A teenage couple making out in the woods accidentally runs over an alien creature with their car. The creature's hand falls off, but it comes alive, and, with an eye growing out of it, ... See full summary »
Edward L. Cahn
Escaped convicts Gary and Lon are caught hiding in a rocket by scientist Dirk Green, who forces them to pilot the ship to the moon. Dirk, who's secretly a moon being, wants to return to his... See full summary »
Deep in the jungles a mad scientist is using the natives' voodoo for his experiments to create an indestructible being to serve his will. When a party of gold seekers stumbles upon his ... See full summary »
Two scientists come across an auto accident, and find an unconscious man in the wreck. They take him back to their lab and inject him with a serum they have been working with. Unfortunately... See full summary »
Accomplished but eccentric movie make-up artist Pete Dumond has been with the studio for decades and is totally devoted to his art especially in the creation of screen monsters. His world ends abruptly when new management acquires the company and arbitrarily decides that the horror cycle has run its course, and the studio will now concentrate on escapist musicals. When Dumond hears he will be pink-slipped, the neurotic but usually affable Pete turns psychotic and vows vengeance on the two movie executives responsible. Using a combination of hypnosis and a newly developed chemical formula, Dumond is able to use mind control to compel the young actors playing the teenage Frankenstein and werewolf to exact vengeance for him. Written by
Amusing third sequel to "I Was a Teenage Werewolf" combines the Teenage Werewolf and Teenage Frankenstein. Under fear of termination, a film studio makeup wizard (possibly modelled on one of the family Westmore?) applies "a special fixing agent" to his teenage actor's monster makeup that turns them into real monsters. Given such an unusual, original premise, the results of the film are not too disappointing: several brutal killings, lots of monsters, and even John Ashley's B-grade Elvis impersonation (surely done for laughs, let's hope). the film supposes the existence of "American International Studios" -- a nice thought, but filmmaking had already changed a lot, and AIP was never able to rent a steady digs, so this one just has to stay a fantasy. Did anyone else notice how heavily homoerotic the makeup guy's relationship to the boys was? He always called them "my boys" and talked at one point about having them "in his hands". Plus, note their uncomfortable reaction when he wants them to come to his house for some drinks. Funny stuff, certainly holding up to Herman Cohen's other AIP productions, which were among their best early efforts.
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