A powerful criminal brain from the planet Arous, Gor, assumes the body of scientist Steve March. Thru March he begins to control the world by threatening destruction to any country ... See full summary »
In Norrisville, Bill Farrell leaves his bachelor party on the eve of his marriage with Marge Bradley. He is abducted by an alien that takes his shape and marries Marge on the next day. ... See full summary »
Audrey Ames, an enterprising journalist, tries to get the scoop on giant grasshoppers accidentally created at the Illinois State experimental farm. She endeavors to save Chicago, despite a ... See full summary »
A pair of crooks (Kenne Duncan and Jeanne Tatum) take over the country house of a geologist (Robert Clarke) and his trusty dog. They have kidnapped an heiress (Marilyn Harvey) where they plan to hold her until the ransom is collected. Soon they hear an explosion in the woods nearby that turns out to be a spaceship containing a sexy blonde alien with a skintight metallic suit, high heels, lipstick, and incredible eyebrows (Shirley Kilpatrick). Don't let her touch you in any way! The plot is advanced by an off-screen narrator. Written by
In addition to his $500 salary, star Robert Clarke received a 4% producer's profit which amounted to approximately $2000. See more »
During a scene near the end when Dick and Marylin are discussing the now deceased monster, a decorative plate hanging on the wall keeps appearing and disappearing as shots in the scene are intercut back and forth. See more »
The way you keep puttin' your foot in your kisser, it's a wonder you don't get athlete's mouth!
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Iridescent outer-space stripper in existentialist film noir
Gangster: "Shut up, you lousy drunk!" Floozy: "I prefer to be referred to as an alcoholic!" If you view this as a sci-fi movie, it doesn't rate. As existentialist film noir, it's off the scale. Two aging gangsters and their gin-soaked moll kidnap a Beverly Hills socialite who looks like the cadaverous victim of a 1930's vampire movie. Through a series of misadventures, they end up in a remote geologist's cabin being stalked by an iridescent stripper from outer space. Every time the alien enters the cabin, they run outside and get in the jeep. Then she corners them on the road and they run into the woods. Then she finds them in the woods and they go back into the cabin. This sequence is repeated three or four times as characters are killed one by one. Imagine "Ten Little Indians" if it had been written by Sartre instead of Agatha Christie. The socialite gets lines like, "But, Dick, isn't radium in solid form a metal?" and my favorite, "I had no idea that a geologist used so many acids in his work." The hyper dramatic voice-over for several long sequences reinforces the idea that the plot for the film was actually developed in post-production. But then, existentialist film noir should be improv, shouldn't it?
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