For this week’s horror selection, I wanted to look at a film that I remember well from video stores in the early ‘80’s. Well, I should say I remember the box art. While I was on my way to grabbing one of Abbott and Costello’s finer selections, I recall seeing the box with the picture of a building with lights on it in the shape of a skull. The cover always stuck in my mind, but for years, I couldn’t remember the title. It wasn’t until I was researching William Shatner that I finally came across it. The movie is called Visiting Hours, and in a minor role, it does in fact contain a dose of the Shat. However, it wasn’t the former starship captain or the nostalgic memory of cover art that made me want to see this film. Instead, it was the synopsis of this under the radar slasher that made me want to give it a watch.

After doggedly defending a battered woman on trial for killing her husband, TV journalist Deborah Balin (Lee Grant) is savagely attacked in her home by an assailant wearing only makeup and her jewelry. Thinking he’s killed her, the attacker takes a photo to remember the moment by and leaves Deborah to die. Clinging to life, she’s taken to the local hospital, but when the killer finds out that she’s survived, he intends to finish the job. The maniac goes to the hospital disguised as a flower deliveryman, but when he’s unable to find her, he murders some of the other patients, stalks Debroah’s Nurse Shelia (Linda Purl), and lashes out at anyone that stands in his way.

While I used a series of pronouns to describe the film’s baddie, it really wasn’t necessary. Without giving the killer a name or context, Visiting Hours does just sound like your basic slasher in a hospital type film and to an extent it is. Where it differs is how it treats and portrays both Deborah and the killer, part time TV station janitor and full time misogynist Colt Hawker played by Michael Ironside. Wrapped in the trappings of a serial killer slasher comes an interesting character study of a weak willed man who finds strength in killing and a tough as nails lady who has to finally bow to weakness. It also bucks the trend by populating the film with middle-aged actors (with a few exceptions) rather than having the killer strike out at candy stripers for instance.

Ironside gives a chilling performance as the deeply troubled man driven to murder because of his deep-seated resentment toward his mother. It seems mommy had the gall to stand up to her abusive husband, and now Colt is taking it out on any and all strong, independently minded women. Ironside, looking like the very kind of hulking brute that you might imagine, plays the monster in plain sight to perfection. In the early moments of the film, he lurks in the recesses of the frame in a very John Carpenter’s Halloween type fashion, but as the film progresses, his character becomes front and center as the flick winds up for the inevitable showdown. Ironside would go on to become a recognizable face for many children of the ‘80’s because of his turn as Ham Tyler in V before appearing in films like Highlander II, Starship Troopers, and providing the voice of the villainous Darkseid all of DC comic’s animated shows.

Lee Grant was really the big name in this film, and I’m sure looking at the script it seemed like Deborah’s performance would be the pivotal point of the film. However, like so many lead actors before her, Grant’s time in the spotlight would be greatly overshadowed by Ironside’s creepy bad guy. Deborah also becomes somewhat uninteresting once she is attacked and becomes full of self-doubt. She starts this film as this journalistic attack dog, but when she’s sidelined for a moment, she comes apart at the seams. So while the performance was good, the character arc should have been much more dynamic. Since there are few background players in this film, let me take a moment here to mention a couple. First off Linda Perl did an excellent job as the nurse that gets caught between the killer and his intended victim. It drove me crazy trying to figure out where I knew here from until I saw that she now plays Pam's mom on The Office. William Shatner in his supporting role. As Deborah’s TV producer, He shows up once in a while, wearing a powder blue suit, and gives Deborah friendly advice about taking her recovery slow or how there’s no one out to kill her. He never has enough screen time to make an impression, but since this is Shatner month, he did bear mentioning.

The real problem with this film is, strangely, what I also liked about it. The pairing of the mature thriller with the teen slasher works on some levels, but it fails in in the pacing. Due to the large amount of time given to uncovering Colt’s back-story and many overly talky scenes that were intended to build tension, Visiting Hours tends to drag around far more than it should. It finally comes to a close at one hour and forty-five minutes. There is at least 15 to 20 minutes that could have been trimmed from this flick to bring the pace up and keep the action interesting. If it had been a leaner picture, then the premise would have worked so much better.

Visiting Hours definitely is a second or third tier slasher. It has its moments, mostly thanks to Ironside’s creeptastic performance, but on the whole, it just can’t get enough going in the thriller or horror department to add up. If you’re a huge slasher fan, then this is one you probably will want to see, but if you’re like me and just have memories of some great cover art, then perhaps those memories are best left in the past. (Although I would still totally want to own the movie poster. It’s no doubt the best thing about the film.) That’s all for today. I invite you all to join me back here Sunday for a last dose of William Shatner to close out You Don’t Know Shat! Month. I have something pretty special in store.

So, as some of you may have read, there seems to have been quite a number of voting irregularities involved in the Mr. Horror Blogosphere contest. I know I did not personally take part in any tom foolery, and if any was done on my behalf, I was not party to it. In order to get a fair vote, Chuck from Zombies Don't Run is re-running the voting from now until Monday at 12 Noon. However it is going to take more than a click on a blog to cast a vote this time.

What I have to implore you fine folks to do will take a little more effort, but it is a fair resolution to this disputed title. So here's the skinny, from whatever kind of e-mail you use, mail a message to crystallakecamper001@gmail.com and in the subject line put the magical words TL Bugg of The Lightning Bug's Lair. That's all you have to do, Chuck will be hand counting these and making sure everything is on the level.


I hate to ask you folks to do this. I hate that the first voting did not stand, but it is what it is. Anyone who voted for me in the first go around I thank very much, and anyone who feels compelled to vote this time around is a kick ass individual indeed. Thanks again and remember my campaign slogan "I share your values."

If it wasn’t for blogging, looking at stupid videos, getting music and pod casts, finding out what movies are playing, getting directions, keeping in touch with friends all around the world, googling myself, Netflix instant watch, and putting an end to trivial arguments, then I wouldn’t need a computer. As you may surmise from my list, my computer has a pretty firm hand in every part of my life, but if I can be thankful of anything it's that at least my computer isn’t in control of my whole home or trying to knock me up. That kind of problem is what troubles Julie Christie in tonight’s film 1977’s Demon Seed. Every couple of years since Kubrick’s 2001 (1968), there seems to be a film about a computer gone nuts. Demon Seed doesn’t stand out from the pack, but it’s not just because of the lovely Ms. Christie or a man named Dean R. Koontz.
The story of Demon Seed is quite simple. Dr. Alex Harris (Fritz Weaver) and his team have created Proteus, a supercomputer with the ability to learn through oral instruction. Harris has taken up his every waking hour with the project, and his marriage to Susan (Julie Christie) has suffered. Alex moves out and into the laboratory, but he soon discovers that his supercomputer is starting to think on its own. When Alex refuses to let Proteus have a terminal all to itself so it “may study man”, Proteus taps into Alex’s home computer and takes control of the fully automated home. Susan becomes the prisoner of Proteus, and after making a careful study of her, the machine decides that the only way to expand its existence is to have a child with the Doctor’s wife.

Let me start right off by saying that Demon Seed is a horribly dated film. From the supercomputer that runs on DOS to the primitive robotics that look like rejects from the ‘Rock It’ video casting call, the technology looks like the cutting edge of, well, 1977. At the time, I’m sure there were more than a few people that geeked out on the tech, but almost 30 years later, my laptop has bells and whistles that would give Proteus wet dreams. (It also has minesweeper as well, and you know how supercomputers go crazy over minesweeper.) I tried my best not to let it hinder my enjoyment of the film, but the “horror” of the events that transpire hinge on the computer being this scary, unknown quantity. Instead I just kept thinking that all Ms. Christie’s character needed to do was apply a swift Ctrl-Alt-Del to set things right again.

Demon Seed was based on the 1973 novel of the same name by Dean R. Koontz. Over the years, Koontz has established quite a reputation as a hack author of horror titles, but for my money, there are few authors who write such entertaining trash. From Phantoms and Twilight Eyes to Odd Thomas and his Frankenstein books, Koontz has brought me many hours of pulpy entertainment. Now, that’s not saying that he’s not written a fair share of junk as well. I recall reading Demon Seed a few years back, and while it comes off more frightening in print (possibly because I could imagine something more modern), I remember thinking that he had probably been inspired to write this tale because of the success of Michael Crichton’s The Terminal Man (1972). Taking a dose of that book, a scoop of Rosemary’s Baby, and a pinch of 2001, Koontz churned out this hunk of techno-horror. As a novel, it made for a fairly tense, enjoyable time waster, but the script by Robert Jaffe (Motel Hell, Nightflyers) and Roger O. Hirson (Broadway’s “Pippin”) just didn’t hold up in its translation to screen.

What we’ve really come to discuss here is this week’s Beautiful Lady of Genre, Julie Christie. Her breakout role came in 1968 when she starred in John Schlesinger’s film Darling, and she went on to high profile roles in films like Shampoo, Dr. Zhivago, and McCabe & Mrs. Miller. As far as I can tell, Demon Seed is the only horror film she ever appeared in (with only a Harry Potter film and Dragonheart showing up for genre in general). Demon Seed was her film to make or break, and her performance is what keeps this film above water. (Sorry, it wasn’t the computer and its HAL-esque red eye.) She really sells the computer and its robotic minions as scary, and the scenes where Proteus is probing her naked body are the film’s best moments of tension. Christie also looked quite lovely as well, and I wish she had appeared in more horror titles.

Before I close out, I want to mention a couple of other actors that make appearances here. Fritz Weaver, who played Dexter Stanley in the portion of Creepshow (1982) called ‘The Crate’, comes off so unlikable that it nearly ruins the human drama that the story needed. Weaver was the wrong choice to play Ms. Christie’s husband. The role needed someone way more intense, and I would have loved to see how different the film would have been if someone like James Brolin had been cast instead. One actor I did really like seeing was Gerrit Graham, better known as Beef from Phantom of the Paradise, he played the would-be hero and perfectly fit the part. Graham is always a nice surprise in any film he’s in, and this just served to remind me that I need to watch C.H.U.D II- Bud the C.H.U.D sooner rather than later.

As a sum of its parts, Demon Seed is quite lacking. It never really manages to ratchet up enough tension to provide scares. The few tense moments that do appear are the product of good acting rather than good scripting. Julie Christie was giving the old college try, but sadly for her, the old college had been torn down and a minute mart put in its place. This is a film that will only appeal to anyone who is really interested in the portrayal of computers in old films. Anyone else will probably find the lack of suspense and the antique technology to be major roadblock in their enjoyment of this film.

There is no doubt that Vertigo (1958) is not only one of my favorite Hitchcock films, but it is also one of my favorite films in general. We've all seen the iconic orange spirograph poster for Vertigo by artist Saul Bass, and I love the iconographic look it lays down for the film. Some of these alternate posters borrow from Bass' design while others took it in a whole different direction. So I thought it would interesting to look at a few of those posters and which were my favorites.

5. Beware the big giant head of Alfred Hitchcock. As the Master of Suspense looks on like he's The Watcher we get a bit of the Saul Bass style, but this time in black and red. Add in all the overlays of moments in the film and this one comes off like the swinging lounge version. They should make this in blacklight for good measure.

4. This French poster has a very German style to it, but the title clearly reads Sueurs Froids, literally Cold Sweat. The entire illustration works for me and I would love to hang this one on my wall. The only problem here is the weak likeness of Stewart, but I love Kim Novak's disembodied head that looks to be split down the middle.

Hey there folks. I don't often take time out to talk about anything other than movies, but I have to take a moment for my lovely wife. She's the one who puts up with me when I watch one trashy film after another, and if I'm going to get support like that, then it is only right to return the favor. What you might not know about the lady who goes by the name Miss Directed when it's Ladies Night round the Lair, she is also a hell of a great singer/songwriter. She cut a new demo today at Greenville's very own Sit n' Spin studios, and it's blown me away. I just had to share, so give it a listen.

Champagne for Caesar (1950) Director: Richard Whorf. Writers: Fred Brady, and Hans Jacoby. Starring: Ronald Colman, Celest Holm, Vincent Price, and Barbara Britton.

Beauregard Bottomley (Colman) is a genius, who is seeking employment at the multi-million dollar Milady Soap Company. The president of Milady Soap is the eccentric Bumbridge Waters (Price). The interview goes badly, and Bottomley wishes to get even. He devises the perfect plan. Every week, Milady Soap sponsors a weekly quiz show, where the prize doubles with every correct answer. Bottomley gets on the show, and he uses his knowledge of everything to take the company for everything that it has.


Champagne for Caesar is a film I picked up a couple of years ago for my collection, but I never got around to watching it. There was always something else to see, and I just wasn’t sure if I would care for it much. It was completely different from the rest of my Price film and frankly it scared me. What if I did not like it? How would that fair to my love of Price? Well, my worries were unfounded. I really enjoyed the black and white comedy, and it taught me to never doubt Mr. Price. I mean, he is my favorite for a reason.

I think I will start by explaining the title of the film. Champagne for Caesar refers to Bottomley’s pet parrot, Caesar. The bird is a bit of an alcoholic, and he is partial to champagne. Beauregard and his sister, Gwen (Britton), found the parrot leaning against a lamppost, drunk, and unable to remember where he lived. The two took the bird in, and tried to wean him off the sauce. Caesar was voiced by Mel Blanc. I doubt that there is anyone who doesn’t know who Mel Blanc is, and all I’ll say is if it was a Warner Brothers cartoon then Blanc did the voices. Caesar was only in a couple of scenes, enough to be cute, but not enough to make the viewer want to kill the bird. Caesar also has one of the best lines in the film. “Polly wants a drink. Lets get loaded.”

Champagne for Caesar is a crisp and clean film. The look, the sound, the feel, and the screenplay are all crisp and clean. It was quite a refreshing comedy satire. Maybe this was because I expected so little, but I was surprised at my joy for it. Director Richard Whorf did a great job; I am surprised that there are so few movies in his filmography. He mostly has TV shows to his credit, but 68 episodes of The Beverly Hillbillies isn’t too shabby.An amazing cast came together for Champagne, but two men really stand out from the crowd (bet you can guess one of them). The lead role of Beauregard Bottomley was played by Ronald Coleman. He was originally a star of silent films, who made the transition to sound with ease. He was also well known on the stage and radio. Colman was one of Vincent Price’s acting idols, and the young star was a bit star struck to be working with such an accomplished actor. In fact, Price originally asked the director to make his first seen with Colman a non speaking one. It was easy to see why Price was so nervous. Colman was a true professional, who really captured the essence of Bottomley. He was a well bred genius and scholar. From his movements to his speech, Colman really embodied Bottomley, and he was just brilliant in this role.

Vincent Price was spectacular in the film as well. He played Bumbridge Waters, president of Milady Soap. Waters is pompous and arrogant man, who would stop at nothing to keep Bottomley from taking the company. Price was great in the role. His comedic timing and delivery was spot on. It was not often that Price was in a comedy without horror overtones, but he seemed very natural in the role. Bumbridge Waters was the role that landed Price his role in in 1985’s The Great Mouse Detective (a fantastic little animated Sherlock Holmes) tale 35 years later. Champagne for Caesar showed off yet another facet of Price’s gem of an acting career.

I was pleasantly surprised by my joy of Champagne for Caesar. While I will be the first admit that I am not well versed on 50’s satire, but I felt the story was original and different. The style and dialogue were wonderful and the cast a delight. Do not let the surface of this film discourage anybody from seeing it. It was just an all around good time and I for one feel like a better person for seeing it.

So finally the day is here, and I wanted to take time off today to celebrate William Shatner's birthday. For over 60 years Shatner has been a fixture on the stage, screen, and television. From Captain Kirk to T.J. Hooker to Denny Crane, he's created memorable characters time and time again. He's survived personal tragedy, professional failure, and critical drubbings only to return time and time again. William Shatner is 79 years old today, and I should be so lucky to be as vital and look so good when I reach that age. So wherever you are Mr. Shatner, Happy Birthday from a lifelong fan.

Young Shatner in one of his first major roles, 1951's The Explosive Generation.

Shatner showing how to rock a gold shirt on Star Trek

Shatner does lounge as he emotes "Rocket Man" at the Science Fiction Film awards.

After T.J. Hooker, no car hood would feel safe again.

Shatner vs Shatner in Star Trek VI

Denny Crane!

You don't want to mess with the Shat!

When you’re talking about William Shatner, a few descriptives come instantly to mind. Hammy, over the top, and super mega emotive are among the first that leap into my head, and I love the guy. Words that don’t ever run though my brain are smarmy, sleazy, and weak. When you look at the most well known characters that Shatner has played, the noble captain, the rough and tumble (over car hoods) cop, and the loveable, incorrigible lawyer, there was always a likability on display. With today’s film, the 1973 made for TV film/pilot Incident on a Dark Street, Shatner does his best to try and make us forget the likeable fellow he normally plays, and he all but vanishes behind an ill-advised mustache, a pair of massive sideburns, and one of the worst, and oiliest, hair pieces I’ve ever seen.