to peak your interest anyway.

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There’s even some newer, “craft-y” type stuff, for those so inclined. Since I’m rarely hip to that sort of thing, my brother tells me the product seen in this picture is “pixel art,” which is as it sounds: artwork, keychains and so on, made up pixel-by-pixel, just like the character sprites in 8-bit and 16-bit video games. I generally only buy video game stuff when it’s vintage-from-the-period, but no doubt this new-fangled pixel art thing is cool. I mean, pixelated Mario Kart artwork? Heck yeah!

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See, my brother and I always hit up Ghoulardifest on Sunday, the last day of the show. It just works easiest for us that way. The downside is that we often miss some of the special guests and events they have going. Readings By Robert and stage shows like that, we don’t always get to see those. This year though, they had some good stuff going on the whole time we were there.

Up above is Caesare Belvano, who does a phenomenal Elvis performance. I don’t always go for the fan-tribute thing, but Elvis is one of the few exceptions. Not only because Elvis is dead and thus my chances of seeing him live are, well, nil, but also because Elvis tribute acts have become an art unto themselves. Rest assured, Caesare does a fantastic Elvis. His voice is unbelievable; he was on-stage when we first went in, and before I even actually saw him up there, I heard him, and his singing blew me away. His rendition of “My Way” was just incredible. I’ve seen and heard a lot of Elvis over the years, and Caesare gets my full approval (not that my approval really amounts to all that much, but whatever).

Caesare’s official website. If you have the chance to go see him, please do so!

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After Caesare, The ReBeats took the stage. Beatles tribute acts are another exception for me; I love them and the time period of music they generally cover (aside from Springsteen, 1950s & 1960s Rock & Roll is my preference). In the case of The ReBeats, they of course do The Beatles, but not just The Beatles. While we were there, they were busting into The Dave Clark Five (they do a great “Catch Us If You Can”), and though we were on our way out by that point, according to their website they also cover Paul Revere & The Raiders, which automatically grabs my admiration.

Speaking of their website, check it out.

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I imagine Friday and almost certainly Saturday were busier, but there was a pretty good turnout for what was the last day of the show, too. Indeed, Big Chuck, Lil’ John and Hoolihan had a pretty steady line the entire time we were there; getting to Hoolie in particular looked like quite a wait!

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Speaking of meeting the celebrities, here I am with my pal Jungle Bob! I’ve been a JB fan ever since he started featuring his animals on The Ghoul waaaay back in, what, 1999? 2000? Jungle Bob is one of the coolest guys you could hope to talk to, and he always has some creatures at Ghoulardifest. I forget what he said the thing was in his hand when this picture was taken, but it had a blue tongue and a little goatee. Turn blue, goatee, sounds pretty Ghoulardi-appropriate to me! Later on, he was walking around with a chinchilla, surefire proof of how cool JB is.

Jungle Bob’s official website.

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Me with Mike & Jan Olszewski, where I was able to pick up their fantastic new book, Cleveland TV Tales Volume 2. As of this writing, it’s not yet available on Amazon, but when it is, y’all should buy it. And if you haven’t got the first one yet, buy that, too. There’s an added incentive to buying Volume 2, but I’ll get to that a bit later in the post.

Lemme tell you my Mike Olszewski story: I first met him in 1999 at a signing for the book he and Ron “The Ghoul” Sweed wrote together. He was very personable then. But, it was when I met him over a year later that he just knocked me out (no, not literally!). The Ghoul was making a personal appearance at B-Ware Video in Lakewood. It’s long gone, but at the time, B-Ware was a haven for all of the hard-to-find, obscure movies that you couldn’t easily locate anywhere else. Anyway, The Ghoul was filming bits for his show, and when the cameras came out, I kinda sorta retreated further back into the store. Mike saw this, and despite not actually knowing me, he came up and implored me to get on camera. Thanks to him, The Ghoul episode that aired with this footage featured me near the front, loafing about and occasionally cheering. I always thought it was amazing that Mike would take the time to do that for a total stranger. ‘Course, I was a goofy lookin’ 14 year old, but I won’t hold that against him.

Nowadays, Mike occasionally pops into Time Traveler Records, and every meeting I’ve had with him since that day in 2000 has only reinforced my opinion that he’s one of the nicest guys in the world.

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Hanging with Cleveland weather legend Dick Goddard. No kidding, Dick Goddard is weather in Northeast Ohio. I’ve met him before, but this is my first picture with him (I would have had one a few years back, but the camera decided it didn’t want to take the shot, which I didn’t realize until well after we had left). Every time I’ve met him, Dick has been very friendly.

What am I holding in my hand? Why, that’s my now-autographed Dick Goddard CD! How, what, when, where? I’ll explain later.

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My buddy, Son of Ghoul! Every single year, if I’m going to buy anything, it’s going to be at SOG’s table. I actually make it a point to buy from him. He gets more of my money than anybody. Considering I usually have so little of it, I hope that says something.

Longtime readers will know what a fan I am of SOG; I’ve been watching him since Halloween ’97, I still write into the show, and, you know, there was that time I interviewed the man himself. He even recognizes me when I walk up to him, which always makes me feel like a big man.

There was some sad news in regards to the show this year that SOG and I talked about: longtime supporter of all this, Jim “The Colonel” Klink passed away a week before Ghoulardifest ’15. Klink was well-known to SOG fans for his rabid support and many packages sent to the show. Before SOG, he was a big Superhost guy (in fact, I *think* some of his Supe artwork can be seen in this old post of mine). I saw him walking around at least once at previous shows, and we were friends on Facebook, but it’s much to my regret that I never actually met him in person. The show of grief for Jim’s passing on Facebook was overwhelming; he touched a lot of people and became a well-known Northeast Ohio personality simply by indulging in his fandom and being a nice guy.

Besides being his Facebook friend, my limited contact with Klink included this very nice comment he left for my SOG interview. I think it shows what a good-hearted, upbeat guy he was, and thus I’d like to present here as a small tribute to him:

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R.I.P, Colonel.

The official Son of Ghoul website.

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A dream realized! I wanted to meet Janet Decay (aka The Daughter Of The Ghoul, aka Janet Jay) last year, but she was either off doing something or I missed her completely. So, I definitely wanted to meet her this year.

She’s doing a new show with Grimm “James Harmon” Gorri titled The Mummy and the Monkey. When they asked me if I had seen it yet, I had to sheepishly sputter in the negative. D’oh! I had seen The Daughter Of The Ghoul Show before though, which I liked, so I had no problem buying a DVD of their new show. They even gave me a cute lil’ free button; cool winnins! They were both incredibly friendly; I foresee great things in their future.

One thing I noticed when the guest list was announced (and this has been pointed out by others) this year was the lack of national celebrities. For example, last year Arch Hall Jr. and Dee Wallace Stone were in attendance. While I would have liked to talk with Arch Hall again, and I had my concerns when no one like that was included in the show this year, I think it’s cool that the guests were overwhelmingly Cleveland-centric AND that the turnout was so good. It shows that our guys can hold their own and still make for a successful show, and Janet Decay & Grimm Gorri are prime examples of that; their table was very busy!

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Is it corny and/or cliche to say that Fox 8 news anchor Tracy McCool was the coolest? Yeah, I bet she hasn’t heard that enough! Well, she was. Seriously, she was about as nice as it gets. Because WJW Fox 8 was sponsoring the show this year (as opposed to WBNX TV-55 in preceding years), a lot of talent from the station made appearances over the three days. I had brushed up a bit on who was going to be there via the official Ghoulardifest website, though by Sunday afternoon I had promptly forgotten most of it. So, it was a bit of a surprise to see Tracy McCool walk in. She was absolutely great.

You know what really impressed me about her? It wasn’t just that she’d take the time to pose for a picture with a goofball like me. No, rather it was what she was telling a young girl ahead of us: she was explaining good starting places to begin a career in broadcasting, and she wasn’t rattling off facts or anything like that, she was actually talking to her. One thing I admire about a celebrity is their ability to genuinely talk and listen to their fans; not that I expected anything less from Tracy McCool, that’s just a general observation, and fortunately, it applies to many, many of these Cleveland TV personalities (frankly, everyone in this post). Tracy McCool was just awesome.

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I met Bill Ward previously, at the 2013 convention. For years he was the voice of WJW, and make no mistake, that voice is instantly recognizable to many Northeast Ohioans. Just like Tracy McCool (and when I met him in ’13), Ward really takes the time to talk with you, and you’d be hard-pressed to find anyone friendlier (I know, I know, I’m repeating the whole “they were nice” thing a lot in this post; hey, everybody was ridiculously nice!). We actually had a conversation about a commercial he did not too long ago for a retirement company, in which he played “Stu,” and he told me some very funny anecdotes related to that ad.

If you ever have the chance to speak with Bill Ward, trust me, you’ll walk away the better for it. An extremely kind and incredibly funny guy.

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Ah, the customary picture with Big Chuck & Lil’ John. I can’t ever leave without one, because even though I’ve got plenty of pictures with them, accumulating more makes me feel important. I wanted to get a picture with Chuck, John and Hoolihan, but Hoolie was so incredibly busy at his end of the table that I wasn’t sure if he’d ever be able to break away for it. Not that I’m complaining, because a picture with Big Chuck & Lil’ John is one of the coolest things anyone could hope to achieve.

This year, they were selling brand new Big Chuck & Lil’ John wine glasses, and Lil’ John had one in front of him complete with some actual wine in it. Every few minutes he’d take a sip and proclaim “work, work, work!” and it just got funnier each time.

I finally got to talk to Chuck about something that’s been on mind for quite awhile: several years ago, I found a locally-released vinyl record by one Scott Read, appropriately titled The Scott Read Show. According to the liner notes, it was a program on WJW produced by Chuck. So, I asked him about it, and Chuck told me it was many one of many shows that he produced, and it didn’t last very long, only about 6 months on the air. I’m thinking next time they’re making an appearance somewhere, I just might bring that LP along to get signed.

Surprisingly, John seemed to remember us from past years; he actually asked if we always came on Sundays (yep). How cool is that? Although, it’s also a little distressing; I had been relying on the idea that if I accidentally did or said something totally stupid in front of Chuck and/or John (and really, it’s only a matter of time), they meet so many people in a year that they’d quickly forget my face and then we could start anew next time. But now, I just don’t know. Oh the agony it is to be me!

The official Big Chuck & Lil’ John website.

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I met Caesare after his set. There were a number of people waiting to get pictures with him, some acting like he was the real Elvis. Of course, he played the part up and was extremely nice to everyone. He was very gracious when I told him what a fantastic show he put on. Great guy!

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Another dream realized! I met The Midnight Movie guys last year, but I missed Dave from the show. As luck would have it, just as we were on our way out, he was in the lobby taking a break, and he was cool enough to take a picture with me. Even better, he told me that they were filming a lot of footage there for a show that should air within the next month or so. I noticed they were filming when I was waiting to take a picture with Chuck & John; indeed, I’m in the background as they were interviewing Tracy McCool. Me? Surprise Midnight Movie cameo? Maybe!

The official Midnight Movie website.

And so, that ended the annual visit to Ghoulardifest. But wait! Before heading home for another year, we had one last stop to make…

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No trip to Ghoulardifest would be complete without the customary visit to the Big Boy restaurant down the street from the LaVilla. A Ghoulardifest excursion just doesn’t feel right without it. In fact, we did skip the Big Boy one year, and by the time we got home, we felt like we had missed out on an essential element of the trip (or at least, I certainly did). And it’s not just because of the whole Manners Big Boy-Ghoulardi connection, either; rather, Big Boy restaurants are rare animals, and there are none near us anymore. So after reveling in all of this once-a-year fandom, it’s only fitting that we revel in some once-a-year food, too.

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I have to give a big shout out to my brother Luke. It’s thanks to him that I’m able to make it to Ghoulardifest every year. He always drives, because if it were up to me to commandeer the car, I’d probably wind up driving it into a ditch or something. Carnage such as that would probably put a real damper on the event.

Luke likes going to these, he digs all this stuff, and he was jazzed for the trip, but he doesn’t get into it all quite as much as I do; I watched a lot of this stuff growing up, but he usually had other interests. Without me, I doubt he’d make the trip, so for him to haul my goofy self up there each and every year is a testament to what a nice guy he is. Luke is a good mang. Plus he paid for lunch.

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I tried looking at the menu to see if there was something different I wanted this year. No go, the Super Big Boy is just too good to pass up. Seriously, it’s one of my favorite burgers on this planet. It’s that good. Look at that beauty! Two patties, cheese, and special sauce. They taste as good as they look. If you ever find yourself in a Big Boy, this is the option on the menu that I heartily endorse.


Okay, that was the show (and lunch), but what about the goods, the loot, the booty I picked up during the trip? I always come home with some good stuff, and this just may be one of my best hauls ever. And even if it’s not, I still feel perfectly justified in blowing through my money at an alarming rate.

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I have the previously-released clear glass “Certain Ethnic Last Supper” mug (you can see it in this post), but when I saw these new white mug versions, I had to get one. Two, actually; my good friend Pete G. helped me out big time by providing me with tickets to the show, allowing me to save some extra precious bucks, so I got him one of these as a thank you. You’re a good man, Pete!

It’s a cool mug, showcasing much of the Northeast Ohio TV talent that has infiltrated the airwaves over the years. There are a lot of mugs/cups/whatever featuring these guys, but this one is easily one of my favorites of the bunch.

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I got this from Son of Ghoul, and man is it cool. It is what it looks like: a picture of Superhost in a wooden frame. Sure, technically I could print out my own Supe picture, get an old frame and make my own, but there was something about this that made me have to buy it as soon as I saw it. It just felt so right.

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Yeah, I bought another. If you go back to my Ghoulardifest post from last year, you’ll see how jazzed I was to get a Superhost shirt from Son of Ghoul. In my weird little world, I decided I needed another one that I could wear around without fear of wearing it out or accidentally staining it. I’m normally a size-large wearer, but I can get away with a medium, which is fortunate, because there were no more larges left. SOG jokingly explaining the sizes sans-large: “You can get an extra-large and throw it in the dryer to shrink it, or you can get a medium and lay off the Whoppers!” I was cracking up!

Like I said before, Son of Ghoul got more of my money than anybody this year. Truth be told, he usually gets more of my money than anyone else every year. I’m fine with that!

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This was a longtime coming, and I’m a little ashamed to admit that it took me this long to get Jungle Bob’s excellent book, BobTails. Naturally he autographed it to me. You’d be well advised to pick one up, it’s good stuff!

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My official The Mummy and the Monkey DVD of the original Little Shop of Horrors, a swanky flyer, and that aforementioned official button. I pinned the button to my jacket when we took the photo, and promptly forgot it was there for most of the day, and that’s not a bad thing!

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My copy of Mike & Janice Olszewski’s brand new Cleveland TV Tales Volume 2 book. They even autographed it for me! I haven’t had time to read much of it yet (I just got it yesterday!), but the content is directly up my alley. Indeed, it’s already on track to becoming one of my very favorite books of this nature. Why? Because I’m in it, that’s why!

Well, a piece of my interview with Marty “Superhost” Sullivan is, anyway.

A few months back, Mike contacted me asking for my permission to use the bit in the interview where Marty talks about his feelings following the filming of his final episode. Well heck yeah Mike, use away! What a thrill!

When I went up to Mike’s table, he had sample copies of all of his books on display, and I quickly began searching myself out in this newest one. I didn’t have time to find the exact quote (I did when I got home though; this site is mentioned in the body of the section!), but I did find myself listed right at the top of the bibliography. I considered stomping around and shrieking “I is published, I is published!” I decided against it though; having security cart me out for being too obnoxious probably would have put a dark cloud over the day.

But seriously, what a monumental honor for me. This really does feel like some kind of validation, like I’m actually contributing something to something. I mean, okay, most of the time on this blog, I’m just screwing around and posting things that I know only select people are gonna care about. That’s fine, that’s why I do what I do. But, when I do something actually important, and I’d certainly like to think my Superhost interview qualifies, it’s nice to know that the big names (and make no mistake, Mike & Janice Olszewski’s work is VERY well known) take notice. Mike even thanked me again for letting him use the piece and told me what a great interview it was. Hey, if I’m getting Mike Olszewski’s approval, I must be doing something right!

So, thanks again Mike! (And thanks again also to Marty Sullivan for taking the time to speak with me in the first place!)

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Some decidedly cool postcard reproductions of classic Cleveland TV artwork. At a buck apiece, I couldn’t resist. Included: Batguy & Rinaldi, Superhost, The Kielbasy Kid, and Hoolihan & Big Chuck’s good night bumper.

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No, I didn’t buy this CD there, but I was fortunate enough to find it at a thrift store early last week. No kidding, I almost flipped out. The first time I thumbed through the CDs I didn’t even notice it. It wasn’t until my usual second run-through that I saw it. It was placed in backwards, so I was reading the spine upside down, and I thought to myself “wait, am I reading that right?” Obviously I was, and from that moment on it was coming home with me. Quite a few people I told about it thought it was extremely cool as well, and everyone agreed I should get it signed at Ghoulardifest.

It was released in 2002 as a 9/11 tribute, and features vocals by not only Dick Goddard but also fellow WJW 8 talent Tim Taylor and Wilma Smith, along with a few others. There are some standards on it, and some monologues. I like to think of it as Dick Goddard’s attempt at his own The Rising. (How many superfluous Springsteen references in this post does that make? I’m up to three – so far.)

Goddard got a big kick out of it when I presented it to him to be signed. When asked where I got it, I couldn’t lie, so I told him the thrift store. Then, how much did I pay? Well, that was prickly, because I didn’t want to accidentally insult him by telling him the CD was only going for $1.50. I needn’t have worried; he cracked up!

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And finally, my mega-cool Ghoulardifest 2015 promotional poster. Like the Dick Goddard CD, I didn’t get this at the show, but unlike the CD, I didn’t bring it to be signed there. But, I feel I’d be remiss if I didn’t thank my good friend Scott at Time Traveler Records for it. Every year he thinks of me when he gets the promotional Ghoulardifest stuff and gives me the poster after the event. Scott helps me out in so many ways, far beyond keeping me in mind when cool stuff likes this comes along, and I can’t thank him enough. I’m proud to call him amigo.


And with that, my big giant Ghoulardifest 2015 recap comes to a close. From the people there, to the people I met, to the stuff I came home with, to the book with my gol’derned Superhost thing in it, I dare say this was one of the best ones ever. My brother and I had an absolute blast (and a fine, fine lunch). I’ve mentioned this before, but it’s so great to know that Northeast Ohio memories are long; when personalities such as these have meant so much to so many, they never really go away, even if they’re not on the air. Furthermore, the new personalities that come along to take up the torch are not only treated with respect, but also welcomed into the fold, as it were. Ghoulardifest is a celebration of all that, and as a lifelong Northeast Ohioan and TV fan, that’s something I’m absolutely grateful for.

And yes, even though this all took place only yesterday, I’m already starting to itch for the next one!

Mill Creek’s 3-Disc The Best of the Worst 12-Movie DVD Set

 

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Look what I got! A 12-movie, 3-disc budget DVD set of what are, ostensibly, the best of the worst movies ever made! Cool winnins! I was stoked to get this! And it was cheap, too! In general, this set tends to run, from what I’ve heard, between $5 to $10, a price that is completely acceptable even for someone that’s as perpetually broke as I am (mine was $5). And if awful, awful movies are what you’re after, the first disc alone warrants that price (we’ll get to all that in a bit).

Even though this came out in 2013, I just found out about it recently. Guess I’ve been off my budget DVD game. It’s put out by Mill Creek, who have, over the last several years, proven themselves to be purveyors of fine, fine DVD releases. I’m not just saying that because I dream of them sending me a bunch of free crap, either; any company that releases the complete series of Hunter is automatically my friend.

The fine folks at Mill Creek are no strangers to releases such as this, either; there are several budget DVD sets of cheapie horror/sci-fi flicks put out by them. They follow a similar format, except this set is the only one to come right out and tell you that the movies contained within are gonna blow. Since the ‘genre’ of bad movies is particularly popular right now, it’s a pretty smart move on Mill Creek’s part. Hey, got me to buy it, and isn’t that the really important factor here?

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(Click on the pic for a, how do you say, super-sized view.)

I can’t help but feel this is a set geared towards fans of Mystery Science Theater 3000 (which as has been proven time and time again, is exactly what I am). And It’s not only because of the whole “these are bad movies you can laugh at” concept, either; a full half of the selections on here were featured on MST3K. There were a lot of bad movies on the show, yes, but considering one of the films featured here is known solely because of MST3K, well, I don’t think it’s coincidental marketing (or whatever you’d want to call it).

Though as a longtime MSTie, I tend to see allusions to the show where they weren’t intended to be, so take that for what you will.

Like so many budget DVD sets, the titles found here are limited to the realm of the public domain, which I don’t mind a bit. Sure, some of these movies have been making the rounds for decades, going back to the VHS days (I’m looking at you specifically, The Terror), but when they’re put together under the banner of “entertainingly bad films,” it all clicks in a way that they wouldn’t have otherwise. Why pretend these are something they aren’t? It’s a move I absolutely respect, though in all fairness I does loves me a good bad movie (plus that whole MSTie thing); your mileage may vary, however.

However, If I’m being perfectly honest, I don’t really agree that these are all the best of the worst. There’s a few titles that, while undoubtedly ‘bad’ movies, feel more like filler than anything. Like I said before, Mill Creek has put out other similar sets, and it just seems to me that they used up many of their “heavy hitters” already across those. Example: there’s just no reason The Creeping Terror, one of the most infamous bad movies ever, shouldn’t be on here. Keep in mind that Mill Creek did indeed get the rights to release it (contrary to popular belief, it’s not public domain), on their 12 Creature Features set, so the absence of shag carpet monsters and insane narration on The Best of the Worst is a little head scratching. I guess I can see them not wanting to repeat titles across their various sets, which I applaud, but for the films that are here and what this set purports to be overall, it still feels like a particularly glaring omission to me.

Don’t get me wrong though. While I think there could have been just a bit more refinement in the selections, I am overwhelmingly happy with the set. And besides, despite the title, this probably isn’t really intended to be the end-all be-all release of the best bad movies ever. It’s a $5-$10 bargain DVD set, after all; there’s plenty here to justify that small amount, at any rate.

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The set consists of three, single-sided discs with four movies on each one. Since many of these are pretty short, it’s not an unreasonable amount. All three discs fit in a regular-sized DVD case, on one single spindle. That means if you want to watch a disc that isn’t directly on top, you’ll have to physically remove one or two discs first, but it’s a small price to pay for such a fantastic load of crappy, crappy movies.

And with that said, lets take a brief look at the actual contents of the set, because hey, that’s what the people want, right?

(I might as well say right now that some of the movies on this set I’m more familiar with than others. Most of them I’ve seen, but some I saw looong ago; I’m not claiming to have sat down and watched every one of these exhaustively while taking notes for this. I’m just giving the straight dope on the set, you make up your own minds from there, paisanos.)

Disc One

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The menu for each disc is super simple. What you’re seeing above is basically it. The two film reels in the corners continuously spin, but that’s as close as things get to a “wow!” factor. Not that it really matters, because c’mon, when you’re getting this much bang for your buck, there comes a point when demanding even more turns you from wanting the most for your money into a nitpicky whiner. Cut that stuff out, man. (Says the guy who just complained that The Creeping Terror isn’t here.)

In terms of badness, this first disc is absolutely the roughest of the three. For anyone trying to make it through the whole thing in order, the rest will almost (almost) come as a relief after making it through this one. Disc one includes a bad movie, a really bad movie, and two legitimate contenders for worst film ever. In other words, the entire price of the set is justified in the first disc alone.

Also, all four of these movies appeared on Mystery Science Theater 3000, and I’ll say up front that it’s often strange to realize there won’t be any riffs; you’re watching these as-is. The more well-known the respective episode is, the odder it feels, and there are points where you (or at least I) will instinctively think of the appropriate riffs.

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Can you say “starting things off with a bang?” Manos: The Hands Of Fate, a film that would have been completely and utterly forgotten after its disastrous 1966 El Paso premiere had it not been for Mystery Science Theater 3000 resurrecting it and turning it into one of the most loved bad movies ever. Despite being movie one, disc one, this is really the centerpiece of The Best of the Worst, as far as I’m concerned. Mill Creek must have realized that, as the portrait of “The Master” under the credits on the back of the DVD make clear. Forget the other 11 movies on the set, Manos alone is worth the price of admission.

The beauty (ha!) of the film is that it’s just such a mess. The camera used could only film 30+ seconds at a time, making for really weird continuity. Furthermore, it was filmed silent, so all of the voices were dubbed in later (at least they didn’t go the hackneyed narration route). The capper? It was very literally made on a bet by an inexperienced El Paso, Texas fertilizer salesman (director-producer-writer-star Harold P. Warren). The plot is all over the place, and the music ranges from awkward to downright unacceptable. Basically, every aspect of the film that can be wrong, is.

But, except for a really screwed up scene during the conclusion, it’s really not a movie you can full-on hate, because it is just so utterly out there. Manos tells the tale of a family stranded at remote lodge that is in actuality the base of operations for a polygamous cult that worships “manos.” There’s “The Master” (who rarely, if ever, approves), his constantly bickering bevy of wives, a necking couple in a car that serves no purpose, and some cops that are even more useless. But the character most everyone loves is big-knee’d, shuffling, twitchy-faced, jerky-voiced Torgo (That’s him above), the caretaker of the lodge. Torgo gets his own goofy theme music and, despite technically being a bad guy, winds up becoming something of an anti-hero, even after he makes the worst pass at a woman outside of me. I have a hard time believing the movie would be so loved if it weren’t for Torgo.

I won’t even try to explain further the wonderfully bizarre circumstances surrounding this film, so let Wikipedia tell you all about it. If you like bad movies but haven’t seen Manos yet, well, it’s pretty hard to top. Like I said before, worth the price of admission alone.

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Being on a budget DVD set isn’t necessarily an indicator of public domain status, but word on the street is that this film has indeed lapsed. Which is fine by me, because this is one of the bigger surprises (for me, anyway) on the set. It’s also the newest selection on it, if you can consider 1976 “new.” The subject of one of my very favorite MST3K episodes, this is really bad (and thus, really good) 1970s sci-fi, complete with the dreary color scheme that must have colored the entire decade. It’s just ‘horrific’ enough to satisfy the masses, but just goofy enough to keep things from becoming overly depressing. Featured during the final season, it was and is perfect MST3K fodder for the Sci-Fi Channel era of the show.

Did you know that being hit in the head by a piece of meteorite (“Moon rocks? Oh wow!“) can turn you into killer lizard monster that somehow ties into Native American folklore? Well it can, and to a hapless anthropologist, it does. Also included: Johnny Longbow’s killer stew recipe, a shop that sells both coins and guns, and a tent full of old guys. Oh, and a live performance of the smash hit, “California Lady.” Is it wrong that I’m considering making an MP3 of the song for iTunes?

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Now is as good a time as any to mention that the quality of the films on the set vary from feature to feature, but the condition of the prints is overall better that many “cheapie” movie sets out there. Thus far, Track of The Moon Beast looks okay, and Manos is, well, Manos, but the print used for The Beast Of Yucca Flats is absolutely terrific. There are the occasional scratches and dust, but it’s mostly very clean, crisp and clear. Honestly, I don’t think I’ve seen the movie look better.

Which is a hollow victory, because as far as I’m concerned, it’s the worst film in the entire set. The product of Coleman Francis’ fevered mind, and just like everything else Francis set his hand to, it’s a slimy, unpleasant film. Unlike Manos, which is also grimy but also, against all odds, somehow endearing, Beast is just an ugly, ugly movie. Even star Tor Johnson, who I normally find quite entertaining, can’t save it. Say what you want about Ed Wood, Coleman Francis was an infinitely worse filmmaker. I can’t decide if this is better or worse than Francis’ other cinematic abominations, The Skydivers and Red Zone Cuba (both also featured on MST3K), but in the end, if it has Francis’ name on it, there is no genuine “better,” just different levels of “awful.”.

The plot is some tripe about a defecting Soviet scientist (I hope can you buy Tor Johnson as a scientist, because that is exactly what the film posits) that gets caught in a nuclear blast and is turned into a mindless killer. Even the narrator’s deathless non-sequitur of “Flag on the moon; how did it get there?” can’t provide enough comedic momentum to sustain viewers through the 50+ minute (yes, really) running time.

Oh, the narrator? Yeah, this movie has no real dialogue; it’s almost entirely narrated (by Coleman himself), and what in-movie speech there is isn’t actually synchronized with the film; it’s spoken when mouths aren’t clearly visible or even on-screen at all. The Creeping Terror pulled that crap too, but there it wound up funny. Here though, it just makes you resent life and the fact that something like this could not only be made but also released to an unsuspecting public.

I hate this movie and can’t say enough bad things about it, which of course means it’s a perfect addition to the proceedings, simply because of how sickeningly, jaw-droppingly bad it is.
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After the soul-crushing saga that is The Beast Of Yucca Flats, Eegah almost comes as a respite, and rest assured, that’s not a statement I make lightly, because there aren’t many instances where Eegah can ever be seen as a respite.

Long story short: a caveman still exists in a California desert, he develops an attraction to a teenage girl, kidnaps her father, kidnaps her, they both get saved by the girl’s guitar-wielding boyfriend (though he doesn’t save them with the guitar; that would be just too much!), the caveman follows the whole lot to a pool party, and gets shotted dead. The end.

Eegah is frequently listed as one of the worst films of all-time, a rating that I find just a little overrated. Oh, it’s really bad alright, and there’s an icky shaving scene, an even ickier implication that there was some off-screen romancin’ afoot between the teenage girl and the guy who plays her dad, and an even ickier moment when the girl’s dad basically tells her to put up with Eegah’s affections. There’s even some superfluous songs by the boyfriend (played by Arch Hall Jr., who y’all will recall I met; Arch is a very cool guy and a lot of fun to talk to)!

But, even with all that, I never saw Eegah rising to the levels of near-unwatchability such as, well, the previous movie on this set did. For the most part, it’s 1960’s drive-in schlock, and while it’s certainly terrible, it’s not that terrible. I have a hard time hating anything like this from the decade where, at least on the surface, it’s all meant to be relatively innocent. I guess.

Watch out for snakes!

Disc Two

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Disc two is probably the least painful in the set. Only one movie on it (The Atomic Brain) is gut-wrenchingly terrible. Unfortunately, as far as that whole “movies so bad they’re good” vibe goes, it’s also where the set loses some steam, and from here on out, things are a bit hit-or-miss. The fun-factor never goes away completely, but after that powerhouse (ha!) of a first disc, well, it’s a hard act to follow.

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The Ape Man! Starring Bela Lugosi! Bela is always a plus, and it allows Mill Creek to draw on his name on the back cover. I think Scared To Death may have been a better choice as far as “bad-good” goes (and it’s a color movie, to boot), but I was actually kinda pleased to see The Ape Man here. Though in all honesty, I just kinda skimmed this one here and I don’t recall seeing it in the past, so maybe that’s an unfounded viewpoint.

The plot is formula stuff. Lugosi is a mad scientist whose experiments cause him to turn into the titular character. It’s a poverty row Lugosi flick, though I’m the first to admit that I have a soft spot for those.

And really, that points to my main area of interest with this one: after Dracula succeeded in stereotyping him somethin’ fierce, by the 1940s Lugosi was forced to take on mega-cheap horror/sci-fi flicks not unlike this one. It’s a good example of his film work at the time, to see a legitimate movie legend reduced to movies of this caliber. But, it’s usually fun to see him in anything, and even when it’s a by-the-numbers affair like this, his magnetism can drive the film further than a different actor may have. Plus, the low-budget affairs of the 1930s and 1940s, while obviously not comparable to Universal’s output, can often be pretty entertaining time wasters.

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The Amazing Transparent Man, another flick that popped up on MST3K. I first saw it on The Ghoul, waaay back in 1999 or 2000 (I still have my recording of the episode somewhere). Truth be told, it’s another feature that I think really isn’t that bad. I don’t think anyone will claim it to be good, but it’s relatively painless.

The title makes it sound more spectacular than it really is. It’s actually just a low-budget twist on the classic “invisible fella” formula, only this time with a mad scientist trying to create a slew of invisible baddies as part of a world domination scheme. He enlists a criminal to act as a guinea pig and steal the needed ingredients to complete the scheme.

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The last MST’d movie on the set, and whoo-boy is it a baddie. This is the low-point of disc two, and it absolutely deserves a place of honor in this collection.

The Atomic Brain is some hokum about a decrepit old woman that wants to switch brains with a younger dame. Eternal youth or some crap like that. Eventually, someone’s brain ends up in the head of a cat somehow. I don’t know, this one causes my eyes to glaze over pretty bad, even on MST3K.

The real eyebrow raiser here is just how sexist the movie is towards women, especially since it is woman as the catalyst for all of these shenanigans.

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First off, it was a pain trying to find a good ‘action’ screencap for this one; I was never satisfied with the choices, and even now I’m really not all that happy with my pick. It’s an axe crashing through a wall is what is.

The plot is one of those “fake crime turning into a real one” deals, as a woman trying to scheme her way into a family’s will leads to some very real axe murders.

The really interesting thing about Dementia 13 isn’t so much what it is (though it’s a fairly violent movie for the early-1960s) but rather who was behind it: none other than Francis Ford Coppola! You know, The Godfather guy. Mr. Apocalypse Now himself! And believe it or not, this was his very first ‘legit’ movie! I wouldn’t say it gives much indication of the esteem that would later befall Coppola, though it’s really not all that bad, but it’s most definitely cool to see one of his super early efforts.

Disc Three

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Do you mind if I power through this last disc? For as much as I like The Best of the Worst, my enthusiasm for this post is waning fast. Maybe it’s for the best, as in my opinion the last disc is the least interesting of the three. Still, there is entertainment to be had here, though in the interest of full disclosure, I haven’t ever seen the last two movies on this disc in their entirety, because frankly, I just don’t care. Does that cause me to lose my reviewer credentials? I don’t care about that, either.

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I first saw Unknown World on Son of Ghoul, and it’s less of a “really bad” movie and more of a “painfully dull” movie.

Having been made in the 1950s, nuclear war and whatnot was a particularly major concern, and here, some scientists have devised a tunneling device to burrow deep into the earth to escape said calamity, should it occur. They do just that, and then…nothing much happens. Well, things happen, but none of them are all that interesting. I mean, burrowing into the earth should provide just as much fodder as an outer space plot could, and yet, the movie completely misses the mark.

No, I don’t enjoy this one, not one bit.

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The Terror, a movie that I have tried multiple times to like. No kidding, I want to enjoy this one so much, and it just never, never happens. The saturated colors, Gothic scenery, and stars Boris Karloff AND Jack Nicholson (he’s probably pretty proud of this movie) seem like an absolute recipe for a good time, and yet, it just never does it for me. Furthermore, it’s a film I just can’t get away from. I have it so many times over on various budget movie DVDs/tapes/sets, and even recordings on both The Ghoul and Son of Ghoul, and still it only leaves me chilly frosty cold.

Set in the 1800s, Nicholson is a Napoleonic soldier (the role he was born to play!) that winds up at Karloff’s castle and right into a ghostly scenario. Karloff is being haunted by the ghost of a woman he killed, which in turn is under the control of a witch, and then some stuff happens and it ends.

Really, aside from a couple scenes of rotting corpses and a relatively graphic falcon (?) attack, there’s not a whole lot memorable about this one, and truth be told, I have a hard time following the plot. Rumor has it that this was made in only a couple of days, and, well, it shows.

Man I want to like this movie!

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Don’t get too excited, the title seems more lurid than the actual movie, though you’ll be pleased to know it stars Uncle Fester. Some crap about a scientist in Mexico creating animals from humans or humans from animals or I don’t even know. The movie is public domain, I don’t have to worry about providing a satisfactory summary. Here, go to Wikipedia and learn all about it!

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And finally, no bad movie collection would be complete without a contribution from Jerry Warren, and here it is. The quality looks like it comes from a VHS tape and some of the dialogue is unintelligible. It sounds like it’s a suckier version of Unknown World, though I refuse to take a closer look at the actual movie to back those claims up. Here, Wikipedia is yo’ frien’ again.

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I love this set. I really do. The mere sight of it fills me with joy. Yeah, it kinda runs out of steam for me by the end, but the concept alone is just so cool that I don’t really mind. It’s absolutely worth the couple of bucks it fetches wherever you may find it, so yeah, if it crosses your path, I’d say give it a go.

Hey, Mill Creek, how about a Volume 2? You’ve already got a guaranteed sale in me, and isn’t that what it’s really all about?

(Here is Mill Creek’s official website and here is the product page for this set.)

Time Traveler Records Revived!

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My favorite record store is back in action! As I mentioned before, Time Traveler closed the longtime Cuyahoga Falls, Ohio location at the end of 2014, and after a bit of downtime, the store has returned at 118 West Market Street in Akron, Ohio. It is located right across the street from Dave Towell Cadillac, The Diamond Grill, and my alma mater, St. Vincent-St. Mary High School (before anyone asks, yes I went to school with LeBron).

(For the sake of nostalgia, I won’t remove my original Time Traveler article. However, I have updated the address info etc. in that post to reflect the recent changes. While the location may now be different, almost everything else in the original article still applies, so check it out if you don’t know, or want to know more, about Time Traveler.)

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By owner Scott Shepard’s own admission, the store is still a work in progress, but even at this early stage, a good deal of inventory is out, including new and used CDs (including dedicated sections to rock, classical, country, folk, jazz, blues and soundtrack CDs), new and used vinyl, and DVDs. Just like before, there’s a lot to take in!

Additional awesome news? The 40% off sale is still going, and is applicable on the vast majority of items for sale! No word yet on how long the sale will be continuing, but there is a lot of great stuff that made the transition to the new location, so take advantage of it while you can. Plus, new items and special orders have resumed (discount does not apply to those items).

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Also for sale are a lot of the spare wooden vinyl/CD racks that were left over from the old store, $25 each (40% discount does not apply on the racks). Both my brother and I each got one for ourselves, and they make terrific displays for your collection.

Needless to say, I couldn’t be happier that the store is living on. I have been going to Time Traveler regularly since about 2007, and the amount of music I’ve gotten there in that time is astounding, and the amount of music knowledge I’ve gotten there in that time is pretty much incalculable. There’s a feel, an aura, that you can only get at a real record store, and it’s present at this new location in full-force.

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So, Time Traveler is back up and running! Stop in and check it out!

Time Traveler Records is located at 118 West Market Street, Akron, Ohio 44303. The store hours are Monday-Saturday 10 AM – 7 PM. Phone # 330-819-8955.

 

Cool recommended readins:

Meeting the legendary Johnny Winter at Time Traveler in November, 2013!

Time Traveler Records Closing At The End Of The Month.

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Sad news to report: my beloved Time Traveler Records in Cuyahoga Falls, Ohio has lost its lease and, after some 24 years in the same location, will be closing at the end of this month, which, needless to say, is also the end of the year. Time Traveler has long been my favorite store, and I have been fortunate enough to become good friends with the proprietor, Scott Shepard, music encyclopedia and all-around good egg. Simply put, I wouldn’t have the music collection, the music knowledge, or even be the music fan I am today if it wasn’t for Time Traveler and Scott. So naturally, the news of the closing hit me like a ton of bricks when I heard earlier this week.

Time Traveler has of course been immortalized on this blog before, dubious honor that may be. I once did a whole big post on the store, and later a write-up on the great Johnny Winter’s appearance at the store.

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Now, I know that a good deal of my posts are found “after the fact,” which is to say, through internet searches and whatnot sometime after I initially post them. That’s okay, I want the right person to find the right post at the right time. But obviously there’s kind of a time limit on this one, with only some 2 1/2 weeks left in the year. But, I’d be remiss in whatever it is I do if I didn’t give some kind of notice here. After all, both previous Time Traveler articles have been very popular on this blog, and much more importantly, Scott’s done a lot for me over the years; I have to say something, though it’s only with a heavy heart.

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So, here’s the deal: everything is not all doom and gloom. Nothing is set in stone yet, but a new location is actively being sought out. I firmly believe Time Traveler will live on, survive, and thrive in a new spot. But, to do that, there’s a lot of inventory that needs to be sold in order to help fund such an undertaking. So, for the final weeks of Time Traveler at the Cuyahoga Falls location, a 40% off sale is currently going on. This applies to almost everything in the store, with the specific exceptions of new 2014 releases and special orders.

Make no mistake, that’s a phenomenal deal on a lot of great, great music!

So, stop in and pick up some vinyl LPs, CDs, DVDs, Laserdiscs, and more for yourself or to put a dent in your Christmas shopping, or just to say goodbye (temporarily) to local landmark.

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(And hey, if you wanted to mention you read about this here, well, I’ll probably be around to hear it. It won’t get you more than 40% off, but it’ll blow my mind nevertheless.)

An Interview With Marty “Superhost” Sullivan.

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Ah, Superhost. Portrayed by Marty Sullivan, he was a bonafide institution on Northeast Ohio television for 20 years. From 1969 to 1989, Mr. Sullivan hosted Saturday afternoons on WUAB Channel 43. Through his program, untold numbers of kids were introduced to The Three Stooges, as well as classic (and maybe some not-so-classic) horror and sci-fi movies. Even those viewers already familiar with the films found an additional reason to watch in Superhost himself. Indeed, my very first glimpse of the Northeast Ohio movie-hosting tradition was through Superhost, specifically the promos featuring him doing “The Curly Shuffle” that aired during the kids’ programming on WUAB. Even if I was a bit too young to “get it” then, the memories of Supe stayed with me, and found a natural place in my heart when I was old enough to “get it.” And the show has really held up. Unlike some similar programs that show their age or are otherwise “had to be there” viewing, I find myself constantly and consistently laughing out loud at Supe.

I recently had the honor and privilege of interviewing Mr. Sullivan for this blog. He couldn’t have been more gracious with his time or more forthcoming with his stories. A true class-act all the way (it’s obvious why he was and is so beloved by Northeast Ohioans). Here, now, is my interview with Marty “Superhost” Sullivan.

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Me: First off, thanks again for allowing me to talk with you.

Marty Sullivan: No problem!

Me: It is a huge, huge thrill for me.

MS: Well I’m glad! Thank you!

Me: When did you first become interested in becoming a broadcaster?

MS: Oh my God, that’s a question! I was always interested in radio as a youngster. It was the year of The Lone Ranger and all those dramatic radio shows. Inner Sanctum and Lights Out and all those radio shows. And I used to listen to those as a child, and the interest just kept on. I don’t know when I actually wanted to become an announcer, but I think it was not until I was in college. I worked in a little theater group in college, and I didn’t have a lot of nerve to get up in front of people! So…

Me: [Laughs] So, who would you say were your early influences that sort of pushed you into becoming a broadcaster?

MS: I took some psychological tests when I graduated from high school, and they indicated I was not really sure of myself. I was kind of a quiet kid, and they advised taking some public speaking courses to build-up my self-confidence. So, I did. I took a course that was run in Detroit by two local broadcasters, two big time announcers in Detroit. I went to their school and I learned about radio broadcasting from them. So that’s how that happened.

Me: When did you first actually go into broadcasting?

MS: Actually, I finished the broadcasting course, and I was going, also at the same time, to the Meinzinger School Of Commercial Art in Detroit. I had some ability as a draftsman, so I was taking a course in commercial art. And the commercial arts school went belly-up! I had only been there through the latter part of the summer, and one day I went in to attend class, and there was a note on the board that said “Don’t bother coming in anymore!” So, then I didn’t know what to do, so I figured I’d finish the broadcasting course, “maybe there’s somebody that needs a pronouncer!” Somebody at the school told me that this little station down in Indiana might be needing a disc jockey or announcer or something. So, I sent them a tape, and they said “Come on down! You’re hired!” And that’s actually how I got started in broadcasting, it was a little station in Peru, Indiana, WARU, a little AM station. But it was just a daytime station. At night they had to go off the air, because radio waves traveled further at night. So they went off the air at local sunset.

Me: So how did it end up that you came to Northeast Ohio?

MS: I went back and got into Detroit radio, and had a couple stints there. I was working for WJR, the Goodwill station in Detroit at that point in time. And, I got myself fired at WJR! Then one of the chaps I used to work with at WJR, one of the newsmen, had moved to Cleveland as a newsman. And he called me up and asked me if I wanted to be a newsman down in Cleveland. So, I figured “Well, sure, why not!”

Me: Was that WUAB?

MS: WGAR in Cleveland was where I first started as a newsman. Then George left, the guy who hired me in, was news director. He was unhappy there, so he moved to New York, got a job in New York as a newsman. I think it was WNEW New York. And I thought since he left, he was the one who hired me in, I’d be thrown out! Then, I was hired into an advertising agency in Cleveland. It was Ritchie and Sattler, and they specialized in industrial advertising. One of their clients was RicWil, it was a pipe making company down in Akron, I think it was. I stayed with them about a year, but then that’s when WUAB opened up. Somebody told me it was open. So, again, I was canned at the advertising agency, because they knew of a chap who had a client, a big electronics company, that they wanted to get in the office. So they moved me out to move him in, along with his client. That’s when I got in touch with WUAB, the program manager; sent him a tape and he told me to come on in. Put me to work!

Me: You started there as a newsman?

MS: Announcer, newsman, audio man, camera man…

Me: [Laughs] So pretty much everything!

MS: And nighttime switchboard operator!

Me: So how did it come about that they wanted you to host a Saturday afternoon show? What were the origins of Superhost?

MS: This one I know! I’ve recited it several times! I was doing what they call floor directing. That’s where I was wearing a headset, and was talking to the director in the control room. I was out in the studio to impart those directions to people out there. It was kind of like a Dick Clark Show, called Big Beat Dance Party, and they were taping it on a Saturday. I was floor directing, and The Four Lads were coming in to sing “Standing On a Corner.” So, naturally we had a ‘corner’ set there. And they asked me to stand in four different places so they could adjust the lighting, since the Lads weren’t there yet, we were just getting ready. So I’m standing there and the director is shouting at me over the headsets that I’m unzipped! I must have looked very uncomfortable trying to cover up THAT! So Ted Bays, the program manager, happened to be in the control room when all this is going on, and everybody in the control room is laughing uproariously; I can hear them on the headset! After the show was over, Ted Bays came up and asked me if I wanted to come up with an idea for a show for a character to host a movie. And, that’s what I came up with!

Me: Was it a runaway hit? Did you know what early reactions were or how popular it was at the start?

MS: [Laughs] Yeah, it wasn’t popular at all! It took quite awhile for people to discover – back in those days there weren’t any UHF television stations, very few of them. It was TransAmerica that put it on the air, they were taking a big chance with the new technology, the ultra high-frequency television station. Their signal was a little tricky to get around, it didn’t have the coverage that the VHF stations had. So it took awhile for people to discover UHF. And when they did, they discovered the show! A lot of kids liked watching the old science fiction movies on Saturdays.

Me: You said it wasn’t very popular at first. Did WUAB give you any static? Were they complaining?

MS: No, they were selling commercials, so they were relatively happy with it. They were always after me for more ratings, but I did the best I could. But, it just took awhile for people to discover where it was and the fact they liked these old movies!

Me: Did you ever hear from viewers that just didn’t “get it” or that were complaining?

MS: I was doing a public appearance at a store in Cleveland, at that time called Uncle Bill’s. It was like a Home Depot kind of store. So I did a public appearance there signing autographs, and I’m all dressed up in my little super suit, and I’m in the middle of the store. Kids are coming up, signing autographs, and a couple young-ish men, like in their 20’s or so, were walking by. The one guy pokes the other guy, points to me and says “Oh look, there’s the guy that’s on the TV!” and the other guy looked back and said to his friend “Oh, that a-hole!” So that put everything in perspective!

Me: [Laughing] Did you say anything? I don’t know if I’d know what to say in a situation like that!

MS: Well they weren’t talking to me, I just overheard them!

Me: I’d assume that sort of thing was kept to a minimum?

MS: Yeah, that was the only time I ever heard anybody overtly describe me that way!

Me: You showed a lot of the science fiction and horror movies, did you have a favorite? I know the station probably controlled what you played, but…?

MS: They did, the program manager picked all the movies – usually on the basis of how cheap they were! Let me see, there were a lot of good movies. Forbidden Planet, I liked, where The Krell were the monsters. Who was in that? I can’t think of the name of the man now. The comic actor, did a lot of comedy. Anne Francis was the girl in that, I remember her name! Walter Pidgeon was her father in that movie. It was a good movie.

Me: Are there any other films that you particularly like?

MS: There’s been several new ones that I like. One was called The Red Planet. I like Alien and all the modern films, I like them a lot. In fact, I signed up for Netflix so I could watch them without all the commercials!

Me: How about skits? Everyone knows you’ve done some pretty famous skits like “Convoy” and “The Moronic Woman.” Are there any favorite skits you have?

MS: Well, I remember a little background story: I decided to do a little take-off on The Bionic Woman, and I was talking about it to some of the people at the station at night, and one of the cleaning ladies came up with the idea of the long arms. That was the first one, where The Moronic Woman grabbed the bumper and the guy took off in the car and stretched her arms out 20 feet! That was thought up by one of the cleaning ladies!

Me: Would you say that’s your favorite?

MS: I think my favorite bit was The Moronic Woman where she kicked the football and her leg went up over the goal posts!

Me: I was watching the “Convoy” skit not too long ago, and the part I found funniest the last time I watched it was the three guys kicking their feet during the chorus.

MS: The one guy there, I think he used to smoke a little funny…

Me: [Big Laugh]

MS: He was like a half-beat off the whole dance routine! Next time you watch it see if he isn’t a little off! [Those guys] all became directors, ultimately. Where they wound up, I have no idea, but they all became directors. The guy that directed the pilot show I did, the station wanted to see a pilot show before they decided whether to put me on the air or not. So we got together one Sunday night and taped it, and the guy was a man named Harry Kooperstein. Harry went on to Hollywood and became one of the biggest directors out there. He directed a lot of the Los Angeles symphony broadcasts and also directed all the Christmas parades out there. So, Harry became a big deal in Hollywood.

Me: Is his name where you got the alter-ego name [Henry Brookerstein] for Superhost?

MS: Well, we had three directors at channel 43: Henry Briggs was one, Harry Kooperstein was the other, and Brooke Spectorsky was the third.

Me: So you just put them all together?

MS: Mashed ‘em all together!

Me: I know you did a couple Big Chuck & Hoolihan/Lil’ John skits. Were you guys friends off-camera?

MS: Oh yeah, they were good guys. We weren’t direct-competition, anyway. They were on Friday night and I wasn’t on till Saturday, so we weren’t at loggerheads. And they’re nice guys; they came over to the station once to do a commercial for their show because it was too busy there at [WJW] 8. And they stole my phone booth as a gag!

Me: [Laughing]

MS: And I think it’s probably still over at channel 8!

Me: Did you ever do commercials for companies/products?

MS: I did one for some boat company in Cleveland. They sold fishing boats and pleasure boats, and I did a few for that guy, but I don’t remember what the name of the outfit was.

Me: Were you in costume?

MS: I’m not sure now. It’s been so long ago! I think I was, but I don’t have a clear memory of it.

Me: Okay, maybe not necessarily a “favorite” moment, but do you have a most-memorable moment from the whole 20 year run?

MS: Well, probably when I finished the last show. Taping the last show, I thought I’d get emotional, and I was doing pretty good. And then we were breaking down the set and I’m walking out and one of the crew members said “How you doing?” and that kinda got to me. Then it all came to me in a rush: this was the end.

Me: I came around sort of at the end of Superhost, I was just a little guy at the end. And actually, the most endearing memory for me, because they would play the commercial during all the cartoons I’d watch, it’s the promo of you doing “The Curly Shuffle.”

MS: Oh, yeah!

Me: I still have it on my old tapes from when I was little, but I guess that was really my introduction to the whole Northeast Ohio movie hosting thing.

MS: Well that’s great, I’m glad you liked it! We always had fun doing the commercials. I remember right in the middle of that I had to go and have triple bypass surgery.

Me: Oh geez!

MS: St. Vincent’s. And of course it took awhile to recupe from that. I remember the first show I did [after that], I made up a great big band-aid out of colored paper and pasted it on me! Everybody was fussing about the surgery, so I had to put them at ease!

Me: The show’s timeslot: The most famous was an hour of Three Stooges and two movies?

MS: Yeah, originally it was two movies and some other stuff. Sometimes it was Stooges, sometimes it was Superman, the live-action Superman with Steve Reeves or George Reeves or whatever his name was. It changed around over the years, but for the first, I don’t know, 7 or 8 years, 10 years, it was like two movies and short subjects on Saturday.

Me: I read that you ended up showing the Adam West Batman series at one point.

MS: Yeah.

[NOTE: And so, a new video hunting obsession is born. Recordings of Adam West Batman hosted by Superhost are now waaaaay at the top of my “really, really want” list!]

Me: What did you think of those programming changes?

MS: Well, ultimately, when my ratings started sagging, just because people were used to it and all the little kids who used to watch grew up and got a job. They couldn’t spend all day watching the movies! So, that was fine with me.

Me: Was it your decision to end Superhost, or was it WUAB’s?

MS: Well, it was kinda mutual in a sense. We had a new station manager who was brought in from the sales department, and he decided that he‘d do away with Superhost because he could do better with putting wrestling on Saturday. So that was what ultimately caused the end of Supe. And I had told the new program manager that I had rather just kill of Superhost than have him die a slow miserable death. So, he agreed.

Me: I was watching that last one not too long ago and it really does have a, I’d guess you’d say, bittersweet ending. You know how it says “Good Luck, Supe!” at the end.

MS: Yeah. That was the director, his name was Paul Nickerson, who added Thanks” or “Goodbye” or “Good Luck” or whatever it was they put on. I haven’t watched that show in a long time. I’ve got it somewhere on a disc, I think.

Me: what did you do after Superhost ended? You stayed in broadcasting for a few more years, right?

MS: I did, yeah. I stayed at channel 43 still doing the announcing. It was about that time that they put in a whole evening news thing at 10 O’clock on channel 43. I was the only newsman they had for years; I would just change out of the super suit and go out there and do 5 minutes of headline news at 10 O‘clock at night. But then they decided to put in a news department – that took about 35 people to replace me! So that made me kinda smile!

Me: You retired in, 1993, was it?

MS: Right, 1993 and moved over here to Oregon.

Me: Can you still do the Superhost voice?

MS: Yeah, sure! “Hello dere! This is Supe!”

Me: [Laughing] Can you do “Gimme dat shoe?”

MS: Sure! “Gimme dat shoe, y’know!”

[NOTE: I don’t mind telling you I was dying with laughter at this point.]

Me: Would you ever consider coming back and doing a one-off special, or is that sort of…?

MS: No, I don’t think I want to bother with that. Besides, the super suit is getting a little tight around the middle!

Me: Is there anything you miss about broadcasting or Northeast Ohio?

MS: Well, I miss Northeast Ohio. I don’t really miss broadcasting. It was a great run while I had it, but that’s over with. I do miss the people in Northeast Ohio. I mean, they’re just the salt of the earth. They were very faithful to me the whole 20 years I was on television. They were supportive, and friendly, and that applies to everybody in Northeast Ohio.

Me: Well, there’s lots of people that still admire you. You’ve still got a ton of fans here that are grateful, thankful for everything that you did. You’re still very much admired!

MS: Well thank you very much! That’s very kind of you!

Me: Well, thank you very, very much. I can’t tell you how really amazing it has been to talk with you. What a huge, huge thrill it was for me!

MS: Well God Bless you! Thank you!

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What an honor it was to speak with a genuine Northeast Ohio television legend. I can’t thank Mr. Sullivan enough for taking the time to speak with me. I know I speak for countless other Northeast Ohioans when I say “Thanks for all the laughs, Supe!”

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