Saturday, 21 June 2025

Horror Express


 Horror Express (Spanish: Pánico en el Transiberiano, lit. "Panic on the Trans-Siberian")[4] is a 1972 science fiction horror film directed by Eugenio Martín. It stars Christopher Lee and Peter Cushing, with Alberto de Mendoza, Silvia Tortosa, Julio Peña, George Rigaud, Ángel del Pozo, and Telly Savalas in supporting roles.


Horror Express



Directed by

Eugenio Martín

Screenplay by

Arnaud d'Usseau

Julian Zimet

(as Julian Halevy)

Story by

Eugenio Martín

Produced by

Bernard Gordon

Starring

Christopher Lee

Peter Cushing

Telly Savalas

Cinematography

Alejandro Ulloa

Edited by

Robert C. Dearberg

Music by

John Cacavas

Production

companies

Granada Films

Benmar Productions

Scotia International[1]

Distributed by

Regia Films Arturo González (Spain)[2]

Gala Film Distributors (UK)[1]

Release dates

30 September 1972 (Sitges)

30 November 1973 (New York)[3]

Running time

90 minutes

Countries

Spain

United Kingdom

Language

English

Budget

$300,000

Box office

755,542 admissions (Spain)[2]

Set in 1906, the film's storyline follows the various passengers aboard a European-bound Trans-Siberian Railway train. They are soon stalked, one by one, by an alien intelligence inhabiting the frozen body of an ancient primitive humanoid brought onboard by an anthropologist.

Superman: The Mechanical Monsters 1941


 

Superman: The Mechanical Monsters

1941

A mad scientist unleashes robots to rob banks and loot museums. Superman saves the day. Animation by Steve Muffati and George Germanetti. Music by Sammy Timberg. Produced in 1941.


The Mechanical Monsters is the second of the seventeen animated Technicolor short films based upon the DC Comics character Superman. Produced by Fleischer Studios, the story features Superman battling a mad scientist with a small army of robots at his command. It was originally released by Paramount Pictures on November 28, 1941.

Betty Boop: Minnie The Moocher 1932


 

Betty Boop: Minnie The Moocher

1932

Minnie the Moocher (1932) is a Betty Boop cartoon produced by Fleischer Studios and released by Paramount Pictures.[1]

The cartoon opens with a live action sequence of Cab Calloway and his orchestra performing an instrumental rendition of "St. James Infirmary". Then Betty Boop gets into a fight with her strict, Yiddish speaking, Jewish parents, runs away from home with her boyfriend Bimbo, and sings excerpts of the Harry Von Tilzer song "They Always Pick on Me" (1911) and the song "Mean to Me" (1929).

The Stolen Body


 

Woody Woodpecker in Pantry Panic 1941


 

Woody Woodpecker in Pantry Panic

1941

Weatherby Groundhog predicts a cold winter and advises all the birds to fly south. But Woody Woodpecker decides to stay, and nearly starves. Animation by Alex Lovy and Lester Kline, story by Ben Hardaway and L.E. Elliott, music by Darrell Calker.

Pantry Panic is the third animated cartoon short in the Woody Woodpecker series. Released theatrically on November 24, 1941, the film was produced by Walter Lantz Productions and distributed by Universal Pictures.

Popeye for President 1956


 

1956

Popeye for President

Classic cartoon, 1950s, popeye

Popeye and Bluto are both running for president. They are tied with exactly the same number of votes, but Miss Olive Oyl has yet to cast her ballot. Which candidate will be able to impress her the most and earn her precious vote?

Scales & Tails

 The bell above the door of "Scales & Tails" chimed with a sickly, metallic tang, a sound that always made Rico’s teeth itch. He glanced up from scrubbing the stubborn grime off the reptile enclosures. His wife, Maria, was behind the counter, her face a mask of polite boredom as she helped a woman select a feeder mouse for her snake.


Rico hated this place. He hated the smell of sawdust and fish flakes, the constant chirping of crickets, and the way Mr. Abernathy, the owner, watched them with those unsettlingly bright, bird-like eyes.

Rico and Maria were trying to make a new start. Fresh out of prison for a robbery gone wrong, Rico was determined to stay on the straight and narrow. Maria, loyal to a fault, had waited for him, and together they’d scraped together enough money for a deposit on this cramped apartment above the laundromat. Mr. Abernathy had been their only option for work. No questions asked, no background checks. That should have been a red flag, but they were desperate.

Abernathy himself was a strange bird. He was a gaunt man with skin stretched taut over his skull, making him look perpetually surprised. He claimed to be a retired veterinarian, but the way he handled the animals felt clumsy, more like a scientist poking at specimens than a caregiver. He spent most of his time in the back room, a place strictly off-limits to Rico and Maria. He’d told them it was for “sensitive procedures” and “quarantining new stock.” They suspected it was just a glorified nap room.

But lately, things felt different. Abernathy had started staring at them, not with the detached curiosity of before, but with a disturbing intensity. He kept asking them strange questions: how much sleep they got, what they ate, how they felt. He even offered them vitamins, weird, oversized capsules that tasted faintly metallic. Maria refused to take them, but Rico, wanting to be a good employee, swallowed them down with a grimace.

One night, Rico woke up soaked in sweat, a terrifying dream clinging to the edges of his mind. He’d been in a cage, surrounded by chirping crickets and the stink of ammonia. Abernathy had been there, his eyes glowing with a feverish light, injecting him with something through the bars. He tried to shake it off, blaming it on the stress of adjusting to life on the outside.

But the dreams persisted, growing more vivid, more real. He started experiencing strange physical symptoms too: fleeting moments of disorientation, phantom pains in his limbs, and an overwhelming urge to burrow.

Maria noticed the change. "You're acting weird, Rico," she said one evening, her eyes filled with worry. "You're jumpy, you're talking in your sleep… You're like a different person."

That’s when Rico decided to investigate the back room.

He waited until Abernathy left for the night, locking the door behind him as usual. Maria stood guard at the front, a nervous watchman against the chime of the bell. Rico took a deep breath and inserted a bobby pin into the complex lock. His fingers, rusty from disuse, worked with surprising dexterity. Finally, with a soft click, the door swung open.

The air inside was thick with the smell of formaldehyde and something else… something acrid, like burnt flesh. The room was a grotesque parody of a veterinary clinic. Surgical instruments lay haphazardly on a steel table, stained with dried blood. Jars filled with murky fluids sat on shelves, containing what looked disturbingly like human organs.

Then he saw the cages.

They were animal cages, but larger, reinforced with steel bars. And inside… inside were the remains of animals twisted and contorted into unnatural shapes. A rabbit with too many limbs, a dog with eyes that glowed like embers, a cat that hissed with a voice too deep for its size.

Rico’s blood ran cold. He stumbled back, his hand landing on a stack of notebooks. He opened one, his heart hammering against his ribs. The pages were filled with meticulous notes, diagrams, and equations. The heading on the first page read: "Project Chimera: Subject Acquisition & Integration."

He flipped through the pages, his eyes scanning the dense text. Abernathy wasn't just experimenting on animals. He was experimenting on people. He was trying to create… something else.

He found a section detailing the vitamins Abernathy had been giving him. They weren't vitamins at all. They were a cocktail of hormones and gene-altering compounds, designed to slowly transform his DNA, to… integrate him with animal DNA.

He understood now. The dreams, the physical changes, the disturbing impulses… He was being changed, twisted into something monstrous.

He slammed the notebook shut and turned, desperate to escape. But as he reached the door, he heard a soft click behind him.

Abernathy stood in the doorway, a syringe in his hand. His eyes gleamed with an unholy light. "Disappointing, Rico," he said, his voice barely a whisper. "I had such high hopes for you. But you had to go and spoil the surprise."

Rico lunged, but Abernathy was faster. He jabbed the syringe into Rico’s arm, and a searing pain ripped through his veins.

He stumbled back, clutching his arm. He felt a burning sensation spreading through his body, a terrifying transformation taking hold. He looked down and saw his hands, his skin rippling, scales forming, fingers elongating into claws.

Maria burst into the room, her eyes wide with horror. She screamed, a sound that echoed through the pet shop like a dying animal. Abernathy turned to her, a cruel smile playing on his lips.

"Ah, Maria," he said. "The perfect companion for my new creation. Perhaps… we can integrate you as well."

But Maria wasn't going to be a subject. She grabbed a heavy metal feeding bowl from the counter and hurled it at Abernathy's head. He crumpled to the floor with a sickening thud.

Rico watched, his mind reeling, his body changing. He was no longer Rico. He was something else, something monstrous, a horrifying amalgamation of human and animal.

He roared, a sound that was both guttural and human, a sound of pain and rage. He wanted to attack, to tear Abernathy apart. But he also wanted to protect Maria.

He staggered out of the room, Maria following close behind, her hand outstretched. They fled the pet store, leaving behind the cages, the jars, and the twisted remains of Abernathy's experiments.

They disappeared into the night, two fugitives, one human, one… something else. They knew they could never go back. They were on the run, hunted by the authorities, and haunted by the terrifying reality of their transformation.

And somewhere in the darkness, the experiment continued, the terrifying legacy of Scales & Tails living on in the monstrous creature that Rico had become. They would never truly be free, forever trapped in the grotesque chimera of Abernathy's twisted dreams. The bell above the door of "Scales & Tails" remained silent, but the horror within would echo through the shadows for years to come.

photo
Mark Antony Raines
Ghostman at  Comedy Friendly Zombie Production Ltd
Mark Antony Raines aka ghostman


Thaddeus

 The desert wind whipped at Dr. Thaddeus Blackwood’s worn leather coat, stinging his face with sand. He squinted, his good hand, the left, tightening its grip on the reins of his sturdy Appaloosa. The relentless sun beat down, turning the already harsh landscape into a shimmering oven. Behind him, the wagon groaned under the weight of his belongings: a medical library he'd never use, surgical instruments gleaming unused in their cases, and the meager supplies he needed to survive as a traveling scholar.


He was a ghost in his own life, a shadow of the man he could have been. The dream of bustling hospitals and grateful patients had curdled into a nightmare of antiseptic smells and the dull ache in his missing fingers. The dissecting knife, meant to heal, had become his executioner.


He spurred the Appaloosa onward, the rhythmic clip-clop a lonely counterpoint to the howling wind. He was heading for Salvation Gulch, a flyspeck of a town clinging precariously to the edge of the Arizona Territory. He'd heard whispers of its existence - a rough, lawless place where men went to lose themselves, or perhaps, to find something they didn't even know they were missing.


Thaddeus wasn't looking for redemption. He was simply looking for a place to stop running. A place to bury himself in his books, to observe life from a safe distance, to let the desert silence soothe the phantom pain in his missing fingers.


As he crested a rise, Salvation Gulch materialized below. A collection of ramshackle buildings huddled around a dusty main street, punctuated by the stark silhouettes of saloons and the glint of sunlight on weathered tin roofs. Rough-looking men lounged in doorways, their faces etched with hardship and suspicion.


He felt a pang of trepidation. This was a raw, untamed place, a far cry from the sterile halls of his medical college. But as he looked at the wide-open sky and the unforgiving beauty of the landscape, a sliver of something akin to hope flickered within him. Perhaps, in this desolate corner of the world, he could finally find a measure of peace. Perhaps Salvation Gulch, in its own brutal way, could offer him a different kind of healing. He urged his Appaloosa forward, a solitary figure silhouetted against the setting sun, riding towards an uncertain future in the heart of the Wild West.

Thursday, 19 June 2025

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Holsworthy Own Area 51

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Queen At Band Aid


 

The Fighting Seventh


 

Sunday, 15 June 2025

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Doctor Who: Kinda Part One (1982 | Full Classic Episode | Peter Davison ...

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Texas Terror#johnwayne


 

Metropolis


 

Queen In Blood


 

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Saturday, 7 June 2025

Ghostman Radio Station-Woody Woodpecker in Pantry Panic 1941


 

Woody Woodpecker in Pantry Panic

1941

Weatherby Groundhog predicts a cold winter and advises all the birds to fly south. But Woody Woodpecker decides to stay, and nearly starves. Animation by Alex Lovy and Lester Kline, story by Ben Hardaway and L.E. Elliott, music by Darrell Calker.

Pantry Panic is the third animated cartoon short in the Woody Woodpecker series. Released theatrically on November 24, 1941, the film was produced by Walter Lantz Productions and distributed by Universal Pictures.

Ghostman Radio Station -Popeye for President


 

Popeye for President

1956

Popeye and Bluto are both running for president. They are tied with exactly the same number of votes, but Miss Olive Oyl has yet to cast her ballot. Which candidate will be able to impress her the most and earn her precious vote?

Popeye for President March 30 Tom Johnson

Ghostman Radio Station -Reefer Madness 1936

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Other Versions of this Movie

Reefer Madness

1936

Considered THE archetypal sensationalized anti-drug movie, but it's really an exploitation film made to capitalize on the hot taboo subject of marijuana use. Like many exploitation films of the time, "Reefer Madness" tried to make a quick buck off of a forbidden subject while skirting the Motion Picture Production Code of 1930. The Code forbade the portrayal of immoral acts like drug use. (The illegal drug traffic must not be portrayed in such a way as to stimulate curiosity concerning the use of, or traffic in, such drugs; nor shall scenes be approved which show the use of illegal drugs, or their effects, in detail.) The film toured around the country for many years - often being re-edited and re-titled ("Tell Your Children", "Dope Addict", "Doped Youth", "Love Madness", "The Burning Question"). It was re-discovered in the early 1970s by NORML (National Organization for the Reform of Marijuana Laws) and screened again as an example of the government's demonization of marijuana. NORML may have been confused about the film's sponsorship since one of the film's distributors, Dwain Esper, testified to the Arizona Supreme Court that "Reefer Madness" was not a trashy exploitation film but was actually sponsored by the U.S. Government - a convincing lie, but a lie nonetheless. That being said, the film is still quick enjoyable since it dramatizes the "violent narcotic's ... soul destroying" effects on unwary teens, and their hedonistic exploits enroute to the bottom. You can find more information regarding this film on its IMDb page. Also, if you are interested in the rich, uniquely American history of exploitation films, there are two excellent books on the subject: "Forbidden Fruit - The Golden Age of the Exploitation Film", Felicia Feaster and Bret Wood, Midnight Marquee Press, 1999. "Bold! Daring! Shocking! True! A History of Exploitation Films, 1919 - 1959" Eric Schaefer, Duke University Press, 1999.


</>< name=tcmopi></> or 1939< name=mathijs></>< name=senn></>
| runtime = 68 min. <!-- US duration: 1:08:17 -->
| country = United States
| language = English
| budget = $100,000
}}
File:Reefer Madness.webm
Reefer Madness (originally made as Tell Your Children and sometimes titled as The Burning QuestionDope AddictDoped Youth and Love Madness) is a 1936–1939 American propaganda exploitation film revolving around the melodramatic events that ensue when high school students are lured by pushers to try cannabis (drug)—from a Hit and run (vehicular), to manslaughter, suicide, attempted rape, and descent into insanity due to marijuana addiction. The film was directed by Louis J. Gasnier and starred a cast composed of mostly unknown bit actors.
Originally financed by a church group under the title Tell Your Children, the film was intended to be shown to parents as a morality tale attempting to teach them about the dangers of cannabis use.< name="History"/> However, soon after the film was shot, it was purchased by producer Dwain Esper, who re-cut the film for distribution on the exploitation film circuit beginning in 1938/39 through the 40s and 50s.< name="History"/>

The film was "rediscovered" in the early 1970s and gained new life as satire among advocates of Decriminalization of non-medical cannabis in the United States.< name="History"/>< name="Peary"></> Although finding a popular audience as a cult film, critics have panned it as List of films considered the worst. Today, it is in the public domain in the United States.

Plot

Mae Coleman (Thelma White) and Jack Perry (Carleton Young)—a couple living in sin, sell marijuana. Mae pers to sell marijuana to customers her own age, whereas Jack sells the plant to young teenagers. Ralph Wiley (Dave O'Brien (actor)), a psychotic ex-college student turned fellow dealer (and addict, according to the film), and Blanche (Lillian Miles) help Jack sell cannabis to young students. Young students Bill Harper (Kenneth Craig) and Jimmy Lane (Warren McCollum) are invited to Mae and Jack's apartment by Blanche and Ralph. Jimmy takes Bill to the party. There, Jack runs out of reefer. Jimmy, who has a car, drives him to pick up some more. Arriving at Jack's boss' "headquarters," he gets out and Jimmy asks him for a cigarette. Jack gives him a joint (cannabis). Later, when Jack comes back down and gets into the car, Jimmy drives off dangerously, along the way running over a pedestrian with his car. A few days later, Jack tells Jimmy that the pedestrian died of his injuries. Jack agrees to keep Jimmy's name out of the case, providing he agrees to "forget he was ever in Mae's apartment". Jimmy does indeed escape the consequences of his crime—a rare occurrence in the film.
Bill begins an affair with Blanche. Mary (Dorothy Short), Jimmy's sister and Bill's girlfriend, goes to Mae's apartment looking for Jimmy, and accepts a joint from Ralph, thinking it to be a normal cigarette. When she uses Ralph's advances, he tries to rape her. Bill comes out of the bedroom after having sex with Blanche, and hallucinates that Mary strips for Ralph. He attacks Ralph, and as the two are fighting, Jack tries to break it up by hitting Bill with the butt of his gun. The gun goes off and Mary is killed. Jack puts the gun in the hand of an unconscious Bill, and wakes him up. Bill sees the gun in his hand, and is led to believe that he has killed Mary. The group of dealers lies low for a while in Blanche's apartment while Bill's trial takes place. Ralph, losing his sanity, wants to tell the police who is actually responsible for the death of Mary. The film attributes Ralph's insanity to marijuana use.
File:ReeferMadness 14.jpg
Seeking advice from his boss, Jack is told to shoot Ralph so he keeps his mouth shut. Meanwhile, at the apartment, Blanche offers to play some piano music for Ralph to keep his mind off things. They are both very high, and Ralph tells her to play faster. She increases her playing speed to a downright cartoon-like speed in one of the film's most famous and over-the-top sequences. Jack shows up and Ralph immediately senses that Jack wants to kill him, so he kills Jack by beating him to death. The police arrest Ralph, Mae, and Blanche. Mae talks, and the criminal gang is rounded up. Blanche explains that Bill was innocent, and he is released. Blanche is then held as a material witness for the case against Ralph, but rather than testify against him, Blanche jumps out a window and falls to her death. Ralph is put in an asylum for the criminally insane "for the rest of his natural life." Mae's ultimate fate is unspecified.
The film's story is told in Inclusio sequences at a lecture given at a Parent-Teacher Association meeting by high school Principal (school), Dr. Alfred Carroll. At the end of the film, he tells the parents he has been talking to that events similar to those he has described are likely to happen again, and then points to random parents in the audience and warns that "the next tragedy may be that of your daughter ... or your son ... or yours, or yours ..." before pointing straight at the camera and saying emphatically "... or YOURS!" as the words "TELL YOUR CHILDREN" appear on the screen.

Cast

  • Dorothy Short as Mary Lane
  • Kenneth Craig as Bill Harper
  • Lillian Miles as Blanche
  • Dave O'Brien (actor) as Ralph Wiley
  • Thelma White as Mae Coleman
  • Carleton Young as Jack Perry
  • Warren McCollum as Jimmy Lane
  • Pat Royale as Agnes
  • Josef Forte as Dr. Alfred Carroll
  • James Ard as Officer Chuckman
  • Harry Harvey (actor) Jr. as Junior Harper

History

File:ReeferMadness 13.jpg
In 1936 or 1938,< name=howell></> Tell Your Children was financed and made by a church group and intended to be shown to parents as a morality tale attempting to teach them about the dangers of cannabis use.< name="History"></>< name="Peary"/>< name="Commentary"></> It was originally produced by George Hirliman;<></> however sometime after the film was made, it was purchased by notorious exploitation filmmaker Dwain Esper, who inserted salacious shots.< name="History"/> In 1938< name=pdreview/>< name=tcmopi/> or 1939,< name=mathijs/>< name=senn/> Esper began distributing it on the exploitation circuit< name="History"/> where it was originally released in at least four territories, each with their own title for the film:< name=peter/> the first territory to screen it was the south, where it went by Tell Your Children (1938 or 1939< name=povrow/>). West of Denver, Colorado, the film was generally known as Doped Youth (1940< name=povrow/>). In New England, it was known as Reefer Madness (1940< name=povrow></> or 1947< name=howell/>), while in the Pennsylvania/West Virginia territory it was called The Burning Question (1940< name=peter></></>< name=anderson/> As part of a fundraising campaign, NORML showed Reefer Madness on college campuses up and down California, asking a dollar donation for admission and raising $16,000 towards support for the California Marijuana Initiative, a political group that sought to legalize marijuana in the fall '72 elections.< name=anderson></> Robert Shaye of New Line Cinema eventually heard about the cult hit and went to see it at Bleecker Street Cinema.< name=shaye/> He noticed the film carried an improper copyright notice and realized it was in the public domain.< name=shaye></> Seeking material for New Line's college circuit, he was able to obtain an original copy from a collector and began distributing the film nationally "making a small fortune for New Line".</>
The film was spoofed in Reefer Madness (musical), which was later made into a Reefer Madness (2005 film) in 2005, which featured actors such as Alan Cumming, Kristen Bell, Christian Campbell, and Ana Gasteyer.

Reception

The Los Angeles Times has claimed that Reefer Madness was the first film that a generation embraced as "the worst".<></> Leonard Maltin has called it "the grand-daddy of all "Worst" movies".< name="Maltin01211"></> Las Vegas CityLife named it the "worst ever" runner-up to Plan 9 from Outer Space,<></> and AMC (TV channel) described it as "one of the worst movies ever made".<></>

Derivatives

File:Reefer (color) 01.JPG
The movie has inspired a number of parodies, including an off-Broadway musical satire called Reefer Madness (musical) and a 2005 film of the musical called Reefer Madness: The Movie Musical.
In 2004, 20th Century Fox, in collaboration with Legend Films, released a film colorization version of the film on DVD.<></> The original release date was April 20, 2004, a erence to the drug slang term "420 (cannabis culture)". Also during the film, the number "4" and then "20" is flashed very quickly (as a joke on subliminal messages), which is an effect added by Legend Films. The color version features intentionally unrealistic color schemes that add to the film's unintentionally camp (style) humor. The smoke from the "marihuana" was made to appear green, blue, orange, and purple, each person's colored smoke representing their mood and the different "levels of 'addiction'"..</> A DivX file of the colorized version with the commentary embedded is available as part of Nelson's RiffTrax service.<>.</> In 2009, a newly recorded commentary by Nelson, Kevin Murphy (actor) and Bill Corbett, called the "Three Riffer Edition", was released by RiffTrax,<></> and was the feature of a Rifftrax live event on August 19, 2010.

See also

  • Hemp for Victory
  • List of films in the public domain
  • Perversion for Profit



Category:1936 films
Category:1930s drama films
Category:American drama films
Category:American social guidance and drug education films
Category:Black-and-white films
Category:English-language films
Category:Films about cannabis
Category:Films directed by Louis J. Gasnier
Category:Exploitation films
Category:Independent films
Category:New Line Cinema films
3.94
George A. Hirliman

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Horror Express

 Horror Express (Spanish: Pánico en el Transiberiano, lit. "Panic on the Trans-Siberian")[4] is a 1972 science fiction horror film...