(1975)
Overall: MEH
The second small screen collaboration between director Curtis Harrington and author Robert Bloch, The Dead Don't Die was an adaptation of the latter's short story of the same name, airing here on NBC in January of 1975. Set in 1930s Chicago as the exquisitely-mustached and tanned George Hamilton tries to clear his recently executed brother's name, it reveals itself as a Haitian voodoo story before too long, one that has a throwback vibe to when various Poverty Row Hollywood studios were churning out similar material, (hence taking place four decades prior). Watching Austrian character actor Reggie Nalder walking around as a member of the undead is a hoot and easily a role that the man was born for, plus Hamilton makes a solid noir protagonist that finds himself in over his head in a supernatural zombie army scheme. Though such a tale should translate well enough to the television format since gore, sleaze, and profanity are hardly necessary to channel that low-level Monogram Pictures "magic", this still comes off as uninspired, despite Harrington being able to muster some atmospheric moments here or there.
(1977)
Overall: MEH
Taking a break from a series of television horror films, director Curtis Harrington tackled the exploitation snoozer Ruby; a ghost/possession/revenge movie that is equal parts lackluster and silly. Hot off of her renowned turn in Carry from the previous year, Piper Laurie plays the title character with some ham-fisted bravado that is appropriate for a former mob dame turned has-been lounge singer running a drive-in of all things; a drive-in that exclusively employees veteran gang members. While Laurie's tough gal Mae West channeling is appreciated, it jives awkwardly with bloody and goofy murder sequences that at least break up the boredom. The last act spends more time with the mute daughter played by Janit Baldwin, (who is oddly a dead ringer for English actor David Hemmings), and this is where the cliched Exorcist knock-off moments come in, all of which are as unintentionally humorous as any other 1970s movie that featured young women contortioning their bodies while speaking in creepy voices. Laurie's characterization is weak at best and inconsistent at worst and though the film tries to keep things interesting with a barrage of arbitrary supernatural sequences, they are too consistently hackneyed and unconvincing to deliver anything more than yawns.
DEVIL DOG: THE HOUND OF HELL
(1978)
Overall: MEH
The penultimate full-length from director Curtis Harrington was the television film Devil Dog: The Hound of Hell which initially aired on Halloween in 1978 on CBS. Notable for its ridiculous premise that is played unwaveringly straight, it has Richard Crenna in the lead, a cameo by scream queen Martine Beswick, and also reunites child actors Kim Richards and Ike Eisenmann who likewise played siblings in John Hough's Witch Mountain. As far as the actual movie goes, Harrington maintains a steady mood of dread, occasionally utilizing a chilling vocal score that is typical of the era as well as letting long moments play out to silence as to mount the suspense. Still, we are privy to an opening sequence where Beswick and a handful of other people wear robes and summon a demon to possess a female dog so that it will spawn a litter of evil pups. It is a tonal clash in this respect that is impossible to take seriously despite how seriously everyone on and behind the screen is taking it. The two moments where we see the K9's true infernal form only work because an occult expert explains them to us, as the special effects are rough even for 70s TV. Some may dig the atmosphere and goofy premise, but the stock plotting, stagnant pacing, and dry execution do not jive accordingly.
Taking a break from a series of television horror films, director Curtis Harrington tackled the exploitation snoozer Ruby; a ghost/possession/revenge movie that is equal parts lackluster and silly. Hot off of her renowned turn in Carry from the previous year, Piper Laurie plays the title character with some ham-fisted bravado that is appropriate for a former mob dame turned has-been lounge singer running a drive-in of all things; a drive-in that exclusively employees veteran gang members. While Laurie's tough gal Mae West channeling is appreciated, it jives awkwardly with bloody and goofy murder sequences that at least break up the boredom. The last act spends more time with the mute daughter played by Janit Baldwin, (who is oddly a dead ringer for English actor David Hemmings), and this is where the cliched Exorcist knock-off moments come in, all of which are as unintentionally humorous as any other 1970s movie that featured young women contortioning their bodies while speaking in creepy voices. Laurie's characterization is weak at best and inconsistent at worst and though the film tries to keep things interesting with a barrage of arbitrary supernatural sequences, they are too consistently hackneyed and unconvincing to deliver anything more than yawns.
(1978)
Overall: MEH
The penultimate full-length from director Curtis Harrington was the television film Devil Dog: The Hound of Hell which initially aired on Halloween in 1978 on CBS. Notable for its ridiculous premise that is played unwaveringly straight, it has Richard Crenna in the lead, a cameo by scream queen Martine Beswick, and also reunites child actors Kim Richards and Ike Eisenmann who likewise played siblings in John Hough's Witch Mountain. As far as the actual movie goes, Harrington maintains a steady mood of dread, occasionally utilizing a chilling vocal score that is typical of the era as well as letting long moments play out to silence as to mount the suspense. Still, we are privy to an opening sequence where Beswick and a handful of other people wear robes and summon a demon to possess a female dog so that it will spawn a litter of evil pups. It is a tonal clash in this respect that is impossible to take seriously despite how seriously everyone on and behind the screen is taking it. The two moments where we see the K9's true infernal form only work because an occult expert explains them to us, as the special effects are rough even for 70s TV. Some may dig the atmosphere and goofy premise, but the stock plotting, stagnant pacing, and dry execution do not jive accordingly.
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