A psychotic redneck, who owns a dilapidated hotel in rural East Texas, kills various people who upset him or his business, and he feeds their bodies to a large crocodile that he keeps as a pet in the swamp beside his hotel.
A young girl travels to Cairo to visit her father, and becomes unwillingly involved with a bizarre sadomasochistic cult led by the charismatic Paul Chevalier, who is a descendant of the ... See full summary »
The grand tale of a zombie holding a arm. He also travels the world learning about life, and the meaning of it all. He also meets a girl zombie holding a body. Will they fall in love? Will they complete that human body? Watch and find out.
Someone, or something, is on an indiscriminate killing and mutilation spree during night-time. Frustrated by the clueless police, the father of the first victim is looking for answers, no matter how far fetched they are.
John 'Bud' Cardos,
Cathy Lee Crosby,
The teenager Amy Harper dates Buzz Dawson for the first time and they go to the carnival with their friends Richie and Liz. They smoke grass and have good-time visiting the attractions including a side show with freak animals. The silly Richie suggests the group to spend the night in the Funhouse for fun. During the night, they witness the murder of the fortune teller Madame Zena by a man wearing a mask of Frankenstein from an opening in the ceiling of a room. They decide to leave the fun house but they find all the exits locked. Meanwhile Richie sneaks in the room and steals the money of the manager of the place. The masked man returns with his father and owner of the fun house to show the corpse of Madame Zena; when the man realizes that he had been robbed, he presses his son that removes the mask and shows his horrible face. Richie startles and drops his lighter in the room. The owner asks his freak son to chase the thieves and eyewitnesses in a night of terror for the teenagers.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Near the beginning of the film, after Joey scared Amy and she chased him into the bedroom, she told him she wasn't going to take him to the funfair on the weekend because of it. Nearer the end, the Funhouse Barker says that the funfair is packing up in the morning and moving on. See more »
When I was a kid, I once tried to spook my older brother by hiding in his closet. While I was waiting in there to jump out and scare him, a weird thought came into my head. What if he knew I was in there, and he was standing just outside the closet door, waiting to jump out and scare me?
So, what happened?
He locked you in, didn't he?
I waited for three hours till my parents came home and got me out. I was too scared to touch the doorknob. I... I wet my pants.
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Although the 1987 UK CIC video release was uncut in terms of violence it ran around 3 minutes shorter than the cinema version, and the differences appeared to be some dialogue and narrative edits. It contained the scenes of reefer smoking which were missing from some later Film Four showings. See more »
Fast-paced and atmospheric thriller set in and around the carnival midway. Two couples visiting the local traveling carnival decide to spend the night in The Funhouse and fool around as a lark. After witnessing a murder, they become the targets of a deformed maniac and his barker dad who are determined they will not leave to report it to the police. I read the Owen West (aka Dean Koontz) novelization back in the day, which was infinitely more padded with back story, abortion issues, religious fanaticism, and a rather Byzantine attempt to link the heroine and her younger brother to the killers before they ever set foot on the midway. Mercifully, the film abandons all of the excess baggage and strips the story done to the bare essentials. I enjoy Tobe Hooper's direction here much more so than that shown in the original Texas Chainsaw Massacre as it seems we are seeing a much more polished effort. He nicely establishes the atmosphere of the midway, which by turns is colorful and sordid. The central characters are nicely delineated (although due to the abandoning of the subplots from the novelization, Shawn Carson's younger brother seems like a fifth wheel rather than integral to the story) and well played by an appealing cast. They seem like credible and overwhelmed young people rather than fodder for the axing. Lead Elizabeth Berridge, in particular, has a nice girl next door quality and radiates a resourcefulness through her terror without ever seeming like either Superwoman or a victim. The make-up for the primary killer is particularly effective and novel. The film builds up a substantial head of steam before going for broke in a wild Grand Guignol climax. The score is also worth mentioning as it provides a very effective counterpoint to the action. Ironically, this film is rarely mentioned by horror fans, having been buried amid the morass of Friday the 13th clones that proliferated in this period, but it is definitely one that should be rediscovered.
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