Why do we like horror and monster movies that routinely get labeled as ‘bad?’ Because many of them have great story ideas and look at the world from odd, warped viewpoints. Back when ‘warped’ wasn’t a prerequisite for All filmed entertainment (my exaggeration) this murderous rejuvenation tale could be appreciated as something unusual, even quirky. Jeez, the characters are even nastier than the people I know! Lovely Coleen Gray takes a chance on a downmarket Universal programmer and proves how well she can carry a movie, even through several dubious horror make-ups.
The Leech Woman
Blu-ray
Scream Factory
1960 / B&w / 1:85 widescreen / 77 min. / Street Date August 27, 2019 / Available from Scream Factory
Starring: Coleen Gray, Grant Williams, Phillip Terry, Gloria Talbott, John Van Dreelen, Estelle Hemsley, Kim Hamilton, Arthur Batanides, Murray Alper, Paul Thompson.
Cinematography: Ellis W. Carter
Film Editor: Milton Carruth
Original Music: Irving Gertz
Written by David Duncan, story by Ben Pivar,...
The Leech Woman
Blu-ray
Scream Factory
1960 / B&w / 1:85 widescreen / 77 min. / Street Date August 27, 2019 / Available from Scream Factory
Starring: Coleen Gray, Grant Williams, Phillip Terry, Gloria Talbott, John Van Dreelen, Estelle Hemsley, Kim Hamilton, Arthur Batanides, Murray Alper, Paul Thompson.
Cinematography: Ellis W. Carter
Film Editor: Milton Carruth
Original Music: Irving Gertz
Written by David Duncan, story by Ben Pivar,...
- 1/4/2020
- by Glenn Erickson
- Trailers from Hell
The authors wish to acknowledge with gratitude the venues in which some version of this article previously appeared: Cinema Scope 24 (Fall, 2005), Trafic 62 (Summer, 2006), and the late and twice-lamented The New-York Ghost (Dec. 26, 2006).
In the Place of No Place
Every movie contains its alternates, phantom films conjured variously by excess or dearth: textures and movements that carry on their own play apart from the main line of the narrative, an obtruding performance or scene, an unexplained ellipsis or sudden character reversal, the chunk life of an object seizing the frame in an insert whose plastic beauty transcends its context.
Though the extremes of pure narrative economy (in which each detail exists purely for transmission of plot) or utter dispersal (in which no piece connects to any other) can never exist, we can tentatively use the concepts as limit-cases to differentiate films which make room for their phantoms (or, in the worst case,...
In the Place of No Place
Every movie contains its alternates, phantom films conjured variously by excess or dearth: textures and movements that carry on their own play apart from the main line of the narrative, an obtruding performance or scene, an unexplained ellipsis or sudden character reversal, the chunk life of an object seizing the frame in an insert whose plastic beauty transcends its context.
Though the extremes of pure narrative economy (in which each detail exists purely for transmission of plot) or utter dispersal (in which no piece connects to any other) can never exist, we can tentatively use the concepts as limit-cases to differentiate films which make room for their phantoms (or, in the worst case,...
- 2/18/2013
- by B. Kite and Bill Krohn
- MUBI
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