Amityville II: The Possession (1982)


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I first saw Amityville II: The Possession in its first-run theatrical engagement sometime during the brief period of my life in which I was a film-school student.  At the time that I saw it, I was taking a once-a-week class called Contemporary Cinema, and at the start of every class meeting we’d go around the room, mentioning what films we’d seen during the previous week and whether we liked them or not.  The week after I saw Amityville II: The Possession, I mentioned that I had seen it and that it was, in essence, a steaming pile of tripe.  I did, however, also mention that there was one shot in the film that knocked my socks off, a camera move that started behind a character then went over the character’s head and ended up in front of him.

So, while rewatching the film for this write-up, I was eagerly anticipating that camera move, to see if it still was as wondrous as I once thought that it was.  It didn’t wow me this time around, but then again there have been three decades of movies that I’ve seen in the interim to blunt that shot’s impact.  Still, the two things that I came away with from this viewing are that this film a) has some pretty interesting camerawork in it and b) is so sleazy that a shower seems like it’s almost a necessity after viewing it.

The plot of the film is loosely based on Hans Holtzer’s book Murder in Amityville, which is an account of the DeFeo murders that occurred before the events that supposedly happened to the Lutz family in The Amityville Horror.  Screenwriter Tommy Lee Wallace (who had previously worked with John Carpenter on Dark Star, Assault on Precinct 13, Halloween, and The Fog, and would go on to direct Halloween III: Season of the Witch and the TV adaptation of Stephen King’s It) might have written it as a sequel, since Sonny Montelli heard the demonic voices that told him to kill his family mostly through a Sony Walkman, but that could have been a change from the screenplay which was made in the shooting process.  However it was written, the film was sold as a prequel, which certainly causes a massive anachronistic problem.  I really can’t decide exactly when the events are supposed to be taking place in relation to the first film, since the Lutzes and their fate aren’t mentioned during the course of the film, either.  It’s perplexing, this film.

Just like in The Amityville Horror, a priest is called in to help with the creepy stuff that’s going on in the house.  The priest this time, Father Adamsky, is played by James Olson, who was about as ubiquitous as they come in the 1970s.  He was all over television, guest-starring on hour-long dramas and cop shows as well as on sitcoms.  He was in movies, such as The Andromeda Strain and Crescendo, and in made-for-TV movies, like Strange New World, The Spell, the VD laff-riot “drama” Someone I Touched, and one of my favorite TV movies, Paper Man.  He’s definitely one of those actors who, when you see him, you think “Man, he looks familiar–what was his name?” and then you never come up with it.  Joining him in the supporting priest role (although the character is never clearly shown to be a priest–I thought he was just a pal of Father Adamsky’s, but the end credits told me otherwise) is Psychotronic favorite Andrew Prine, who was only slightly less ubiquitous than James Olsen in the ‘70s.  His career pretty much mirrored Olson’s, in that he was in scads of TV and movies and nobody can name him when they see him, either.

Other unnamable-to-the-average-viewer-but-familiar faces in the cast include Burt Young, Rutanya Alda, and Diane Franklin.  The lone returnee from the first film in any capacity (if you don’t count the house itself) is composer Lalo Schifrin, whose music adds just about the only bit of class that this film can muster.  The special effects seem to owe a great deal to not only The Exorcist but also Altered States and, especially and oddly enough, The Beast Within.  In the end, as awful as this film is, I have to admit that it’s actually more watchable than The Amityville Horror.  While the first film suffered from a lack of momentum, this one at least moves.  I’m not saying that it’s a better film than the first one, since both of them are fairly awful, but this one has some interesting camerawork and attempts to push the sleaze factor up to eleven.  And that’s got to count for something, I suppose.

Here’s the trailer from YouTube:

And for those gluttons for punishment (and you know who you are), here’s the whole movie, again from YouTube.  As always, the usual caveats about watching it soon before it’s taken down apply.

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The Amityville Horror (1979)

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Note: Not that it has anything to do with the rest of this blog entry, but the poster pictured directly above was the first authentic movie poster that I ever owned.  My first job was in a record store, and when the soundtrack album for the movie came out, our distributor shipped us a movie poster to help promote it.  We hung it in the store window for a week or two, and then I took it home.  I’ve still got it safely tucked away.

A family buys a house in which the former residents were shot to death because, you know, they can get it cheaply.  After a full month of weird stuff happening to them in the house, they leave one night, too terrified to return even long enough to retrieve their belongings.  And then they have a best-selling novel written about their experience and make gobs of cash.  The end.

I’m truly amazed that America won’t let go of its fascination with the Amityville Horror.  I’m especially intrigued by this because, after investigations showed that George and Kathy Lutz’s accounts were inaccurate at best and outright fabrications at worst, their lawyer/literary agent admitted that he and the couple had cooked the entire story up while drinking wine.  Nonetheless, thirty-seven years and about a dozen films later, the events that took place in a house on Long Island are still very much a part of America’s collective memory.

Like most everybody else that I knew, I read the book that this film was based on when it came out in paperback and, I’ll admit, it scared me pretty thoroughly.  There was a part near the end (in which a white-robed figure was standing at the foot of the house’s stairs) that caused me to sleep with the light on in my bedroom on the night that I read it.  The very last page of the book promised that a movie version was in the works.  I knew that if the movie version was faithful to the book, it would be one of the scariest films ever made.

Finally, the film came out, and I ended up being incredibly disappointed by it.  Yeah, it was sort of creepy in spots, but the white-robed figure was nowhere to be seen.  Apparently my feelings toward the film were in the minority, however, as the film went on to become the highest-grossing film ever released by American International Pictures.

When I was rewatching the film for this blog entry, I was struck by how dead-on Stephen King’s assessment of the film was (in Danse Macabre, his overview of mid-century horror in the media).  He devotes seven pages of Danse Macabre to The Amityville Horror, which he describes as “the horror movie as economic nightmare.”  Indeed, even if the house hadn’t turned out to be haunted, it would have wrecked the Lutzes’ finances.  King points out a scene in the middle of the film where $1,500 in cash earmarked to pay the caterer at Kathy Lutz’s brother’s wedding suddenly disappears.  George Lutz writes a check to cover it, but the check bounces, as he knew that it would when he was writing it.  Throughout the film, George complains that he can’t get warm enough, that the house is impossible to heat and that the utility bills will be astronomical.  George’s business partner comes to get him to sign payroll checks that they don’t have enough cash in the bank to cover.  When one of the Lutzes’ kids gets his fingers caught beneath a slamming window, there’s an expensive trip to the emergency room that has to be made.  The Amityville Horror may be the only horror film where the supernatural events of the narrative have a clear and immediate impact on the characters’ finances.  When seen through this lens, the film is effective…but when viewed through almost every other lens, the film is laughable.

If you look at The Amityville Horror objectively, almost nothing really scary happens.  Sure, the film opens with the shooting deaths of six people, but that’s shocking, not creepy.  Black goop bubbles out of the toilets, which is icky, perhaps, but not creepy.  Vomiting nun?  Ditto.  Babysitter locked in a closet?  Not even close to scary.  Margot Kidder in pigtails?  Well, that’s actually pretty unsettling, as are James Brolin’s hair and beard, which make him look like the original model for the Geico caveman.

The aspect of the film that has the most potential to be really creepy was botched in a huge way.  The Lutzes’ daughter makes friends with “Jody,” who may be the ghost of one of the people who were shot to death in the house, or who may be some sort of pig-demon, or who may just be an imaginary friend.  The film wants the audience to lean toward the “pig-demon” explanation, but the two instances where Jody is shown are both so ineptly handled that it’s hard to figure out what we’re supposed to be seeing, much less to be frightened by the images.  In the first instance, Kathy looks outside a second story window and sees two glowing eyes and hears a squealing/oinking sound.  This could have been frightening, but the “eyes” are merely two small penlights with nothing behind them.  The second instance occurs when George is walking back to the house from the boathouse on the grounds.  He looks up and sees a very poorly-matted-in image of a ridiculously large pig with glowing red eyes in an upstairs window.  This one’s so bad that I had to take a screen shot of it (click on the image to enlarge it):

cropped amityville pig Yowza.

As if that weren’t inane enough (ooh! ooh! The Inanityville Horror!), there’s also a clichéd cat-based jump scare that happens about a half-hour in, and there’s the complete and utter failure of the costume department to give Don Stroud as Father Bolen even one piece of clothing that looks like it wasn’t fashionable sometime during the Middle Ages.  There also seem to be a whole lot of green grass and flowers on display for a film set in late November and December in the Northeast.  But rising above all else is the performance of Rod Steiger, who takes histrionics to new heights with his interpretation of the Lutzes’ parish priest, Father Delaney.  While he starts things off with his hammy tendencies relatively in check, by the end of the film Steiger is in full-throttle scenery-chewing mode, delivering one of the most unashamedly over-the-top performances ever.  EVER.  His speech about “needing the church” is probably his most out-of-control moment in the film, but this scene is a pretty close runner-up:

Again, I say “yowza.”

So, to wrap things up, I guess that I should probably answer this question:  Is The Amityville Horror worth seeing?   My answer is yes.  Probably about 20% of viewers will actually find it scary, and about 2-3 times that many will find it hilarious.  Whether you end up liking the movie or not, pretty much everyone I know agrees that it has an awesomely spooky theme song.  At the very least, you’ve got that.

Here’s the trailer (in HD if you so desire!):

The Amityville Horror is an American International Pictures (AIP) release.

Number of AIP films reviewed so far: 5

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Americathon (1979)

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Generally speaking, one can find a rationale for every film that’s in Michael Weldon’s The Psychotronic Encyclopedia of Film.  It’s pretty obvious what Mike’s tastes in movies run to (especially since they’re listed on the back cover of the book): science fiction, surfing, rock ‘n’ roll, bikers, cave women, ax murderers, crazed farmers…you get the idea.  So I’m having a really tough time figuring out why he put Americathon in as one of the entries.  In his write-up, he does mention that John Carradine was supposed to have been in Americathon, but the footage featuring him was cut out.  That’s a really tenuous rationale for inclusion, especially when Carradine was also cut out of The Long Riders, and that’s not given an entry.  In fact, maybe Weldon has something against westerns in general, as John Carradine DID appear in The McMasters, The Gatling Gun, The Shootist, and several other westerns, but there’s no mention of any of those in The Psychotronic Encyclopedia, either.  Whatever the case, Americathon made it in, and I’ve got to find a way to come to grips with it.

The plot goes something like this:  In 1998, America has run out of oil, gas, and money.  Desperate to keep the country afloat, President Chet Roosevelt (John Ritter) has borrowed 400 billion dollars from Native American Sam Birdwater (Chief Dan George), but now Birdwater wants his money back or he’ll foreclose on the country.  To raise the funds to pay him back, the government hosts an “Americathon,” a 30-day non-stop telethon hosted by Monty Rushmore (Harvey Korman) and featuring some of the worst entertainers in the history of recorded media.

Truth be told, this could be a workable premise for a comedy, yet Americathon manages to botch nearly every single chance for a laugh.  All of the blame for this has to be placed squarely on the writers’ heads, and it’s even more perplexing that the film went so awry when there were five (!) reasonably-respected writers involved:  Phil Proctor and Peter Bergman were from the Firesign Theater; Michael Mislove was a member of the Ace Trucking Company, another early ‘70s comedy group; Neal Israel had just written Tunnelvision with Mislove and went on to write the first Police Academy movie and Bachelor Party, starring Tom Hanks; and last, but possibly the best of the bunch, was Monica Johnson, who started her writing career in television (writing episodes of The Mary Tyler Moore Show and Laverne and Shirley) before becoming a close collaborator with Albert Brooks, co-writing five of the seven features that he’s directed.  And out of that pool of talent, we got this appallingly unfunny, inert mass of celluloid.

The actors do what they can with it, but that’s not a whole lot.  Keep in mind that there are some very funny actors involved, too: Harvey Korman, John Ritter, Fred Willard, and Richard Schall–all known primarily for their comedic roles.  Also in the mix are the absolutely insane Zane Buzby as a very strange Vietnamese singer, Nancy Morgan (Mrs. John Ritter in real life), and Peter Riegert, fresh off of playing “Boon” in Animal House.  And then there are the cameos.  Here’s just a few of the people you’ll see popping up, some of them for mere seconds: Dorothy Stratten, Jay Leno, Meatloaf, Howard Hesseman, Peter Marshall, Allan Arbus, John Lone, George Memmoli, Cybil Shephard (supposedly), the Del Rubio Triplets, Jake Steinfeld (billed as Jake Steinfeldt) (aka “that ‘Body by Jake’ guy”), and George Carlin as the narrator.

Probably the best thing about Americathon is its soundtrack, which features a couple of tunes from Eddie Money, one of which (“Get a Move On”) made it all the way up to #46 on the Billboard Hot 100 chart.  There’s also an insidiously catchy Beach Boys song (“It’s a Beautiful Day”) that sounds like it was a leftover from the LA (Light Album) sessions.  The previously-mentioned Meatloaf appears in the film, but he doesn’t contribute a song.  Elvis Costello appears in the film singing pieces of two songs, but he’s awful at the lip-synching game and his performance is pretty much a stink-bomb of embarrassment.

I know it sounds like I’m trying to convince you to actually watch the film by listing all of these actors and singers, but, honestly, it’s the last thing I’d want you to waste an hour and a half of your life on.  Luckily, Americathon doesn’t show up in heavy rotation on cable, so your chances of stumbling across it by accident are pretty slim.  However, for those of you with a masochistic bent, you can buy the movie on a DVD-R at the Warner Archive site.

I think that Zane Buzby’s character in the film, Mouling Jackson, best sums up my attitude toward Americathon and everyone involved with it, when she says,  “Hey, ya know somethin’?  You guys suck!”

You know a comedy movie is bad when you can’t get three minutes of funny stuff out of it for a trailer, as proven here:

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An American Werewolf in London (1981)


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Two American friends are attacked by a werewolf while hiking on the English moors.  One dies of his wounds; the other is taken to London to recuperate from the ordeal.  Unfortunately, because he was bitten in the werewolf attack, David (David Naughton) is doomed to become a werewolf during the next full moon.  His dead friend Jack (Griffin Dunne) shows up to try to convince him to kill himself and stop the werewolf’s bloodline.  But does David listen?  If he did, would there have been a movie?

In 1981, two werewolf movies hit America’s movie screens: this one and The Howling.  Whichever film came out first was sure to steal some of the other’s thunder, and The Howling happened to beat An American Werewolf in London into theaters by about four months.  Both featured man-into-wolf transformations that were light-years beyond anything ever before seen on screen; they made Lon Chaney Jr.’s transformations into the Wolf Man look as archaic as they actually were.  Director John Landis had been planning An American Werewolf in London for almost a decade, and he had talked with special effects maestro Rick Baker about doing a transformation scene that actually showed a man changing into a wolf with no cutaways.  Baker had worked out how to accomplish this daunting bit of makeup trickery, but Landis wasn’t able to raise the necessary funds to get the movie made.  When The Howling went into production, Rick Baker was hired to do its werewolf transformations.  He planned out the big transformation sequence with his protégé Rob Bottin, and they went to work creating the most realistic werewolf transformation ever seen…and then John Landis, due to having back-to-back ginormous hits for Universal with Animal House and The Blues Brothers, got the go-ahead to make An American Werewolf in London.  So, Baker quit The Howling, leaving Bottin to pull off the werewolf effects, and he went to work on Landis’s film.

If An American Werewolf in London had come out first, it would have had a bit more of a cachet than it ended up having.  As things stand, The Howling took away from An American Werewolf in London’s wow factor because it did the big transformation scene first.  Whether it did it better is arguable, but for my money, the effects in The Howling are the more impressive ones.  Still, there’s a lot to like about An American Werewolf in London: the performances are uniformly great; Griffin Dunne’s post-attack makeup is wonderfully ghoulish; the dream sequences (and sometimes dream sequences inside of dream sequences) are dazzling; and most importantly of all, the film has an air of pathos about it that The Howling is never able to muster.  I love the juxtaposition of the music featured in the last shot of the film and that of the end credits that immediately follow it–it’s like a punch to the gut.

A couple of other quick facts about An American Werewolf in London:  it features three different versions of the song “Blue Moon”; John Landis’s catch-phrase “See you next Wednesday” has a much larger than usual appearance in the film; there wasn’t an official soundtrack album released, but Meco (of Star Wars…and Other Galactic Funk infamy) recorded an album of music inspired by the film; and Rik Mayall (of The Young Ones) shows up as a guy playing chess in The Slaughtered Lamb.

I can’t imagine that anyone with enough of an interest in horror movies to be reading this blog hasn’t seen An American Werewolf in London yet, but if you’re out there, make sure that you put it on your short list of movies to check out real soon.

Here’s the moody original theatrical trailer from YouTube:

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The Ambushers (1967)


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Dean Martin’s third-go-round as super-special agent Matt Helm is, according to most critics, the worst of the bunch of four films that he made as that character.  The films, all based very loosely on a series of books by Donald Hamilton, were never critical darlings, but this one really seemed to take a lot of heat.  At the time it was released, it was just another mildly funny spy spoof with perhaps a few more sex jokes than the dozens of others more or less like it; these days, it seems a little better, mainly due to the Austin Powers films giving the genre, if not actual legitimacy, at least a bit of popular acceptance.

As always with these films, the plot is incidental to the gadgets and the girls, but here’s a quick rundown:  Matt Helm is sent to Acapulco to retrieve an American-built flying saucer that had been stolen by unknown parties. Along the way, there are bras that shoot bullets, poisonous lipstick, cigarettes that emit laughing-gas smoke, a belt that hardens into a hard metal weapon when plunged into water, an inflatable bedroom, and girls, girls, and more girls.

While the film has about the same amount of gravitas as an Elvis movie from the same time period, the theme song and score are ultra-groovy, it never gets boring, the fashions are often hysterical, and the women are all nice-looking.  It’s a relatively breezy way to spend a couple of hours if you’re not expecting anything resembling art in any way.

The links are plentiful today, and all from YouTube…as always!  First, here’s the 60-second TV spot:

Here’s the single version of the vaguely Donovan-sounding theme song from Boyce and Hart:

And here’s the full feature, because you know that really, deep down inside, you want to see it.  But hurry, because full features don’t tend to stay up on YouTube for too long.  Sköl!

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The Amazing Transparent Man (1960)

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An ace safecracker is broken out of jail by a mysterious woman, who takes him to a house out in the country where invisibility experiments are being conducted.  Of course, this leads to our antihero getting–you guessed it–transparent and stealing both radioactive material and cash.

The Amazing Transparent Man was directed by Edgar G. Ulmer, probably the best director to work almost exclusively within Hollywood’s “Poverty Row” studios.  He actually made one big studio film, The Black Cat, for Universal (and starring Boris Karloff and Bela Lugosi), but that was his only one.  I’ve read that he was barred from working for the big studios because he had an affair with a married woman and caused her to divorce her husband…and the husband just happened to be related to the head of Universal Studios.  Tough break, there.  On the positive side, however, Ulmer married her, and they remained married until his death in 1971.

Even though it’s not the best film you’ll ever see, The Amazing Transparent Man has a lot going for it: a rapid pace, a fairly interesting plot, and a great cast of Psychotronic regulars–featuring top-billed Marguerite Chapman, who had been in Flight to Mars in 1951, and Douglas Kennedy (as safecracker Joey Faust), who had just been in The Alligator People and Rockabilly Baby over at 20th Century-Fox and in The Bonnie Parker Story for AIP.  Also, it’s an incredibly short film, running somewhere in the neighborhood of 58 minutes, so one doesn’t have too much time to get bored with it before it’s over.

The Amazing Transparent Man appears to have had a troubled release history.  All of the posters that I’ve been able to find for it list it as “An MCP Picture.”   While most DVD copies of the film start with the main titles with no studio logos, I have seen a couple that have a logo that states that the film is an “Exclusive Roadshow Attraction” released through MCP.  The fly in the ointment is that every pressbook (the advertising manual for a film that comes from the studio) that I’ve ever seen for The Amazing Transparent Man lists it as an American International Pictures release.  All I can guess (and, as I so often do, I’m wandering into the land of conjecture here) is that MCP planned to release the film, going so far as to have the posters printed and the “Roadshow” logo shot, before running into financial difficulties.  AIP then stepped in as the film’s theatrical distributor, but since posters had already been printed, AIP used those to send out to theaters.  It looks like only the pressbook was created by AIP, as it’s the only advertising material that carries the AIP logo.  In fact, even the trailer says that the film is an MCP release.  I suppose that it’s also possible that MCP did a regional release of the film, then handed it over to AIP to go national with it.  Again, this is all conjecture, and if anyone reading this knows the real scoop, I’d love for you to write in and let me know.

Since The Amazing Transparent Man’s copyright has lapsed, putting it into the public domain, you can find copies of it everywhere.  It regularly shows up in those 20- and 50-movie packs put out by the likes of Mill Creek, and it’s naturally all over YouTube.  If you want to watch the full movie, you’ve got your pick of several different versions, including a converted-to-3D version and the MST3K version.  Out of all the ones that I checked, this one seemed to have the best picture quality.

Of course, if all you want is a taste, here’s the trailer:

And even though I’m not 100% sure about it, I’m going to go ahead and put it in my count….

The Amazing Transparent Man is an American International Pictures (AIP) release.

Number of AIP films reviewed so far: 4

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The Amazing Colossal Man (1957)


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Lieutenant Colonel Glenn Manning (Glen Langan) gets caught in the blast of a plutonium bomb.  Even though things look dire, or terrible, for him (as over 95% of his body is covered with third-degree burns), his body starts an amazing regenerative, or growth, process, which soon goes out of control, causing him to grow exponentially, or really fast.  Soon, because of his rapid growth, his heart begins to show the strain, which causes him to cough a lot and wallow in self-pity.  Oh, and he also starts exhibiting signs of mental deterioration, or going crazy.

I find it rather difficult to dislike this, director Bert I. Gordon’s fourth film and first monster hit (pun intended) for American International Pictures.  By all reasonable standards, it’s not a very good movie.  Still, compared to Gordon’s first three films (King Dinosaur, The Beginning or the End, and The Cyclops), this is Oscar®-worthy material.  To its credit, The Amazing Colossal Man is played remarkably straight.  With a concept as ludicrous as this film has, it would be very, very easy to play it for laughs.  There are a few intentional laughs in the film, but overall, it tries pretty much to keep a straight face.  Unfortunately, a lot of the time, the film goes in the completely opposite direction and veers into pathos, with Manning bemoaning his fate…over and over and over.

But don’t let me give you the wrong impression–the film is goofy.  For example, the doctors who try to find a way to reverse Manning’s growth in the film have the habit of explaining big words immediately after they use them.  Here’s a quote from one of them: “For some unknown reason, new cells are growing at an accelerated, or speeded-up, rate, while at the same time, the old cells are refusing to die.”  See the first paragraph under the poster above for my attempt at doctorspeak.  And speaking of the doctors, they bring in an elephant and a camel to use in their size-reduction experiments.  In one scene, as they stand near the animals, the elephant gets a little inquisitive and starts trying to put his trunk in their faces.  It’s hilarious how the actors try to keep going with the scene, all the while trying to evade the reach of the elephant.

And then there’s the extra padding.  It looks to me like Gordon’s first cut of the film might not have been quite long enough, so there’s a flashback to Manning’s stint in the Korean War, which serves no purpose except to show what lousy luck he has.  There’s also a Las Vegas newscaster who shows up occasionally, adding absolutely nothing to the film except running time.  A nameplate on the newscaster’s desk informs us that he is H. Wells, a reference to H. G. Wells, a prime source of inspiration for Bert I. Gordon.

But of course, nobody goes to see a film like this for the realistic characters or the insights it may offer into the human condition.  No, the kids flocked to the drive-ins in 1957 to see a giant guy tear up Las Vegas.  And that he does, in a rather limited way.  One would think that since Bert I. Gordon had just finished making The Cyclops, another film with an oversized character, he would have ironed out the wrinkles in his special effects shots.  But he hadn’t, and the same problems that occurred in The Cyclops (such as an inconsistent scale for the model sets and the occasional semi-transparency of the main character) occur here as well.  It’s almost as if the effects get worse as the film wears on–at one point, Manning is sitting in the middle of a road, and you can see the cloud formations behind him…and through him as well.  Later, as the ACM terrorizes Las Vegas, you can often see people on the street below him through his forehead.

Still, I like the film…and it may be the only chance you’ll get to see a man impaled with an enormous hypodermic needle.

For a fun drinking game, you might try taking a gulp a) every time the doctors explain themselves in easier words, and b) whenever Manning has a pity party.  Between the two, you should end up enjoying The Amazing Colossal Man just fine.

A few weeks ago, one could find both the MST3K version of The Amazing Colossal Man and the regular ol’ theatrical version up on YouTube.  When I went to add the links to this post today, neither of these versions was available any more…thanks to AIP co-founder Jim Nicholson’s spoilsport widow (and former actress) Susan Hart Nicholson Hofheinz, who now owns the rights to the film.  She’s a bit overly tenacious in protecting her interests in the film, and I can’t really blame her for that.  I CAN blame her for sitting on the rights and not allowing the film (and several others that she owns) to be released on DVD.  C’mon, Susan–none of us are getting any younger, and I sold my VHS a while back.  Pleeeeease license the film out for a reasonable sum of money to a nice little DVD company…pretty please?

Oh, yeah…here’s the trailer (at least) from YouTube (with an annoying billboard plastered across the bottom part of the screen):


The Amazing Colossal Man is an American International Pictures (AIP) release.

Number of AIP films reviewed so far: 3

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