Change Your Image
dave_hillman
Reviews
Elf (2003)
Unbearable and shrill; Bring back the Grinch
Will Ferrell screams and flounces like a moron in this inexplicably popular "holiday classic" what will require you to buy out the liquor store to endure.
A deleted sequence (surely they filmed one) where this fat loud elf is hit by a NYC bus would have been welcome.
Oh well.
"Santaaaaaaaaaaaaaaaaaaa" squeals the porcine Ferrell, repeatedly, and this wears off very quickly.
The bloated elf also discovers elevators in a stupid scene which will want you want to kill him even more.
The bloated man-child eelf also has fun with revolving doors and stuff. Oh, the hilarity.
Why is this awful movie so popular? I just wanted the elf to be murdered--violently.
A terrlble waste of Mary Steenburgen. Her other Christmas movie "One Magic Christmas" is much better than this puerile piece of crap.
Rent anything else yuletide but this screechfest. I hate it.
Arthur 2: On the Rocks (1988)
A movie that should not have been made. but Liza is gorgeous
This misbegotten sequel to the 1981 classic "Arthur" is a colossal disappointment.
For starters, "Arthur" did not need a sequel. This film is devoid of any charm except for its leading lady, Liza Minnelli. She looks terrific and socks over the lame dialogue with effortless panache.
As for the rest: Moore looks haggard and his performance is very strained. There is a cameo with John Gielgud that goes nowhere. The reliable Barney Martin (as Liza's father) is amusing, Cynthia Sikes is no Jill Eikenberry, and Stephen Elliott hellows effectively. Jack Gilford is lively as a lazy landlord and here you can see a very appealing Kathy Bates in one of her first big roles as a social worker.
The script shamelessly recylces dialogue from Steve Gordon's brilliant original script. Bud Yorkin's direction cannot not pump life into it. You wonder why any of the players did not say "can we improve this screenplay"?
Still, there's always Liza, who brightens her every scene despite all these considerable odds.
Overaall, this is an unfortunate misfire that is nowhere near its predecessor.
Worth a look if you liked the first one, but that's about it.
Hereditary (2018)
Forgive me if I've reviewed this title--I just watched it again
As a horror buff, I cannot praise this movie enough.
I saw it late in the run; no one was discussing it at the time. I'm so glad I went to see it at a second-run theatre in NYC.
Toni Collette. Enough said. Should have won the Oscar, and she was not even nominated. SHAME.
This flick fascinated me. It blends intense family drama and supernatural elements with dazzling flair. There's a shocking scene midway through that stunned everyone in the audience. I love stuff like that.
The entire cast is aces. Collette is amazing, Alex Wolff delivers the goods, Milly Shapiro is very well-cast, and the unheralded Gabriel Byrne is an anchor that keeps this real. The great Ann Dowd nails her every line as usual.
The score is eerie, the set design is fab, and all the other tech is impeccable.
See this on Halloween. It is not only a great horror movie, it is a great movie, period.
Plan 9 from Outer Space (1957)
See this drunk or don't bother
Plan 9 is not the worst movie I've eve seen. Bobby Deerfield is.
What Plan is:
Camp. Cheap. Incoherent. Kind of fun if you are relaxed.
I cannot describe the plot since there isn't one.
But you do have grainy fotage of an elderly Bela Lugosi, a LOT of gay subtext, hilariously bad "special effects" and a musical score played by high school students.
This is a traainwreck project that is hard to not watch once you put it on.
To its credit: it is short and it exudes 50s weirdness.
Don't expect scares of any kind. I recommend watching this with a crowded room of drunk friends.
And there is the unforgettable Dudley Manlove. And Vampira!
The Saga of the Viking Women and Their Voyage to the Waters of the Great Sea Serpent (1957)
viking women, tucker carlson and a boar
This legendary (Not in a particularly good way) mini AIP drive-in stars tucker carlson as a prisssy prince who is afraid of women and everything else.
Also featured: abby dalton (working hard), susan cabot (ditto) and non-exisenent special effects.
Tht movie's sea serperent is that black sock you cat played with last decade.
Roger Corman and friends probably got drunk as hell making this, and that is the only way to watch it today.
Mercifully, it is only an hour long, and if you pass out, it won't really matter.
There is a cute blonde hunk running around shirtless, but he is probably a corpse by now.
For stoned bad movie lovers of all stripes.
Vampire's Kiss (1988)
Cage's finest hour
Wild actor Nicolas Cage gives a VERY wild performance in this undeservedly forgotten late 80s psychodrama.
Cage imagines he has been transformed into a vampire by a one-night stand. I mean, haven't we all?
This flick is not exactly a one-man show. Cage has a superlative supporting cast for his truly unique performance: Jennifer Beals (rarely used this well in films), the magnificent Elizabeth Ashley (as a psychiatrist, to boot) and the movie's MVP aside from Cage, Maria Conchita Alonso (who deserved Oscar recognition for this gem of a performance).
Vampire's Kiss benefits from location shooting in NYC, and its total commitment to its unique premise.
And of course, Mr. Cage, who delivers the goods and then comes back and delivers more.
Nicolas will always be remembered for this movie, in a good way. He's just great.
Not recommended if you have cockroaches in your apaartment.
Eunice (1982)
Wow
Like another poster here, I caught up with this on YouTube and I am very glad I did.
I loved these characters on the Carol Burnett Show. Here they are presented warts and all from the very beginning to the haunting end, and it may be too much for some viewers.
Eunice is the quintessential perfect teleplay.
Not enough can be said about this brilliant cast. Burnett is heart-breaking, Lawrence at times rivals the most fearsome of movie monsters, Korman and Berry have never been better, and the peerless Betty White will chill you to the bone. If you thought Sue Ann Nivens was acidic, wait till you see Betty devour her last scene with vampiric relish.
True, some of the one liners in this you may recall from the classic Family sketches, but this is not a distraction and actually benefits the project, filling in blanks a 20-minute sketch could never achieve.
All of the cast deserved Emmy recognition, but only Lawrence got one (and it is well deserved). It's kind of amazing to me that Burnett was overlooked for this. It is a career-best performance.
Eunice is unique. It definitely is funny, but tha last half hour is often chilling.
Recommended, highly.
Something Evil (1972)
Way above average TV movie horror from Spielberg
I have not seen Something Evil in a long time, but I remember it very fondly. I first saw it as a pre-teen and it scared me.
The glowing eyes in the window. Subtle, intelligent, and very effective.
Steven Spielberg directed this; it is one of his earliest works. I watched a LOT of 70s TV movie horror in my youth, and I remember thinking immediately that it was obvious Something Evil was not run-of-the-mill.
And it isn't. It has loads of that rural creepy dread so fitting to a story like this. It also has a very good cast. Sandy Dennis is an acquired taste for many, but she is very good here. Darren McGaving is always a welcome presence, as is veteran Ralph Bellamy.
Even the usually insufferable Johnny Whitaker rises to the occasion here.
Something Evil is a little macabre delight, and it is fun to see Spielberg honing his already considerable craft pre-Jaws.
Highly recommended if you can find it. I can't believe this is not on DVD. It's Spielberg!
Perfect for a rainy afternoon or night.
Halloween 4: The Return of Michael Myers (1988)
Muxt be viewed with popcorn, beer, friends and weed
At a drive-in, or an old house where everyone is sleeping over.
Halloween 4 is not that bad. It is also not that good.
The cast here screams on cue, the shocks are often solid, but the plot is very flimsy, and there is rarely anything more creepy than the score and the pretty good production design.
This was the first post Halloween flick after Season of the Witch.
It was a cash-grab then, and it has not aged well past that.
Sorely missing is any Carpenter nuance. The movie is flat. It rips off all John C's ideas and adds nothing to them.
Still, for a lite nite bong movie, you could do worse, I guess.
Frogs (1972)
Fond memories for these wicked southern frogs
Frogs is a 1972 horror film relesed by the highly regarded American International Pictures (AIP).
I grew up in a small southern town with two movie theatres and a drive-in theatre (we considered these different entities).
AIP dumped a lot of crap down south, and I saw most all of it; my parents indulged me with the horror movie obsession, and when AIP flirted with moving back and forth between PG and R ratings, no one changed my routine.
Frogs was one of AIP's better early 70s efforts. It is one of those nature runs amok flicks. It's set in the south (I forget the state), and it is professionally made.
One of the biggest impressions made on me when I saw Frogs was its stunningly charismatic leading man. He is Sam Elliott. Yes, THAT Sam Elliott. This I think is one of his earliest roles. No surprise to me that Sam moved on to much better things than Frogs.
Also in Frogs is a true Hollywood legend, the Oscar-winning Ray Milland, playing a nasty old man who terrorizes his family. Out of respect for Milland, AIP gives him top billing even though Elliott arguably is the leading role.
Milland at this point is in his late career horror phase, but it is a genre that usually suited him, and he is top-notch here.
But I do wonder about Milland's phone calls to his old Hollywood Cronies asking him about what picture he is working on.
Milland: "I am shooting Frogs."
I'm glad he did. Frogs is good stuff. It's a perfect introductory horror flick for kids. They're no gore, but there's several genuine shocks.
As I recall, it made some money back then. I know it was held over at my theatre for at least three weeks, which was unusual.
King Kong (1976)
It stunk in 1976, now it is just camp, and it somehow won an Oscar
This bloated, shoddy big-budget remake of the 1933 classic won an Academy Award for its visual effect. As I recall, there were protests by members of the Academy at this award. It's easy to see why they were upset. Most of the Kong appearances are amateurish and unconvincing; it's obvious Kong is a man in a not very threatening ape suit.
The cast tries, to varying degrees of success. Bridges is incapable of phoning it in, and he's quite easy on the eyes to boot. Grodin is here for villainous comic relief, and he also deliver the required goods. Jessica Lange (in her movie debut) clearly shows early talent, and she emerges unscathed. She, too, is gorgeous, which helps.
The movie is lushly filmed for the most part, with a good monster movie score by John Barry, but any one frame of Peter Jackson's King Kong (made years later for Universal) wipes the floor with this clunky donkey kong.
The NYC location shooting for this bomb is all for naught. The promised dynamic "effects" of Kong's final showdown near the end of the picture had me rolling my eyes in disgust at the age of 16, now, it is hard to believe AMPAS even nominated this film for anything.
The 1933 Kong at least had charm (and frankly, more menace). This bomb just has contempt for its audience.
Kids might like it, if they can stay awake.
Singin' in the Rain (1952)
Truly a must-see movie
So many superlatives have been showered on this true MGM masterpiece musical, I feel bereft to add anything less eloquent.
The movie is barely two hours, but it zips by you wish you had more potato chips or chocolates.
The script is WAY ahead of its time. Funny, zingy, perfectly incorporating every fabulous musical number (and trust me, ALL OF THEM are fabulous).
The cast is peerless. Kelly is in his sexy apex mode, Reynolds almost walks off with her every scene, and OConnor gives the performance of his life (he deserved Oscar nom).
Then we have the hilarious Jean Hagen. Who plays a delusional actress to a degree that wasn't even equaled by Bette Davis.
I'd like to give a big shout-out also to Millard MItchell, who doesn't have a particularly showy role, but who is fantastically on point in his every scene as a studio exec trying to juggle the egos of everyone else.
The music is sublime from start to finish and the big number at the end is staggeringly beautiful.
Cyd Charisse.
If you have not seen this film, do it immediately. It will put you in a very merry frame of mind.
Midnight Lace (1960)
Doris is gorgeous in this lush studio suspenser
Doris Day didn't like making thrillers, but she made at least one classic (HItchcock's "The Man Who Knew Too Much"), one outright howler ("Julie") and then this, a glossy Universal project produced by Ross Hunter, surrounding the leading lady with a great supporting cast (Rex Harrison, Myrna Loy, Roddy McDowall, and yes, the easy-on-the-eyes John Gavin).
This film's costume design was Oscar-nominated and it is easy to see why. Day was always beautiful, but here she is decked out in one knockout ensemble after another.
The plot? You will be one step ahead of it, but it's still a lot of fun. Harrison underplays masterfully, and Loy is a hoot throughout.
Also good is the ever-reliable British character actor John Williams as, yes, a police inspector.
Midnight lace has plenty of London fog menace, and it's a perfect family film if the gang is looking for chills and thrills. There's no gore, and very little outright violence. The main goal here was suspense, and it is achieved.
A must for those who have only seen Doris in frothy musicals.
The Boy Who Cried Werewolf (1973)
Dreadful early 70s Universal horror junk
This dull, badly acted "werewolf" movie probably cleared drive-ins faster than a tornado when it was unleashed in 1973.
It has the production values of a rushed TV-film, and awful dialogue you can recite before it is uttered by the poor actors.
As for shocks and thrills, look elsewhere. Your cellar has more menace than this movie.
The music score is atrocious and grating. There is zero horror atmosphere in this little Z-grade turkey.
The inclusion of Jesus freaks midway through does nothing to make this any more mundane.
The initial werewolf appearance is not bad, but it all goes downhill from there.
Berserk (1967)
Don't have a smoke against a pole with a hole in it
Berserk is an atmospheric but utterly nonsensical British horror film starring a well-cast Joan Crawford as the owner of a circus.
Let that sink in.
This is one of Joan's late career campfests, and on that level, it does not disappoint. She looks terrific, hurls the dumb dialogue about as if were Pinter, and gives the role here usual 100%.
She has a fairly good supporting cast; Michael Gough, Judy Geeson, the great Diana Dors, and a suitably hunky Ty Hardin as Joan's....love interest.
I saw this when it came out, and it made an impression, even though by today's standards, the murder scenes are somewhat tame.
Berserk is infinitely superior to Joan's follow-up picture with this producer, the abysmal "Trog."
Remember her by this one. She gets to wear a leotard!
Rent-a-Cop (1987)
I love this movie
Rent-a-Cop is lots of fun if you're just in the mood for a good popcorn flick.
It has two big stars: Liza MInnelli and Burt Reynolds.
Liza walks away with this little project quite handily. Burt looks tired, but since his aging cop character is written that way, this is not really a detriment.
Burt does have a few good deadpan comic moments, but again, Liza is the engine that drives this well-produced B-movie to completion.
There is also a truly wonderful Jerry Goldsmith score.
And a motley crew of a supporting cast: James Remar, Bernie Casey, Robby Benson, Richard Masur, John Ryan, and Dionne Warwick (!)
I truly love Rent-a-Cop, and I am not alone. Give it a shot.
Death on the Nile (1978)
Insanely entertaining
For the cast alone, this film is well worth anyone's time.
A big-budget follow-up to the smash hit "Murder on the Orient Express", "Death on the Nile" boasts, truly, one of the greatest casts ever assembled.
Almost everyone in this is either an Oscar winner, an Oscar nominee, a legend, and has a resume of superlative work spanning decades.
Our Hercule here is the peerless Peter Ustinov who makes the role his own, instantly. Indeed he went on to play the role in subsequent projects.
Then you have one of Agatha's twistiest plots, brought to the life of Bette Davis, Maggie Smith, a sublime Mia Farrow, the ever-reliable David Niven, and particularly a gleeful, scenery-chewing Angela Lansbury, having the time of her life and injecting old-school fun into every one of her scenes (Lansbury was robbed of Oscar attention here).
The scenes of dowager Davis and Smith as her nurse are hilarious.
The movie is well-paced. Yeah, it's a bit long, but the material warrants it.
The Oscar-winning costumes by Anthony Powell are gorgeous.
They filmed this on the Nile, and you can tell. It is authentic from first frame to the last.
HIGHLY recommended. Don't go near the stillborn remake.
Tourist Trap (1979)
this little classic is NOT "pg"
I echo all the commentary about this truly creepy little thrille being one of those that will stick you especially if you saw it at a young age.
Tourist Trap has several assets, good acting, effective (if spare) kills, and atmosphere to spare.
It also has a terrific score by the wonderful Pino Dinaggio (forgive me if I misspelled his last name).
How TT escaped the R rating is strange. It deserved it, hut then all us kids probably wouldn't have seen it in theatres (it plays wonderfully on TV, but even better in cinemas or more appropriately, a drive-in).
TT is unique. It has a very unusual setting--a dilapidated, seemingly abandoned out-of-the-way roadside house-of-horrors theme park-esque attraction. Yes, that has been done before, but not frequently, and the movie makes superior use of its milieu.
Chuck Connors, of all people, has one of his best roles as the villain. He gives a fully committed and even subtle star performance. The young cast victims are above-par.
This will definitely scare kids, even today. Put it on your Halloween movie list if you haven't seen it yet (or just revisit for some bonafide old-school horror thrills).
TT is not often revived as far as I know. It deserves to be more widely known.
You will never ignore a wobbling airborn pipe again.
There's also a great closing shot. It's, as I recall, in freeze frame, a device at which I usually scoff. Here that device is totally effective and wraps up this neglected sleeper wonderfully.
If weirdd, chattering mannequins disturb you, this is probably not your movie.
Or maybe it is! Check out Tourist Trap and spread the good macabre word.
This is how low-budget horror can be done with imagination, a good script, and vigorous performances.
But again, it is decidedly not "PG".
Obviously a must for Chuck Connors fans. He really is good in this.
Friday the 13th (1980)
This thing is no classic
I am a horror buff who loves a good horror flick.
Friday the 13th is not a good horror flick. It is utter junk.
Yes, I know, it is legendary and it spawned sequels and in some way an entire genre, but not, it did not inspire any genre and it did not break any ground.
Yes, this is the cheapie that introduced us to Jason, but not really, because, well I won't go further except to say that you only see the little Jason here, not the hockey mask villain known and loved by drunk people at the drive-ins. I have been a drunk people at the drive-in, and probably would have liked this more if I'd been exposed to it that way, but alas, I saw it in a neighborhood single-screen theatre with about five other people.
We all sneered at it and on the way out agreed, "what a piece of trash."
A bunch of comely teens go to summer camp and are slaughtered in often gory ways. There is a music score that sounds made up as it goes along. Technically, this mess is an utter shambles. The gore effects are often good, but the script is so awful that the blood and guts is all for naught.
At the end, veteran celebrity Betsy Palmer (top-billed) shows up in a baggy sweater and solve the mystery (which is no surprise at this point).
Palmer is on record saying that she only did this low-budget movie because she needed a new car and that she thought the script was, uh, a bad word.
But she hadn't been on screen in quite a while, so here we have her most famous role.
Legend has it the role of "Mrs. Voorhees" was offfered to Sally Field. I find this hard to believe, since Field had just won an Oscar in 1979 and this was released in 1980. But it might have been to hear Sally utter the immortal lines "Kill her Mommy, kill her," "Jason should have been WATCHED!" and "Why, I'm Mrs. Voorhees."
There have been at least ten sequels to this awful movie, and they are all aired in October on what used to be American Movie Classics with enough commercials that you leave your house and stock up for a hurricane.
It's good for a laugh, and if you stumble across it often enough, you can recite the dialogue as the actors say it, since most of it is mono-syllabic.
Someone at Paramount saw this and bought rights to it, and it was, amazingly, a smash in 1980. No one in my audience could ever have predicted this outcome. In fact, on the way out, the theatre manager apologized, saying, "we have to play it."
I'm assuming the evening audiences made him happier.
Really shoddy stuff, cheap, badly acted, and stupid. But obviously I am in the minority. Enjoy.
The only high point for me was a brief strip poker sequence where Bing Crosby's son Harry loses his shirt, but the movie does not go any further. Harry was a hottie.
Kevin Bacon is in this. I think he shows butt, but don't quote me.
The actresses are generic and unmemorable.
Hopefully Betsy enjoyed her car. She refused to do any of the sequels.
Drive-ins still program this stinker. Well, it's tailor-made, you don't have to look at the screen, just carry on in the back seat, as it were.
Count Yorga, Vampire (1970)
A personal fave
Forgive me if I am reviewing CYV again. I just watched again in this sub-zero weather we're having on the East Coast, and it warmed me right up reminding me of when I first saw it in a theatre in Tennessee.
Count Yorga, Vampire is a borderline classic vampire film. It is low-budget, released by AIP, it was hit (there was a sequel).
It also has these invaluable factors: a very intelligent script, well-placed gore, outstanding shock sequences, great honest-to-god horror atmosphere, and most importantly, a terrific star performance in the title role of an actor who should have gone on to a longer career, Robert Quarry.
Quarry plays an urbane vampire (that is no spoiler) who finds himself in of all places, sunny California. The film and this actor makes the locale work to their advantage.
History behind this flick is that it was intended as soft-core porn, and there is evidence of it left in the final product, but Yorga is PG (and they push that).
Quarry gets a bunch of droll lines, which he delivers with aplomb, but when he is in vampire mode, he will scare you. It is a committed performance.
Highly recommended. Count Yorga, Vampire is a pretty fine horror picture and I've seen it way more than once.
Ordinary People (1980)
A classic movie that will stay with you forever
"Ordinary People" blew me away in 1980 when I was 20 years old, so much so that I went back to see it two more times within the same week.
I had never read the book, so I did not know what to expect from this film, at the time heavily touted as actor Robert Redford' directorial debut.
The early reviews were raves, I had always loved Mary Tyler Moore, and I admired Timothy Hutton (thought he was adorable), Judd Hirsch, and the great Donald Sutherland (who is ultimately the MVP of this picture; this should have been an Oscar for him).
Ordinary People is domestic drama at its most subtle and harrowing. There is no on-screen violence, but when the inevitable outbursts of pent-up emotion erupt, they are lacerating.
Moore, in a dark, non-cheery role, is easily astounding. This performance is one of Hollywood's most successful cast-against-type gambles.
Oscar-winner Hutton breaks your heart as the tormented son. Hirsch is reliably excellent and his scenes are welcome because they allow Redford's expert tension-building to breathe a bit.
I've already praised Sutherland (he's the father trying to repair his family). This is his career performance and it should have
more recognized than it was.
Alvin Sargent is a master adapting good novels for the screen. One of my favorites of his is the 1969 Liza Minnelli film "The Sterile Cuckoo."
His script here is lean and mean. The dialogue is fantastically on point, and all the actors pounce on it. It's a pleasure to hear a film with such good writing.
Redford's direction is incredibly assured for a first-timer, even one who'd worked in the industry for a while. There is not one wasted shot, or one slow moment. He deserved his Oscar for this.
The production looks marvelous, and Redford's musical choices are staggeringly effective.
"Ordinary People" will not leave your mind for a few days (or possibly longer), but it is a must-see if you like brilliant films.
It is without question one of the most impressive directorial debuts in movie history.
Tentacoli (1977)
Oscar winners drown in this awful Italian crapfest
Let's be upfront: Tentacles in only good for a laugh.
One of the many ripoffs of Jaws, this "internatonal" production is not remotely terrifying, nor is it particularly well-acted, despite a cast that includes Henry Fonda and Shelley Winters, who must have yelled at their agents during the shoot.
Happily, there's a laughable miscast Bo Hopkins and his killer whales to the rescue because murderous octupuses apparently are easily killed by them.
None of this is believable, it all looks cheap, the music score sounds like something you'd hear on a street corner near a drug park, and if you want special effects, you are out of look with this bomb.
This is one of AIP's many drive-in ripoffs that eventually and deservedly brought them down.
Watch it (if you must) with McDonald's Fish Filet, fries, and a six-pack. Or if you need to sleep.
The Screaming Woman (1972)
Good TV-movie thriller with a great Olivia
The Screaming Woman is a very efficient, handsomely photographed TV-movie based on a Ray Bradbury short story.
The star is the great Olivia Havilland (The Heiress). This is very much her one-woman show.
The script is good, but often undermined by mediocre Universal contract players.
As compensation, you have great support from Hollywood legends Joseph Cotten and Walter Pidgeon.
Ed Nelson is good as a sinister neighbor.
Worth a look, but I don't recommend this for those with fears of being buried alive. It is the basis of the plot, and it is made clear from the first few minutes that Olivia is not imagining that.
I saw this as a kid, and have always remembered it. It was great to catch up with it again. ABC made some terrific little thrillers back in the day.
The Night Walker (1964)
Stanwyck's only foray into horror is quite good
One of Hollywood's great actresses, Barbara Stanwyck, resisted horror films until this 1964 release, directed by horror legend William Castle.
The plot is rather meh, but the screenplay has fairly good dialogue, and Castle provides tons of creepy atmosphere.
Stanwyck, pro that she is, does not talk down to this material, and top-billed Robert Taylor (why top-billed, this is Barbara's film) is rendered rather pale when Barbara is on screen.
The film has a great score by VIc Mizzy and it's a lot of fun.
It didn't do well at the box office, Barbara wisely went on to The Big Valley and a few Emmys, but this is a good little thriller and it will give you a few shivers.
Hayden Rorke, from I Dream of Jeannie fame, is surprisingly well-cast as a villain here.
I recommend this picture.
Shock (1946)
B-movie junk with studio sheen
Shock (1946) is one of those Vincent Price flicks you've never caught up with.
There is a reason for that. It is dull.
Price (in his first top-billed role) is commanding as a murderous husband.
The movie is one of those see-a-murder-through-a-window things; that premise falls short here.
Lynn Bari, an alluring actress who deserved a better career, plays a sinister nurse. She's the best thing in this.
The rest of the cast is bland.
The Fox production values are sumptuous for a blah movie like this, so there's that.
At 70 minutes. This film drags miserably near the end. I could barely finish it.