God and Satan are on a train discussing the fate of three individuals. The stories of the people in question are told in a trio of very strange vignettes. One involves an insane anylum with... See full summary »
Mitchell Parker lies dead on a morgue slab. In life, 'Mitchell' served the low ranks of Debt Collectors, surrounded by all the filth and scum that the world had to offer. He thought his ... See full summary »
Giovanni Lombardo Radice,
Foreign agents are smuggling monium (a chemical used in producing poison gas) into Mexico. The three Mesquiteers bet involved when they ride to save a girl (really a government agent) on a runaway horse.
In this Grindhouse throwback, it's up to a hippie chick, Sadie Hawkins, and a comic book-reading soda Jerk, Darrel Lee, to save the world, but not without a little help from a group of ... See full summary »
Luis Molina and Valentin Arregui are cell mates in a South American prison. Luis, a homosexual, is found guilty of immoral behaviour and Valentin is a political prisoner. To escape reality ... See full summary »
A Dutch film, post-Saturday Night Fever, which follows the lives of three young men who are amateur dirt-bike motorcycle racers. They each fall in love with a young woman who, with her ... See full summary »
Hans van Tongeren,
This intelligently crafted, seven-time award winning festival favorite, tells the story of a young man, in a small seaside town, who learns a thing or two about love, luck and life from his... See full summary »
Wes Block is a detective who's put on the case of a serial killer whose victims are young and pretty women, that he rapes and murders. The killings are getting personal when the killer ... See full summary »
God and Satan are on a train discussing the fate of three individuals. The stories of the people in question are told in a trio of very strange vignettes. One involves an insane anylum with some very interesting treatment plans. Another involves a 'death club'. The final story shows us the adventures of a server of Satan. This is a strange movie. Written by
Josh Pasnak <email@example.com>
The first part (or in some versions, the third part) of this anthology horror film, "Case Of Harry Billings" starring Richard Moll, was edited from an unfinished, unreleased horror film, "Scream Your Head Off" (although copies of it are reported to be available). That film was written by Philip Yordan and directed by John Carr (both were also credited as the writer and director of this film). See more »
The strings on the killer insect can be seen when it first starts to fly. See more »
Like, I really wish our bus hadn't broken down, ya know?
No way! I think this train is coooool!
From the top!
[then the band starts playing again]
See more »
Satan is played by "Lu Cifer" and God by "Himself". See more »
I first encountered this title when researching TERROR TRAIN; quite naturally it would pop up all the time. Then when I started seeking more information on John Phillip Law, again, NIGHT TRAIN TO TERROR would always pop up & just sounded interesting -- Cameron Mitchell playing God & Satan, having a debate about whether mankind is inherently good or evil, or just stupid. Charles Moll from NIGHT COURT [the big bald baliff dude] is also a contributor, if that is any kind of plug. But this is one wacked out movie: My buddy and I watched it the other night while we were tankin' up on Molson's Canadian, and ended up screening it TWICE because
a] the movie makes no sense b] it is still EXTREMELY entertaining even with the annoying has-been pop/new wave Meneudo band playing between segments. The segments are also utterly bizarre, with no coherency or continuity. Not between them as a whole, but from SHOT TO SHOT in all three "segments" of what is purporting to be an anthology piece I.E. VAULT OF HORROR. The stories of all three make no sense, even now watching it sober: Part one deals with John Phillip Law's imprisonment in an Evil Sanatorium that harvests body parts. Ok great: but there are about six sub plots involving women Harry supposedly marries/has relations with, a Nurse Ratchet from hell, a lobotomized Warden, and Charles Moll menacing & groping at young actresses in various states of nudity & then hacking them up. The Lobotomized Warden made me laugh my kiester off, but what the hell did the rest of it have to do with anything? This is a rhetorical question, by the way: Read on. Segment two is about a middle aged man who becomes obsessed with an adult performer and is annoyed when she falls for a guy who falls for her after seeing her in a porno flick one day when he STOPS BY A FRATERNITY HOUSE FOR A BEER???? The guy looks like he is pushing 35: if I walked into one of the Fraternity houses on the SU hill one day, totally out of the blue "FOR A BEER" I would be beaten and arrested. The guy tracks her down, they fall in love, and the middle aged man enrolls them all in a "Death Club", consisting of a bunch of desk/chairs like you'd see in a classroom sitting in what looks like the backstage area of an actual film under production in the same building. There are six members of this Death Club, all of whom had their audio tracks seperately recorded or dubbed by other actors -- Nobody is speaking their lines naturally except for the black dude, who provides the film's second biggest laugh after the Lobotomized Warden when he is fried in an electronic game of Russian Roulette. The segment has no continuity from scene to scene, with voiceover narration from someone not in the film explaining what is happening. The final visit to the Death Club has the surviving four members is it five?] strapped down in J.C. Penny's sleeping bags while a demolition ball is twirled so that it's guide wire frays against a saw and smashes the skull of NEITHER ONE OF THE THREE in the love triangle to a pulp. It's cut, but it must have been one heck of a mess. The closing segment reminded me of the closing segment from another personal favorite Horror Anthology feature: Rod Serling's NIGHT GALLERY, with Nazi atrocities from the past being re-lived in the present by people who don't seem to have all been working from the same script for the same film. There are bizarre claymation segments involving a rampaging Golem, a Goth Rocker Nazi Satanist who reminded me of Stuart Townsend from QUEEN OF THE DAMNED, and a private eye trying to piece it all together in voiceover narration that, again, tells us the meaning of disconnected images presented onscreen as a supposed narrative construct that makes ZERO SENSE. The piece concludes with the film's favorite image: someone's brain frying & sizzling the skin right off as their head shakes back & forth like a mechanical paint can shaker. The same image is repeated three  times; once in each segment, with increasingly graphic violence each time.
It was after realizing this during the second viewing that I got wise and actually READ THE CREDITS at the end, and all three segments were directed by the same nobody [John Carr, "announced" by the IMDB as the director of an upcoming remake of DILLINGER] and using my overactive little brain, I think I see what is going on here: These are three feature length films, unless I am mistaken, that have been condensed & edited down into one 90 minute or so take that pretends that they are part of a different larger whole: the direction of the "linking" segments with Cameron Mitchell are credited to the film's writer: what the Hell else could be going on here? The John Phillip Law Asylum story is the grabber: it has sick asylum sleeze knee deep, a nice walk-in cooler room filled with hacked off body parts, naked boobs, and John Phillip Law playing a maniac. The last story was too complicated & I just laugh at it. The second segment has -- dare I say? -- a Jess Francoian air to it of cheapness, immediacy and deceptively tacky costumes. I honestly don't know what to make of this movie: It can be found on Brentwood Home Video's DEADTIME STORIES box set with like nine other movies you will also watch more than once, and on a $6 Platinum Disc Corp. DVD with that uncut/lbx version of THE DEVIL'S NIGHTMARE that everyone releases at some point. Hell I may even take a stab at it. I have shopped for old pre-record VHS and am finding references to a Prism Video release from 1985 as "uncut" and then a 1988 Star Classics version that is presumably what this was made from -- Brentwood's box has a better looking DVD version, but then again they aren't cramming three other movies into the pressing. WHAT THE HELL IS THIS THING??
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