In 1661 Mexico, the Baron Vitelius of Astara is sentenced to be burned alive by the Holy Inquisition of Mexico for witchcraft, necromancy, and other crimes. As he dies, the Baron swears ... See full summary »
This cheap Mexican horror film is a remake of Cardona's Doctor of Doom (1962), spiced with nudity, medical footage, women wrestling, and cheap gore shots. Female masked wrestler Lucy (who ... See full summary »
José Elías Moreno,
Carlos López Moctezuma,
An alien agent from the distant planet Davana is sent to earth via a high-tech matter transporter. There he terrorizes Southern California in an attempt to acquire blood for his dying race, the result of a devastating nuclear war.
A frustrated and talentless artist finds acclaim for a plaster covered dead cat that is mistaken as a skillful statuette. Soon the desire for more praise leads to an increasingly deadly series of works.
500 years after they were blinded and executed for committing human sacrifices, a band of Templar knights returns from the grave to terrorize a rural Portuguese village during it's ... See full summary »
Amando de Ossorio
In the 13th century there existed a legion of evil knights known as the Templars, who quested for eternal life by drinking human blood and committing sacrifices. Executed for their unholy ... See full summary »
Amando de Ossorio
María Elena Arpón
An alcoholic actress, her personal assistant, and their pilot are downed on a secluded isle by bad weather, where a renegade Nazi scientist is using ocean life to develop a solvent for human flesh. The tiny flesh-eating sea critters that result certainly give our heroes a run for their money - and lives. Written by
Reviewers have not mentioned the gorgeous cinematography of THE FLESH EATERS, which is the work of the director, Jack Curtis, working under a pseudonym, Carson Davidson. Virtually every scene was shot outdoors in the merciless sun of summertime Long Island, but Curtis's lighting banishes unsightly shadows from the actors' faces; indeed, in many moments the exteriors are shimmering, almost silvery in their beauty. Deep focus and shallow focus are utilized with particular effectiveness. The women in the film are very good-looking, and as captured on film, they appear warm and absolutely delicious.
Another useful note is that THE FLESH EATERS was scripted by comic book writer Arnold Drake (The Doom Patrol, Marvel's Captain Marvel, et al). Arnold storyboarded the film, so every shot has the careful, formalized composition of a well-drawn comic strip. One shot, a sterling example of deep focus, sticks with me: the right profile of the hero dominates the left-side foreground of the frame. In a moment, two or three tiny figures at the far-removed shoreline move left to right, from behind the hero's head, and in perfect focus. Self-conscious? Yes. Striking? Absolutely.
Finally, Curtis & Co. shot THE FLESH EATERS silent, which is NOT apparent.The post-production looping matches flawlessly to the performances, and the voices have weight and presence. (Curtis had experience in the dubbing of foreign films for the American market.)
The gratuitous but not uninteresting Nazi-lab sequence was not shot by Curtis, and has none of the visual beauty of the rest of the film. Its shock value, though, is strong.
I rate THE FLESH EATERS AN "8" not against all films, but against other films of its type. As B exploitation, it is ingenious, nastily amusing, and immensely satisfying.
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