The country was, in the autumn of 1938, primed for a panic. And 23-year-old radio actor Orson Welles was primed to give them one. At 8pm on October 30, 1938, he and the Mercury Theater on the Air began a broadcast that would, if you believe the stories about believing the story, send the whole of the country into a panic, convinced the planet was under attack by Martians.
Before the zombie glut of the 2000s, one could count the number of Night of the Living Dead-type zombie films from Hong Kong on, well, one finger. Bio-Zombie is one of the few Romero-style zombie flicks to come from Hong Kong. The result is curious, to say the least. For the most part, it’s uneven but enjoyable.
Ghost Stories of Wanderer at Honjo is a period piece ghost film, one of countless Japanese ghost movies in which a scheming, evil samurai runs afoul of a ghost. What makes Ghost Stories of Wanderer at Honjo different than, say Ghost of Yotsuya, is that the yokai make token appearances.
Under normal circumstances, The Cat and the Canary could have been a simple affair — a living room, a bedroom, shots of the spooky exterior of a mansion. Sprinkle some cobwebs and people looking side-eyed at one another, and there you go. In the hands of German Expressionist Paul Leni however, things were going to be different.
I often forget that, for a little while, I worked at Atlantic Records. It was such a bizarre position that every day I was there, I wasn’t sure I still worked there. Even today, some fifteen years later, I’m not sure I ever actually quit, like maybe I could just show up tomorrow and everyone would shrug and go on with their business.
Had Dark Purpose been an hour long episode of a TV show, it would have delivered. But forced to come up with, roughly, three half-hour acts, it can’t sustain the momentum and Shirley Jones, while perfectly acceptable, just isn’t dynamic enough to make us forget nothing much is going on.