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 »
After hubby Ted goes to work, Ellen putters around the apartment in her nightgown cleaning up. When she takes the trash out, the janitor forces her into his apartment and rapes her. When he... See full summary »
Charles E. Mazin,
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 »
A love triangle develops between three people who run a high tech chicken farm. It involves Anna (who owns the farm), her husband Marco (who kills prostitutes in his spare time) and ... See full summary »
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.
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
The working title of the 1968 classic Night of the Living Dead was Night of the Flesh Eaters. The title was changed when its distributor, The Walter Reade Organization, expressed concern over confusion with The Flesh Eaters, released five years earlier. See more »
Hey! Wonder what makes 'em do it? You think they want the world to hate 'em? They wanna be punished because of some guilt complex? Hey - you think maybe they just kooky?
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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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