Cult Classic Cuties are characters from some of our favorite cult classics and midnight movies who captured our hearts and/or actresses who got our attention, but sadly never returned to these type of flicks. They’re femme fatales and final girls whose sexy stars shined only briefly, not quite achieving scream queen status. And this installment’s cutie is…



This installment of Cult Classic Cuties, much like the previous one, is going to be a little different as it won’t profile an actress in a particular role, but this time, in a double feature of her only two horror appearances! Actress Cindy Weintraub definitely fits the definition of Cult Classic Cutie as she only made two films in her brief career and both of those are horror cult classics. Her first role was playing pretty girl-next door, wife and mother Carol Hill in Humanoids from the Deep and the second as sassy, sexy Lisa in The Prowler.



Carol and husband Jim (the man, the myth, the legend…Doug McClure) find trouble in their little coastal fishing village in Humanoids from the Deep

When the hubby’s away, the humanoids are out to play, but Carol is armed and ready!

Carol Hill is one Noyo mom a fish-man may not want to mess with!

As sexy, flirtatious Lisa in the cult classic slasher The Prowler

Lisa’s sexy midnight swim is certainly going to attract attention…

…the WRONG kind of attention!


After starring in these two cult classics, Cindy appeared in all six episodes of the 1982 tv series Baker’s Dozen before disappearing from show biz. She recently reappeared for the Humanoids from the Deep special edition extras in which she relates her time spent on Corman’s creature feature.

Cindy offering commentary on the extras for Shout Factory’s Humanoids from the Deep DVD and Blu-ray special edition. Still a looker!


Be sure to check out our Cult Classic Cuties (click right here on the link) section to see more crush worthy ladies from cult films and midnight movies!

-MonsterZero NJ





Human heart in hand isolated on blackDuring this season of candy and flowers, those with horror in our hearts can have plenty to watch with that special boy or ghoul…or for the single folk to calm the storm of sappy sentimentality they are enduring from their paired-up friends on social media! Not all are classics, but even the lesser titles are suitable for this day of grave emotional attachment!

(Click on the titles below the movie poster gallery to get to our reviews of the titles covered here at the Movie Madhouse!)

1. My Bloody Valentine 1981

2. Spring

3. The Bride Of Frankenstein

4. The Prowler

5. Return Of The Living Dead 3

6. Valentine

7. My Blood Valentine 2009

8. The Crow

9. Bram Stoker’s Dracula

10. Burying The Ex

11. Let The Right One In

12. Blacula

13. A Chinese Ghost Story

14. The Lost Boys

15. Fright Night 2

-MonsterZero NJ


From Frights To Fun: The Evolution Of 80s Horror


From Frights To Fun: The Evolution Of 80s Horror

(Remember, clicking the highlighted links brings you to my full reviews of the films referenced here!)

To me, the 80s is one of the best decades ever for horror flicks…with the 70s following right behind it. Sure, every decade since films started being made has it’s classics from 1922’s Nosfeatu to 2007’s Trick ‘r’ Treat, but in terms of sheer proliferation and the number of classics that came out of it, the 80s was an amazing time to be a horror movie fan and I am glad I was in my theater seat for it all the way. And as I have said before, it was a time where low-budget B horrors could still be seen in a theater, where they belong and a time I will always cherish. I will also admit there was a lot of garbage to sift through to get to the gold, but even those had their entertainment value, especially when you and your friends were sitting in your seats giving those lesser efforts the old MST3K treatment, years before that show even existed…and that classic show is also a product of the 80s, might I add. But the one thing I also find striking about 80s horror is a distinct tonal shift in the style of horror flicks as the decade wore on that can only be appreciated now as we look back in nostalgia. Darker and more somber slashers became flicks that were lighter in tone, more colorful and with far more of a sense of fun about themselves. Let’s take a look…

John Carpenter’s Halloween may not have been the first slasher, but it is the film whose success started the early 80s slasher trend as studios and indie filmmakers realized you could make a lot of money on a shoestring budget. The early 80s cinemas became filled with films that followed the slasher formula with the stories being set on or around a special event or time, such as the prom in Prom Night, or college hazing as in Hell Night, or a fateful day like Friday The 13th. And then, within that setting, having a group of young high school or college co-eds being stalked and cut down by a killer with a grudge, till one feisty young girl…or sometimes a couple…is left to fend off our killer. For the most part these films took themselves very seriously and had a somber mood and moderate pace with the violence level being anywhere from fairly tame, like in thrillers like Terror Train or over-the-top gory as in Willaim Lustig’s Maniac or Charles Kaufman’s Mother’s Day…though, let’s not forget that some of the gorier entries where a result of the success of George Romero’s ultra-violent Dawn Of The Dead which started it’s own trend of extremely violent horrors that predominately came out of Italy and was spearheaded by filmmakers like Lucio Fulci. There were some rare instances where a director had a more humorous approach like Joe Dante’s The Howling or An American Werewolf in London, but horror/comedy is nothing new and the early 80s horror films predominately followed a more serious direction at this point in time.

Monster movies like The Boogens or Without Warning or supernatural horrors like The Fog and  The Boogeyman also followed the slasher format with victims being isolated and killed off one by one, leaving a frightened heroine to fend for herself with the occasional surviving love interest to help her survive. And for the first two or three years of the decade, theaters where inundated with such horrors to the delight of screaming fans. And we got many a classic horror flick out of it. But like any trend, such as the 70s possession flick trend inspired by The Exorcist, these things run their course. But not only did 80s horror start to open up with more supernatural themed flicks like the A Nightmare On Elm Street films, that cleverly added an incorporeal villain and surreal elements to the slasher formula, but the films started to reflect the overall buoyant mood of the 80s with brighter cinematography, more humorous tones and even began to reference and acknowledge past films and filmmakers. The first ‘inside’ reference I can remember was Sam Raimi’s subtle shout-out to Wes Craven by having a The Hills Have Eyes poster displayed in the basement of the old cabin in 1981’s The Evil Dead…to which Craven responded by having Heather Langenkamp watching Evil Dead on TV in the first Elm St movie. In terms of the lighter tone, the first time I noticed it was back in 1982 with Friday The 13th Part 3. When I saw it at my beloved Oritani Theater, I was kind of taken back by it all. The film had a very colorful production design, had a lot more humor than the first two installments…including characters that seemed to be there just for comic relief…and seemed to almost be having fun with the fact that we’ve been through this twice before. Jason went from a creepy, deformed backwoodsman to a hulking comic-bookish monster complete with iconic hockey mask. The film’s trademark kills were a bit more elaborate and far-fetched, as if the filmmakers were getting a bit playful with Jason’s M.O. The tone shift seemed to be starting, but without knowing what was to come in following years, I was simply disappointed with the flick and had no idea the trend would continue.

And the shift did continue with the advent of Freddy Krueger who was creepy at first, but quickly became a wisecracking, demonic gremlin that pulled people into his dream world for elaborate and outrageously gimmick-laden fates. The movies were far more fun than scary, but these films at least were more creative and imaginative than the simple stalk and kill films that came before them, though I missed the intensity and the serious tone of films like The Prowler. Flicks also started to jokingly reference their inspirations, like 1986’s Night Of The Creeps which names every character after a horror film director of that era like “Chris Romero”, “Cynthia Cronenberg” and James Carpenter-Hooper”. We also got MTV inspired films like the music filled and music video styled Return Of The Living Dead, the classic The Lost Boys, as well as, the neon-lit Vamp. Those films were far more entertaining than they were frightening as The Lost Boys even has a touch of Spielberg in it’s over-all tone…reminding us of the stark example of what happened when Carpenter’s grim and gory extraterrestrial The Thing went up against Spielberg’s bug eyed visitor from E.T. in 1982No better an example of the start of audience change of taste in the 80s than was the beating Carpenter’s now classic sci-fi/horror got from critics and at the box office…though, I saw it at least three times in a theater!

The trend continued with even lighter and more humor-laced films as we headed toward the 90s with flicks such as Waxwork, Chopping Mall and Night Of The Demons which were loaded with as many laughs as they were scares and gore. The MTV generation was being fed films that were faster paced, brightly colored and took themselves far less seriously as the arrival of music video and the end of the Cold War had created an era that was a bit more overindulgent and the films of the day reflected this. Even somewhat more serious horror like 1988s Intruder and the 1985 classic The Re-Animator still openly had a good time with their premises and occasionally winked at the audience, which films now acknowledged were sitting there and were familiar with the type of flick they are seeing. Earlier 80s films rarely acknowledged that they were a movie and that there was a horror savvy audience watching, but the second half of the decade was filled with movies that referenced those earlier films and were quite aware of themselves and who their audience was. They played to that audience instead of simply telling their scary story. And at this point Freddy Krueger was turning girls into giant cockroaches and Jason was a zombie battling telekinetic teenagers. Even the old school boogiemen had traded in their scares for more outrageous and silly story lines with each installment, as almost every horror hit became a franchise. Michael Myers also returned in 1988 to now stalk his young niece…why not his second cousin too? Needless to say by the time 1990 rolled around, horror had become burnt out and silly until horror master Wes Craven would revive it as pop-culture-reference filled heavy nostalgia with a bite in Scream… but that is another story.

Another aspect of the shift that may not have been as noticeable to the average audience, but was very noticeable to film buffs was in how these films were now being made and how they looked. By 1985 the home video market was in full swing. I should know, I worked at a Palmer Video back then. Direct to VHS films were starting to appear due to the cost effectiveness of not having to produce film prints for theater showings. And a lot of the horror films of the later decade were being made with the home video market in mind. Even some of the ones that got theatrical releases lacked that theatrical look. Gone were the cinematic visuals and widescreen presentations. Flicks like Witchboard and Waxwork had the look and feel of a TV movie and were filmed in the more TV screen friendly 1:85 format. Only some of the big studio releases and films by veterans like Carpenter and Craven maintained that theatrical look in their visual styles and still looked like a movie made for theaters. A disappointment to those who find the film’s visuals as important as their story and content. And another example of how drastically movies changed from 1980 to 1990.

Whatever the course the horror films of the 80s took, I will always have a soft spot in my heart for these movies, good or bad. Whether it be the more serious chillers of the early years, or the reference heavy, lighter toned flicks that came later on, it was a decade when I came of age and was most influenced by movies and was still a time where a low budget flick like Galaxy Of Terror or Final Exam could see the inside of an audience filled theater. And not only was I proudly there to see it, but will never forget it. And now, decades later, many a night when my social calendar is empty, I can be found in a darkened living room, on the couch, with some of my favorite brews, reliving those days long gone, but never…ever…forgotten!

… and one of the reasons I now share my passion for those movies with all of you!

-MonsterZero NJ


The Oritani Theater: 300 Main St. Hackensack N.J Photo from the Mitchell Dvoskin collection




Need some spooky diversions for your Halloween movie watching this year? Something a little off-beat? These are 25 cult classic horrors that add some ghoulishly refreshing spice to your movie playlist for the upcoming Halloween season!

(Click on the titles below the movie poster gallery to get to our reviews!)

Click on the titles here to go to the review page for the corresponding movie!

  9. THE CAR
  22. BUG




now playing

double feature_F13P3_F13TFC


As I’ve stated previously, I have been revisiting a lot of 80s horror flicks recently, especially some of the more infamous slashers and have set my sights on revisiting the Friday The 13th sequels. While I’m not the biggest fan of this series, apart from the first film, I have found my revisit has some nice added 80s nostalgia to them and that is adding a lot of fun to this horror series… plus some of these installments bring back memories of long gone theaters and fun evenings with friends. The third and fourth installments fit nicely together as they not only take place right after each other but, Jason now gains his hockey mask and fully becomes the character we all know…

FRIDAY THE 13th PART 3 (1982)

Friday The 13th Part 3 is a slight improvement over Part 2 but, still a mixed bag though it does hold some nostalgic importance to me as it was another film seen at my cherished Oritani theater in Hackensack, N.J. Released during the 80s 3D revival, sparked by Comin’ At Ya, the film was made and released in 3D and is filled with objects being thrust at the camera which is just plain distracting when watched in 2D and wasn’t that great in pre-digital 3D either. The film opens up the story formula somewhat with this chapter being set at a lake house and not a summer camp. This installment has pretty Chris Higgins (super cute Dana Kimmell) returning with friends for a getaway at her family’s house on Crystal Lake where 2 years earlier she survived an attack in the woods by a deformed man… hmmm, who could that be? It’s no stretch to guess that soon Chris’ friends and anyone else in the vicinity of the house start to be dispatched in gory ways by that same deformed man.

Steven Miner directed again and this time he does get a little intensity going, especially in the last act which is an extended chase with Chris going all final girl with Jason. The film does start out with a bit slower pace and takes awhile to get going but, the last act does kick into gear and having twice the budget then the last film, shows it with a slightly larger scale and more elaborate stunts. Miner also directs with a bit more of a humorous touch in this installment too, which works both for and against it. It gives it a bit different tone but, also keeps the first and second acts a bit light till Jason really gets going and things get serious. It does kinda take the edge off of the impact of the kills and atmosphere till the final half hour when the intensity kicks in. But, this is also the film where Jason (the late Richard Brooker) not only gained his iconic hockey mask and look but, was also portrayed as a bigger and stronger adversary that he remained throughout the series. He has a lot more of an imposing persona and more of his trademark relentlessness here than in Part 2. The kills are a little bloodier too, but, still not as gory as Part 1 and some of them are a little silly such as a character bringing a spear gun to a house on a lake.

The cast are again fine with Kimmel being my favorite of the sequels’ final girls. She is not only adorable but, makes a good damsel who is also feisty and resourceful and fights back with intensity. The rest of the characters are a little more colorful then usual, including a 3 person biker gang and 2 hippie stoners. The young, attractive actors give these characters some added life so, they are more likable and a bit less cliche’ then in the previous entry.

Overall an entertaining enough entry, it still can’t touch the first movie but, it was better then the mediocre sequel it followed. It also was fun enough to keep one interested in the series and awaiting the next adventure of Mr. Voorhees… which would be one of his best.

MONSTERZERO NJ EXTRA TRIVIA:  There is a scene where the pretty Debbie (Tracie Savage) is reading an issue of Fangoria and opens the page to a Godzilla article. That is a nod from director Steve Miner who was planning to make an American Godzilla movie in 3D back in the 80s, well over a decade before the 1998 disaster but, the film obviously never got made. Too bad. It sounded better then what we got in 98.

UPDATE 2/8/2015: After a lot of deliberation and checking of release dates, I have come to believe that “Friday The 13th part 3 in 3D” may very well have been the last film I saw at my beloved Oritani Theater. If correct, Friday 8/13/1982 is the last time I was at this great theater and special place…and this, the final film. -MZNJ

3 hockey masks

friday 13 original rating





Friday The 13th: The Final Chapter is one of my favorites of the sequels and the one that comes closest to matching the original. The film saw not only a return to the more serious tone and atmosphere of the original film but, with the return of Tom Savini to the make-up FX duties, also brought back the more intense and graphic kills and gore.

This entry opens right where Part 3 left off with Jason (stuntman Ted White) and his victims carted off to the morgue from the Higgins place only to have Jason revive and escape but, not before gruesomely murdering two horny hospital employees. We then switch to two houses deep in the woods near Crystal Lake, one occupied by single mother Mrs. Jarvis (Joan Freeman) and her daughter Trish (Kimberly Beck) and  young son Tommy (Corey Feldman), the other occupied by a group of partying youths on a make-out and drinking getaway. But, a certain someone has returned home to his stomping grounds and now has targeted both young partiers and innocent family alike. Will any of them survive his relentless rage?
This installment brought in The Prowler director Joseph Zito and he brings the suspense, atmosphere and intensity to the proceedings that made that 1981 slasher one of the more entertaining of the time period. He comes very close to providing an equal to the original Friday with what was supposed to be Jason’s final film. The kills are brutal as well and with Savini’s return, the make-up FX are quite inventive and gory. Zito leaves some of the lighter humor that appeared in Part 3 behind and it keeps the atmosphere taunt and foreboding as it should be. The film also added an interesting plot element in the character of Rob (Erich Anderson), who at first seems like a hunter/camper but, turns out to be the vengeful brother of a girl murdered by Jason (Sandra (Marta Kober) from Part 2) and he is now stalking the lethal serial killer with the intent of ending his reign of terror. One of the film’s few faults is the confrontation between these two could have been a bit more epic. The character of young Tommy (Feldman) being a bit of a geek/make-up artist also adds a fun twist to the proceedings.
As for the rest of the characters, this bunch are a lot livelier then most of the generic victims and with the inclusion of Crispin Glover in one of his most ‘normal’ roles as a shy teen and 80s movie fixture Judy Aronson as a one of the babes, we get a nice group of likable, horny teens to fall under Jason’s varied weapons and it has impact because we like them and the young cast give them life and personality. Also stars Hell Night’s Peter Barton as one of the party goers who meets Jason’s wrath and the score is one again by Harry Manfredini.
A really good entry in the series and by far the best of the sequels.
MONSTERZERO NJ EXTRA TRIVIA: There is a small mistake here in this installment. When driving past a graveyard, they spot Mrs. Voorhees’ tombstone which has her date of death being 1979. But, as we all know, she actually died on Friday June 13th, 1980 by having her head removed by final girl Alice in the original Friday The 13th.
3 and 1/2 hockey masks
friday 13 1980 rating




now playing

double featurePROW_BUR


I have been revisiting a lot of 80s horror flicks recently, especially some of the more infamous slashers from that time so, in the spirit of my look back at one of my favorite eras of horror, I decided to make this week’s double feature a bloody fun double bill of two 1981 slasher cult classics, The Prowler and The Burning which not only both feature the traditional elements we come to expect from these movies, but both have their gory demises courtesy of master make-up FX man Tom Savini! Enjoy the bloody fun…


This 1981 slasher opens up in 1945 as soldiers are coming home from the war and we hear a young woman reading a ‘dear John’ break-up letter intended for a boyfriend away on duty. We cut to Avalon Bay which is having it’s annual college graduation dance and a young couple leave the dance for a romantic walk, but their romance is cut short by someone dressed as a combat-ready soldier who promptly runs the embracing couple through with a pitch fork, leaving a rose in the female victim’s hand. We then pick our story up in 1980 where the Avalon Bay Graduation Dance is being revived after having been halted 35 years earlier by the father of the murdered girl, Major Chatham (Lawrence Tierney). But, someone is reviving another activity from that night, as a killer dressed in military gear descends on the partying co-eds with bayonet and pitchfork and starts leaving a bloody trail of bodies and roses behind. Can sweet Pam (Vicky Dawson) and her deputy boyfriend Mark (Christopher Goutman) stop this deranged killer or will they join his list of victims?

Directed by Joe Zito, who is mostly known for directing the fourth Friday The 13th flick and two of Chuck Norris’ biggest hits Missing In Action and Invasion U.S.A., this bloody slasher follows the 80s slasher format very well. We get a bunch of nubile young intended victims being stalked by an unbalanced killer with a grudge, who is dispatching them in gruesome and versatile fashion. We also get a pretty young heroine to serve as our ‘final girl’ and the doomed slutty girls who’ll show us their boobs! Zito also manages to serve up some suspense and some tension, too. He’s not the most stylish director, but his directing here is far less by-the-numbers than his Norris action flicks. And there is some decent cinematography from frequent Zito D.O.P. João Fernandes. The horror genre seems to suit Zito better then his generic action movies. The film has some atmosphere, a touch of Scooby-Doo-ish mystery and it is an entertaining 90 minutes of horror that represents the era well. It’s not perfect, we really aren’t given enough suspects or red herrings to make it really interesting, though when we do get the big reveal, it is still kind of a surprise. We never really get to know the victims all that well, so their deaths have little impact other than Tom Savini’s still effective gore FX.

The cast are fine even though we only really get to know Pam and Mark, but Dawson and Goutman make them likable enough. The rest are generic horny college kids who are there to be victims and they serve that purpose well. Vet Tierney doesn’t get to have any lines despite the film implying he’s a suspect, so not sure why they even hired a name actor for the part.

In conclusion, The Prowler isn’t a great film, certainly not in the same league as Friday The 13th or even Halloween II,  but it is a solid enough slasher and is a fun and nostalgic sample of the type of film made in the early 80s before films like Evil Dead, ScannersRe-Animator and A Nightmare On Elm Street took horror in new directions. A fun, gory example of what made 80s slashers fun. Extra credit for filming in my home stomping ground of New Jersey!

A solid 3 pitchforks!

prowler rating

WARNING: this trailer does show a lot of plot elements…




The Burning is another infamous slasher of the early 80s mostly because of Tom Savini’s graphic gore effects and the problems his work caused the film when it was released. It’s release was also limited, even in the US and thus the film, especially uncut, became sought after by the horror/gore crowd. The film is also renown for being the first appearances of Holly Hunter, Jason Alexander and Fisher Stevens before they all went on to find fame in there perspective careers and it was one of the Weinstein’s first productions as Mirimax Pictures as well, before going on to become two of the biggest producers and one of the biggest companies in the business. But, does it stand up to it’s reputation? Yes and no.

The Burning starts out in 1976 at Camp Blackfoot where, in slasher era tradition, a group of campers are plotting to pull a prank on the mean and creepy caretaker named Cropsey. The prank goes terribly wrong and Cropsey is burned horribly and hospitalized. We then jump forward to 1981 where the deformed Cropsey is released from the hospital and now dressed completely in black, goes and finds a prostitute whom he promptly butchers when she becomes frightened upon seeing his face. We then arrive at Camp Stonewater which is across the lake from Camp Blackfoot, which was closed after the accident. We see that a figure dressed in black is stalking the campground carrying a pair of garden shears…wonder who that could be? Before you can say ‘Jason Voorhees’ the black clad figure is slaughtering the nubile young campers in quite gruesome fashion with his sharp garden tool. Has Cropsey returned to exact revenge for the prank gone awry and will any of the unsuspecting campers survive?

As directed by Tony Maylam, this notorious slasher flick is actually very by-the-numbers and very slow paced. After Cropsey kills the hooker, it’s almost 40 minutes before he strikes again and the film is only 90 minutes long. There is a lot of time spent with our various campers and councilors, which would be fine on a character development level if any of them were all that interesting. The characters are all fairly generic, the bully Glazer (Larry Joshua… most recognized as the sleazy wrestling event promoter in Sam Raimi’s Spider-Man), the harried nerd Alfred (Brian Backer), the wise-ass David (Jason Alexander) and the good looking counselors (Brian Matthews and Leah Aryes) who are in a relationship and too busy to notice campers are disappearing in droves till it is too late. The time spent with them before the killing starts is for the routine camp movie hi-jinx and doesn’t really help to endear us to any of them. Once Cropsey goes into kill mode with his trusty shears, it’s still fairly by-the-numbers and it’s up to make-up FX master Savini to do in young campers in gruesomely effective fashion. Most notable is a sequence on a raft where Crospey takes out half the campers in a few deft swings and chops of his favorite weapon. It’s a good scene and one that this film is famous for. Savini earned his paycheck and reputation as the gore FX are top notch. There is some atmosphere, though some of that is due to Rick Wakeman’s spooky score. The film deviates from the slasher formula a little and seems to focus on Alfred giving us a ‘final boy’ this time instead of the usual female who fights back, though he is not the only survivor, so even this classification is thin.

The cast are pretty wooden for the most part, though Alexander does give us a glimpse of what made him famous almost a decade later on Seinfeld. Backer is fine as Alfred, but he is a textbook 80s movie nerd, a role he would play to perfection in the classic Fast Times At Ridgemont High a year later. As for Ayres and Matthews, they make an attractive couple and are fine as the leads, but they never really rise above their stereotype parts. The rest are just killer fodder and/or there to show their boobs.

So, in conclusion, Tom Savini’s excellent work and the novelty of first time appearances by actors who would become famous aside, The Burning is a slow moving and paced slasher that follows the formula only to deviate slightly with the sex of it’s focal character…though, to be honest, the film never really focuses on a lead character till the last act. That and it robs us of an element of mystery and a big reveal by having our killer’s identity known from the very start. As films of this era go, it’s worth checking out and does have some 80s nostalgia added to it now, but doesn’t quite live up to it’s reputation, as much as, solidifies Savini’s. Worth a look for Savini’s contributions and to amuse one’s self at some of the acting debuts, but it’s not one of the strongest representations of it’s era. Include it as part of a double feature as we have suggested here and you can have some nostalgic fun with it along with your other flicks of choice.

2 and 1/2 garden shears!

burning rating