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.
During WWII several murders occur at a convalescent home where Dr. Watson has volunteered his services. He summons Holmes for help and the master detective proceeds to solve the crime from ... 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
[Trying to justify horror films]
Why, even psychiatrists say that in all these monster pictures there's not only entertainment, but for some people there's therapy. Well, you know, we never get over our childhood fears of the sinister - those terrifying faces we see in our nightmares. Well, through these pictures we can live out our hidden fears. It helps.
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Very interested but somewhat disappointing feature about a madman who is possessed by his own creations
During the 1950's,American International was the forefront of the "B" movie craze. During its heyday,the studio was famous for scary monster flicks and those juvenile deliquent tales and soforth. But in this one,there is a twist here and HOW TO MAKE A MONSTER does just that. It begins in a major Hollywood studio where a prop artist makes actors to look like monsters for a film they are shooting. Suddenly one of them is killed off and then another,and another until two actors find out just who is doing this and why. The answer,the prop artist is a madman who collects his figures as part of his obsession with his work,but with tragic and frightening results. Basically the rest of the film is shot in black and white,but the final 8 minutes of the film is in color. The color process wasn't the first time that AIP used this format,the other time was during the final scenes of "The Amazing Colossal Man"(1958) where the giant was brought down in color,but the rest of it was in black and white. Producers Samuel Z. Arkoff and James H. Nicholson wanted Roger Corman to produced,but instead took over the project which in turn was filmed right on the AIP set. Great storyline though,but in turn kinda of a disappointment. Look for a young Gary Conway(who would later appear in a dozen or so AIP films,and was later the regular in a Irwin Allen series called "Land of the Giants" on television)as the werewolf and Gary Clarke as a young but terrifying Frankenstein. It will resurfaced again on a local cable channel.
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