the screaming skull (alex nicol, 1958)

I should create a new category for movies like this. Call it “Creature Features”. There are no actual creatures in The Screaming Skull, but it’s the kind of movie that turned up on late-night Creature Features TV shows. It was done by the MST3000 guys. That kind of movie.

Often, the trivia is more interesting than the actual movie, so here goes. Director Alex Nicol also appears as a mentally challenged gardener, which makes sense, as Nicol had been acting throughout the 50s (The Screaming Skull was his first directorial effort). Female lead Peggy Webber is still with us (91 years old) ... she is a big figure in radio and appeared in Welles’ Macbeth. She is nicely summarized in the title of an article about her from 2015, “Radio Theater's Peggy Webber Is 90 — and Cooler Than You”. The producers used their tiny budget well, as there are only five characters, and all of the action takes place in the same place. It’s not the kind of cheapo movie where no one knows what they are doing ... the camera is always where it belongs, the acting is acceptable, and the music is helpful. That music is by Ernest Gold, who won an Oscar two years later for Exodus. The cinematography is by Floyd Crosby, who had himself won an Oscar all the way back in 1931 for Murnau’s Tabu. (And he’s the father of rocker David Crosby.)

And with that, I’ve dispensed with most of the trivia. Well, I could mention that this American International Picture was released as part of a double bill with Terror from the Year 5000.

And the movie? As I mentioned, it’s competent. It doesn’t suck. It’s over in 68 minutes. But it’s also clichéd, obvious, and boring. It’s Gaslight without the entertainment, and if that’s a spoiler, well, this is a B-movie from almost 60 years ago, I think the spoiler time period has elapsed on this one. 4/10.


music friday: one i didn't attend

If you’re on Facebook, you couldn’t have missed this one. List a bunch of acts you’ve seen live, add one act you’ve never seen, and ask your Facebook friends to tell you which one is the lie. Here was my list, with Music Friday tunes attached:

k.d. lang, “Crying.”
Malcolm McLaren, “Waltz Darling.”
Paul McCartney & Wings, “Live and Let Die.”
Orchestral Manouevers in the Dark, “Electricity.”
Sha Na Na, “Rock and Roll Is Here to Stay.”
Ike & Tina Turner, “Proud Mary.”
Quicksilver Messenger Service, “Edward the Mad Shirt Grinder.”
Youssou N'Dour, “7 Seconds.”
Gary Wright, “Dream Weaver.”
Blondie, “One Way or Another.”
Hootie and the Blowfish, “Hold My Hand.”
Sun Ra, “Retrospekt.”

BTW, the lie was Quicksilver.


the host (bong joon-ho, 2006)

I wrote about The Host almost ten years ago, and I guess you could it was a case of damning with faint praise, when I devoted a mere one sentence to what I thought was a 7/10 movie: “Korean monster movie, a few dozen rungs above what you'd see on any random Saturday on the Sci-Fi Channel, if not quite the 5-star masterpiece some critics call it.” Having just watched it again, I have to say, I don’t know what the hell I was thinking back in 2008. At the least, I should have realized that “a few dozen rungs” is a lot.

Partly, I have context now, having seen a lot of Korean horror since 2008. Just to take Bong’s movies, there are Memories of Murder, Mother, and Snowpiercer (the latter actually being his American sci-fi-action flick). In other words, I’m a fan of Bong and Korean movies in ways I wasn’t when I first saw The Host, so I’m more predisposed to like it.

There are other little things ... Scott Wilson, who’s had a long career in everything from In Cold Blood and The Great Gatsby to The Walking Dead, has a cameo at the beginning of the movie. And Doona Bae, who I hadn’t noticed before in several movies, but who is a fave of mine on Sense8, so now when I re-watch The Host, there’s Bae as the archer. These are the kinds of things that bring a familiarity to The Host that wasn’t there before.

But enough explaining. I still missed the boat, because The Host isn’t just a few dozen rungs better than Sharknado, it’s in another league. The monster is cheesy but intriguing. The political undercurrents are there without taking over the movies. And the core characters, from a dysfunctional family that responds in various ways to the monster’s appearance, are finely-drawn and interesting in their own right. The Host works as a family drama, even without the monster.

Plus, the comedy isn’t stupid, and like the politics, it never overtakes the movie.

I still think I’d start with Mother if I wanted to introduce someone to the work of Bong Joon-Ho. But The Host is getting closer. #104 on the They Shoot Pictures, Don’t They list of the top 1000 films of the 21st cenury. 8/10. (At this rate, if I watch it again in 2026 and 2035, I’ll give it a 10/10.) (Trying to imagine me watching a Korean monster movie when I’m 82 years old.)