"The Rejuvenator" is a pleasantly old-fashioned horror film, while still integrating today's requisite dose of elaborate makeup effects and gore. It is variously known as "Rejuvenatrix" (title displayed on print) and for foreign markets, "Juvenatrix".
Premise is the old reliable use of a woman seeking to regain her youth: former movie star Ruth Warren (Jessica Dublin), who funds the research of Dr. Gregory Ashton (John MacKay). He discovers the part of the brain controlling aging, and via lab experiments with rats, comes up with a serum to reverse the aging process.
Warren eagerly volunteers to act as a human guinea pig and is turned into her younger self (actress Vivian Lanko taking over the role in second reel), dubbing herself Elizabeth Warren, her own fictitious niece. Problem is that she turns into a hideous monster, requiring increasing dosages of the serum to be brought back to normal youth.
Ashton breaks the law to acquire numerous cadavers to prepare the serum, derived from human brains. In her monstrous state, Warren takes to killing innocents in order to survive, ultimately discovering how to get the same rejuvenation effect directly from a victim's brain (for lunch) without resorting to the doc's serum. He eventually develops a synthetic serum but by then it is too late.
Low-budgeter works because it is played absolutely straight, with campy elements, such as the obvious references to "Sunset Blvd." (Warren even has a Stroheim-like butler from the old days), allowed to blossom unforced. Adroit casting has Jessica Dublin and Vivian Lanko physically matched in the central role, each playing it in an appropriately florid and meanie manner. John MacKay and the Sandy Dennis-like Katell Pleven as his assistant are utterly earnest and believable as the scientists, while James Hogue plays Warren's butler/former lover with panache.
Highlight of the production is Edward French's elaborate makeup effects, moving from the routine expanding bladders under the skin to an original design of Medusa-like proportions as her head expands to monster scale. Tightly directed by Brian Thomas Jones, pic is designed to appeal to B-movie connoisseurs who can tolerate the explicit violence of contemporary horror efforts.
Premise is the old reliable use of a woman seeking to regain her youth: former movie star Ruth Warren (Jessica Dublin), who funds the research of Dr. Gregory Ashton (John MacKay). He discovers the part of the brain controlling aging, and via lab experiments with rats, comes up with a serum to reverse the aging process.
Warren eagerly volunteers to act as a human guinea pig and is turned into her younger self (actress Vivian Lanko taking over the role in second reel), dubbing herself Elizabeth Warren, her own fictitious niece. Problem is that she turns into a hideous monster, requiring increasing dosages of the serum to be brought back to normal youth.
Ashton breaks the law to acquire numerous cadavers to prepare the serum, derived from human brains. In her monstrous state, Warren takes to killing innocents in order to survive, ultimately discovering how to get the same rejuvenation effect directly from a victim's brain (for lunch) without resorting to the doc's serum. He eventually develops a synthetic serum but by then it is too late.
Low-budgeter works because it is played absolutely straight, with campy elements, such as the obvious references to "Sunset Blvd." (Warren even has a Stroheim-like butler from the old days), allowed to blossom unforced. Adroit casting has Jessica Dublin and Vivian Lanko physically matched in the central role, each playing it in an appropriately florid and meanie manner. John MacKay and the Sandy Dennis-like Katell Pleven as his assistant are utterly earnest and believable as the scientists, while James Hogue plays Warren's butler/former lover with panache.
Highlight of the production is Edward French's elaborate makeup effects, moving from the routine expanding bladders under the skin to an original design of Medusa-like proportions as her head expands to monster scale. Tightly directed by Brian Thomas Jones, pic is designed to appeal to B-movie connoisseurs who can tolerate the explicit violence of contemporary horror efforts.