The Blancheville Monster (1963)

Starring Gerard Tichy, Leo Anchoriz, Ombretta Colli, Helga Line, Iran Eory
Directed by Alberto De Martino

(actor & director credits courtesy IMDB.com)

A young woman returns to her ancestral castle for her 21st birthday, only to be stalked by her disfigured father, ready to fulfill a prophecy that requires her death.

This moody psychological thriller starts out with a bang as the camera pans through a leafless forest during an electrical storm before moving to the dark foreboding castle in the background illuminated by lightning.  With a very atmospheric music score, and dark shadowy photography, there's much for the horror fan to enjoy, as we're introduced to the characters, with Colli's innocent damsel discovering her brother, his doctor, and their housekeeper all possessing dark secrets that will eventually be disclosed.  Although the film introduces its "monster" early on, I did find the story a bit slow-moving with numerous scenes where not much happens.  Nonetheless, this is still a work of quality, which looks great and is worth additional viewings.

The Curse Of The Living Corpse (1964)

Starring Roy Scheider, Helen Waren, Robert Milli, Margot Hartman, Hugh Franklin
Directed by Del Tenney

(actor & director credits courtesy IMDB.com)

In 19th century New England, a cruel landowner dies, but warns his heirs that his spirit will hunt them down and murder them if they don't abide by the conditions of his will.

Del Tenney, probably best known for his horror-musical The Horror Of Party Beach, also made this horror film which is quite different, a stark period piece with victims being stalked on the grounds of a New England estate.  Scheider, later to star in Jaws, is the standout among a cast I was largely unfamiliar with, playing a smarmy drunkard who gets quite the showcase.  The horror scenes are generally well done, with a variety of attacks built around the characters' worst fears, and are broken up by the comic relief of a rotund constable who bumbles his way through trying to protect the family.  Although suitably unique from other fare of the time, the film is somewhat slow moving and not very involving with most of the main characters being unsympathetic.  Nevertheless, it's a good try by Tenney and has some worthwhile dark atmosphere.

I Married A Monster From Outer Space (1958)

Starring Tom Tryon, Gloria Talbott, Peter Baldwin, Robert Ivers, Chuck Wassil
Directed by Gene Fowler Jr.

(actor & director credits courtesy IMDB.com)

On the eve of his wedding, an insurance salesman is secretly replaced by an alien being using his body, but before long his new bride begins to suspect he's an imposter. 

A distinctive and memorable science fiction drama, the picture has a well-written screenplay that slowly builds suspense as Talbott sees more and more evidence Tryon isn't the man she fell in love with.  It also has wonderful special effects for the era, courtesy of Universal veteran John P. Fulton, with luminous aliens, clouds of billowing smoke that envelop their victims, and atomizing ray gun blasts.  Talbott makes a lovely heroine, Tryon gives a stiff performance befitting a stranger in a strange body ignorant of human emotions, and there's good support from John Eldredge as the town's police chief and Ken Lynch as it's doctor.  The music and cinematography also contribute to the film's dark tone, creating a frightening tale of paranoia.  

The Haunted Strangler (1958)

Starring Boris Karloff, Jean Kent, Elizabeth Allan, Anthony Dawson, Vera Day
Directed by Robert Day

(actor & director credits courtesy IMDB.com)

A novelist tries to prove the man convicted and executed for the strangling murders of women was not the guilty party, not realizing he may have his own personal connection to the crimes. 

We have here a nice vehicle for Karloff, one of a couple of films he made for producer Richard Gordon in England.  He is quite believable as a dogged investigator of the crimes of the "Haymarket Strangler," trying to prove his point that the man executed was not only innocent, but would have never been convicted if he had the money for a good lawyer.  The film has fine production values illustrating its period setting well, and Karloff is well supported by a good cast around him.  Eventually, the identity of the true strangler is revealed, prompting a return to his terrible killings in a clever and gruesome makeup in scenes well-staged by Day and his crew.  It's a well-done horror film, well-suited to the film's legendary star.

Flash Gordon Conquers The Universe (1940)

Starring Buster Crabbe, Carol Hughes, Charles Middleton, Anne Gwynne, Frank Shannon
Directed by Ford Beebe & Ray Taylor

(actor & director credits courtesy IMDB.com)

An attempt by Emperor Ming to spread a deadly plague across the Earth leads Flash Gordon and his friends to return to planet Mongo to thwart Ming's schemes once and for all. 

The third and final Flash Gordon serial returns Crabbe, Middleton, and Shannon as Gordon, Ming, and Dr. Zarkov, but fans will be disappointed the other regulars are recast, notably Carol Hughes replacing Jean Rogers as leading lady Dale Arden.  Still, the fun factor of the serial remains high, with adventures in the woodland kingdom of Arborea, the frozen wasteland of Frigeia, and the desolate cliffs of the Land of the Dead, underscored by classic music cues from Universal's library, particularly the Frankenstein films.  Future Universal horror staple Anne Gwynne has a meaty villainous role as a spy employed by Ming.  There's not as much of an emphasis on fantastic sights as the earlier serials, with the exception of some stock footage used from the first one, but there's spaceship battles, mid-air rescues, and fire and electrical traps that Flash must brave.  Fans of the past entries should find enough to enjoy, although it doesn't measure up to the gold standard of the first serial.  

Conquest Of Space (1955)

Starring Walter Brooke, Eric Fleming, Mickey Shaughnessy, Phil Foster, William Redfield
Directed by Byron Haskin

(actor & director credits courtesy IMDB.com)

On a mission to Mars, the general leading the spaceflight begins to have doubts about man invading the heavens and seeks a way to sabotage the mission. 

Producer George Pal delivers another science fiction drama, this time about man's journey into space on a mission to Mars, and it's an often eye-popping adventure, with beautiful stellar backgrounds from Chesley Bonestell and striking special effects.  At the time, there was a school of thought that interstellar space craft would have to be launched from a way station in space to avoid Earth's gravitational pull, and that is depicted here with a circular "wheel" space station housing the crew working on the project.  Drama is mined from the select individuals aboard who are selected for the spaceflight and have been trained and tested and switched to a diet of pills, as well as from the father-son relationship between commanding officer Brooke and Fleming, who wants to return to Earth to reunite with his wife, but is being blocked by Brooke.  When the actual spaceflight begins, a new set of dramatic conditions commences as Brooke worries man's conquest of space is contrary to the Bible's teachings, and engages in actions that threaten his own crew.  The actors are generally fine, although Foster is quite a bit over the top as an outspoken Italian-American, but as far as standouts, I found Benson Fong came off best as a sensitive Japanese native who wants to elevate his nation.  Van Cleave delivers an appropriately majestic score and the art direction and set design are well done and complement the excellent exterior visuals.  

The Witch's Mirror (1960)

Starring Rosita Arenas, Armando Calvo, Isabela Corona, Dina de Marco, Carlos Nieto
Directed by Chano Urueta

(actor & director credits courtesy IMDB.com)

When she learns her goddaughter has been targeted for murder by her husband, a witch calls upon demons to try and protect her, and when that fails, plots revenge on him and his new bride. 

An engaging horror film from Mexico features a great deal of atmosphere, from the billowing smoke conjuring visions in the witch's mirror, to the shadowy photography, and the quality musical score, anchored by a piano piece played by the doomed de Marco before her death.  Although an original tale, the film nods to other horror pictures as it progresses, particularly The Hands Of Orlac in its final act.  The performances serve the story well, with Arenas as Calvo's new wife acceptable of his home and the memories left behind by de Marco, until her spirit begins haunting the place, which slowly drives Arenas and Calvo into a reasonable hysteria.  Corona, playing the witch who also is Calvo's housekeeper, makes for a unique character, not overtly evil, nor fitting the typical imagery of a witch, but dedicated to helping de Marco by performing arcane rituals.  All this makes for a fine horror film with some familiar subject matter but also some atypical touches.