AniInterview Sorry, this movie sucks

Supelice Dreadfully Boring

Clarissa Mora The tone of this movie is interesting -- the stakes are both dramatic and high, but it's balanced with a lot of fun, tongue and cheek dialogue.

Janae Milner Easily the biggest piece of Right wing non sense propaganda I ever saw.

lor_ Younger film buffs (i.e., too young to have seen the movies they adore in theaters) and so-called film historians have coalesced around the love of the outre, or "Something Weird" to use the late Mike Vraney's video title per H.G. Lewis. The problem is that the exalting of the unusual over the good, great or merely well-made has distorted their viewing habits.So when I approached this drive-in movie from the '60s recently I had to somehow dismiss the hype about its quality, which the film could never be expected to live up to. This is a modern paradox: obscure films of the past have to be over-praised in order to get revived at all (in some DVD or maybe streaming capacity), and then the reality sets in.Failed screenwriter Gary Crutcher (check his credits) seems to have become obsessive about this juvenile screenplay, which has as many misses and mistakes as it has points of interest along the way to its series of anticlimaxes posing as endings and false endings. I have always hated the final phony twist (DePalma's "Carrie" had me booing at a pre-release screening 40 years ago) so director Gunnar Hellstrom and writer Crutcher's final reel was torture and groanorama for me.I come to this having seen most of its brethren: the feature-length compilation of Joe Solomon trailers from 1963 to 1976 included on the DVD had about 80% of the titles for films I had actually seen. I missed "Kill!", probably because it did not achieve the number of bookings of some of Solomon's better-known biker and horror films like "Simon King of the Witches" or "Werewolves on Wheels". Had I watched it at my local Cleveland, Akron or Canton drive-in circa 1970, I would have enjoyed it at the level of say J.R. Larraz's X-rated "Whirlpool" or even the Jill Haworth film among the trailers "Horror on Snape Island". On to the film: though written when Crutcher was a teenager, the film fits into the once-very-popular '60s genre of aging women in sinister situations, kicked off by Aldrich's "Whatever Happened to Baby Jane" and generating interesting if quirky vehicles for veteran stars. Noting that Gloria Swanson was once proposed as the mother character, instead of the transvestite actor actually chosen, supports this. Such films are tricky because they often became mere Camp, and to subsequent generations "Baby Jane" is pure camp, still shown at my local Chelsea cinema, introduced by drag queen Hedda Lettuce for a predominantly gay audience to hoot & holler at.A more interesting variation is a favorite of mine, Clint Eastwood & Don Siegel's biggest flop "The Beloved" in which poor Clint during the Civil War falls victim to a house full of horny ladies headed by Geraldine Page (!), with fatal results. In this case an equally macho contemporary of Clint's, Jack Lord, is at the mercy of four strange ladies that writer Crutcher uses as nearly equally weighted suspects and red herrings in the mystery that unfolds. Ultimately he resolves his plot with a nearly Agatha Christie gimmick -they all turn out to be guilty one way or the other (or presumed to be, as not all gimmicks were resolved).The atmosphere of a remote location, which works wonders for a B movie's success, perhaps the best example being Herk Harvey's one-shot classic "Carnival of Souls", only goes so far this time. The quirky relationship of Lord and heroine Susan Strasberg creates many longueurs where the patient viewer is waiting for something more tangible to chew on. The authentic '30s and '40s B movies ran as brief as an hour long, what was needed here.As the audience's surrogate in the story, Lord's character is very poorly written -from his much-criticized foreign accent to his more objectionable sexist pig behavior when he ultimately demands sex (even to the point of unstated rape) from Susan for leading him on, while I, for one, could sympathize with her stated need for just companionship.Once again, the gimmickry endemic to drive-in and exploitation movies (so beloved by the backers of this film's reissue, even naming their company Ballyhoo) means that sex must be the driving force behind the action, even while distributor Solomon rarely actually delivered the soft-core porn we drive-in aficionados craved and were promised in his ballyhoo.I spotted the chief gimmick of the transvestite mother figure immediately, not only recognizing the actor T.C. Jones whose career was based on such roles but also the fact that the mother was obviously "off" visually. Casting a beautiful transvestite of a certain age would have worked, rather than a character actor.To contrast, the all-time king of gimmickry, William Castle, cast a beauty Jean Arless as the he/she protagonist in his classic "Homicidal", which still keeps us guessing 55 years after. It should be noted that Hellstrom's film rips off Castle (and others) with its "sign the pledge not to reveal the ending" gimmick.Unfortunately, once the big "reveal" occurs, the film falls apart completely with that dreaded final reel complete balderdash that even five dozen rewrites wouldn't save. Though I was rooting for Hellstrom & company for over an hour, by the time his concoction unraveled I was as disappointed as I feel when sitting through one of many "it was only a dream" cop-out crap movies.Stu Phillips and his guest stars The Electric Prunes emerge on the soundtrack as the film's best element. (Vilmos Zsigmond's cinematography is not as effective as his best early effort, the classic Arch Hall Jr. chamber thriller "The Sadist".) The short subject plugging the Prunes was fun to watch but I was shocked at no mention of their LP "Mass in F Minor", a major achievement in rock fusion and a testament to the musician/producer David Axelrod's artistry. That is an achievement that needs no gimmicks or cults to support and revive for a new generation.

Scott LeBrun Decent psycho thriller doesn't offer much that fans of this kind of thing haven't seen before, but it manages to be enough of a curiosity to deserve rescuing from obscurity.'Hawaii Five-O' star Jack Lord is front and centre as Symcha Lipa, an amiable Hungarian refugee turned hitchhiker. He's given a lift by young Mickey Terry (lovely Susan Strasberg), and he agrees to stay with her and her family for a while. He and Mickey seem to be falling in love, but first they must deal with this disturbed family of hers: two sisters, Diz (Collin Wilcox Paxton) and Nan (Tisha Sterling), and their matriarch (T.C. Jones).Very moodily photographed by Vilmos Zsigmond, on an obviously very low budget, "The Name of the Game is Kill!" isn't without its pleasures, mainly the go-for-broke performances of the attractive female cast. Lord is reasonably convincing as a foreigner and makes his character likable enough that you wish that he would have just moved on. Sexy young Sterling has a moderately fun little dance number to "Shadows" by The Electric Prunes. (It's worth nothing the fact that there are two second generation talents here, with Strasberg being the daughter of Lee Strasberg and Sterling the daughter of Ann Sothern.) Led by Swedish director Gunnar Hellstrom, who mostly worked in TV ('Gunsmoke', 'Dallas'), the filmmakers do capture an appropriate sense of isolation. Rounding out this minimal group of actors is Mort Mills, the highway patrolman of "Psycho", as a police chief.Unfortunately, Gary Crutchers' screenplay is too predictable to completely work. The supposed "big twist" in this tale is too obvious right from the start.Six out of 10.

Coventry Another sadly forgotten late 60's shocker, "The Name of the Game is Kill" features pretty much all the ingredients cult-cinema collectors could be looking for. The title alone will make certain people (= me) froth at the mouth, apparently the original spool went missing for several years (or so I read) and – last but not least – it has one of those typically engaging & challenging 60's promotional taglines! The VHS copy I held in my dirty little hand shout out: "You can't buy a ticket for this movie unless you sign a pledge not to reveal the surprise shock ending to anyone!" Call me easily enticed, but that's what I call salesmanship. The plot is wondrously weird and full of unpredictable twists – albeit cheesy and absurd twists – and demented character. The handsome Hungarian stranger Sim passes through a remote little US town and gets invited to the home of the uncanny Terry family. Mother Terry lives with her three daughters and a bizarre collection of poisonous snakes and tarantulas. The second oldest daughter Mickey is adorable, but the other women in the house behave somewhat odd and hostile. Sim nearly dies the next morning and ends up in the hospital were a dodgy Sheriff advises him not to go back there. Naturally he doesn't listen and returns to the house, only to encounter some of the freakiest family rituals and traditions imaginable. The movie is mysteriously compelling, original, well-directed and … swinging! The soundtrack is quite awesome and it definitely helps you, along with the masterful photography, to get through the overly talkative and slightly tedious moments. And I'm pleased to say the VHS cover didn't lie! Although the ending certainly won't sweep you off your feet, the last 20-25 minutes are offbeat, creepy, convoluted and even somewhat disturbing. But most of all, the climax is deliciously insane! Sure the idea will have crossed your mind at the beginning of the film, but when the big twist eventually becomes revealed, you still don't expect it. Just the way we love it. Recommended, if you can find a copy.

EyeAskance Jack Lord provides a commendable performance here as a Hungarian drifter roaming the desolate American southwest. Offered lodging by three odd sisters and their equally odd mother(who are operating a last-chance gas station in a nearly abandoned town), all initially seems well enough...but little by little, bizarre secrets are revealed, and a mystery unfolds which puts our hero in mortal danger. Deceit and seduction play him like a fiddle from hell, and all parties are suspect.Effectively eerie in a strange, evanescent way, THE NAME OF THE GAME IS KILL draws great benefit from a creditable music score and some surprisingly creative location filming by pre-famed Vilmos Zsigmond.A pretty elusive second-string flick which has all but disappeared since its initial theatrical run, grey-market copies circulating online tend to be terribly washed-out. Sadly, that will just have to suffice ad interim until a much-anticipated legit release is brought forward. Give it a whirl, especially if you enjoy delirious 60s relics the likes of SPIDER BABY, LADY IN A CAGE, WHO KILLED TEDDY BEAR, and ANGEL, ANGEL, DOWN WE GO.6.5/10