The journey of horror in cinema has carved its path through the hearts of audiences for over a century, evolving from ground-breaking classics to modern thrillers that keep us at the edge of our seats. Classic horror movies, with their chilling narratives and iconic villains, not only frighten but also captivate, making them unforgettable experiences that linger long after the credits roll.
Diving into ‘A Bucket of Blood’, ‘Teen Wolf Too’, and ‘Natural Born Killers’, this article explores the diverse facets of horror and satire, from its early satirical horror to the thrilling depths of psychological terror. Each film showcases unique storytelling that has significantly contributed to the horror genre, reflecting the cultural and societal shifts that influence audience preferences over time.
A Bucket of Blood (1956) – A Satirical Horror
Dive into the quirky depths of “A Bucket of Blood” (1959), a film that spins a web of dark humor around the unsuspecting Walter Paisley, played by the charismatic Dick Miller. Here’s the lowdown:
- Title & Crew: Directed by Roger Corman and penned by Charles B. Griffith, this satirical horror flick was a product of Alta Vista Productions, showcasing the talents of actors like Barboura Morris and Antony Carbone among others.
- The Plot Thickens: Imagine being a busboy turned overnight sensation in the art world, all because you accidentally turned your landlady’s cat into a “sculpture.” As bizarre as it sounds, Walter’s journey from obscurity to fame takes a dark turn as he delves into serial murder to maintain his newfound status.
- Why It Stands Out: Shot in just five days on a shoestring budget of $50,000, the film’s dramatic claustrophobia and manic energy are palpable. It’s a satirical masterpiece that critiques the art world’s pretensions and the commodification of bohemian culture, all while serving as a love letter to beatnik culture‘s frivolousness.
“A Bucket of Blood” captures the essence of classic horror movies with its unique blend of comedy, horror, and satire, making it a must-watch for fans of the genre and a fascinating case study in how constraints can fuel creativity.
Jim’s rating: 
(3.5 / 5)
Teen Wolf Too – Comedy Meets Werewolf Legend
Rolling into the scene with a howl and a half-hearted punch, “Teen Wolf Too” (1987) brings us the tale of Todd Howard, portrayed by a fresh-faced Jason Bateman. A sequel with a twist, this werewolf comedy film swaps basketball for boxing, but keeps the fur flying high. Here’s the scoop:
- Cast & Crew: Alongside Bateman, we’ve got Kim Darby as the supportive teacher, John Astin playing the fiendish dean with a plan, and James Hampton as the uncle who knows a thing or two about moonlit transformations.
- Plot: Todd’s just your average biology student, until he’s not. Discovering his werewolf lineage, he becomes the unexpected star of the college boxing team. Picture Rocky, but with more hair and less training montages.
- Cinematic Elements:
- Special Effects: A throwback to the practical magic of 80s horror/comedy, where the werewolf transformation is less CGI and more artistry.
- Soundtrack: An 80s pop and rock fest that’ll have you tapping your feet, even if the punches don’t land.
- Cinematography & Music: Jules Brenner captures the action, while Mark Goldenberg’s tunes add to the ambiance.
Despite its efforts to blend comedy and horror, the film faced critiques for its storyline and character depth, described by some as a “Bingo Night imitation of Rocky.” Yet, it’s the slapstick humor, rooted in the absurdity of werewolf woes, and the themes of self-discovery and friendship that give “Teen Wolf Too” its charm. Whether it’s a frog-fight in the biology lab or the struggle with newfound popularity, Todd’s journey is a hairy ride into the heart of 80s nostalgia.
Box gives this one a 
(2.5 / 5)
Natural Born Killers – A Controversial Gen X Cult Classic
Strap in, folks, because we’re diving headfirst into the whirlwind that is “Natural Born Killers,” a film that doesn’t just push the envelope—it shreds it. Let’s break it down:
- The Dynamic Duo: At the heart of this cinematic frenzy are Mickey (Woody Harrelson) and Mallory (Juliette Lewis), two lovebirds with a twisted idea of a romantic getaway. Their love language? A cross-country killing spree. Inspired by the real-life crimes of Charles Starkweather and Caril Ann Fugate, this pair makes Bonnie and Clyde look like amateurs.
- Style Overload: Oliver Stone didn’t just make a movie; he crafted a sensory overload. The film’s editing is like a fever dream, blending various genres and media types, using bizarre visual filters that sometimes feel like you’re flipping through the world’s most disturbing scrapbook. It’s a ride that’s both disorienting and utterly captivating, mirroring the chaotic nature of modern media.
- Cultural Impact & Controversy: Oh boy, did this film stir the pot. Linked to several real-life crimes and sparking heated debates about the portrayal of violence in media, “Natural Born Killers” became a focal point for discussions on media influence and the romanticization of crime. Despite the controversy, or perhaps because of it, the film has etched its place in cinematic history, inspiring discussions around the blurred lines between reality and entertainment, and how society’s obsession with true crime can skew our perception of both.
In essence, “Natural Born Killers” is a rollercoaster ride through America’s dark fascination with crime, challenging viewers to reflect on where the line between entertainment and reality truly lies.
The Enduring Legacy of Cult Horror and Satire
Diving into the weird and wonderful world of cult classics, let’s unravel the secret sauce that makes these unconventional gems tick. It’s like they’ve got this magnetic pull, you know? Here’s a breakdown:
- Rule-Breaking Rebels: These movies don’t just step outside the box; they stomp on it. From their inception, cult films have been the cool kids that didn’t play by the rules, often missing out on the limelight initially but capturing hearts over time. It’s their boldness in defying conventions that eventually draws a dedicated fanbase.
- The Underdog Appeal:
- Rooting for the Little Guy: There’s something about cheering for the underdog that feels so right. Cult films often start off as the overlooked contenders, only to rise through the ranks thanks to their passionate fans.
- A Badge of Individuality: Loving a cult film is like wearing a secret handshake on your sleeve. It’s a nod to one’s unique taste and a proud declaration of standing out from the mainstream crowd.
- Community and Nostalgia:
- Finding Your Tribe: The community aspect is huge. Imagine finding someone else who’s also into that obscure movie you thought only you knew about. Instant besties, right?
- Blast from the Past: Nostalgia acts like a time machine, transporting fans back to the first time they discovered their cult favorite. It’s a powerful emotion that cements these films in the hearts of their audience.
In essence, cult classics thrive on their ability to connect deeply with their audience, offering a mix of nostalgia, community, and a proud sense of individuality. They remind us that sometimes, the most memorable experiences come from the most unexpected places.
Box’s rating 
(2 / 5)
Jim’s rating 
(3.6 / 5)
Conclusion
Exploring the realms of classic horror through ‘A Bucket of Blood’, ‘Teen Wolf Too’, and ‘Natural Born Killers’ has been an expedition into the heart of what makes cult classics stand the test of time. These films, with their unique narratives, defy conventional storytelling and strike a chord with their ability to connect deeply with the audience, blending horror, satire, and a dash of the macabre humor. Each movie, in its own right, mirrors the societal and cultural shifts of its era, offering more than just entertainment but a commentary on the human condition and our fascination with the darker sides of life.
The legacy of these classic horrors and satires extends beyond their immediate impact, inspiring discussions and debates on the nature of horror and the cultural significance of cult phenomena. As we reflect on the distinct contributions of each film to the genre, their enduring appeal underscores the power of innovative storytelling and the importance of challenging the status quo. For those intrigued by the thrilling dive into horror’s rich past and its satirical edges, Streamin’ Demons offers more insights and discussions on these classics. Check out the movies yourself and delve deeper into the captivating world of horror and satire that continues to enthral audiences and provoke thought.
Movies n TV
Returning to the Soothing World of Evil with “The Demon of Death”
“The Demon of Death” is the season 3 premiere of the supernatural drama Evil, created by Michelle King and Robert King.
“The Demon of Death” is the season 3 premiere of the supernatural drama Evil, created by Michelle King and Robert King. The central cast includes Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, Christine Lahti, and Andrea Martin. As of this review, it’s available through Netflix and Paramount+ and its add-ons.
The assessors investigate the weight of a soul. Father Frank Ignatius (Wallace Shawn) agrees to participate in this test despite his growing disillusionment. David (Mike Colter) and Kristen (Katja Herbers) deal with the ramifications of their confessions. Kristen’s girls go on the warpath with Leland (Michael Emerson). Andy (Patrick Brammall) signs his death warrant.
What I Like about “The Demon of Death”
As season 2 ended with a cliffhanger, “The Demon of Death” picks back up with an interesting addition. The episode provides a more obvious stopping point that Season 2 should have taken advantage of. It dumbfounds me because this addition makes for a more interesting and darker cliffhanger. The added context would have made the cliffhanger more palatable. However, it’s a nice twist for the episode.
Dr. Boggs (Kurt Fuller) and Sister Andrea (Andrea Martin) make an interesting pair that adds complexity to both. We even explore some of Sister Andrea’s character flaws, best displayed by her interaction with Kristen in the next scene. Few wise sage characters that display flaws, making this addition appreciated.
Father Ignatius’ introduction adds layers of interest for a character who will play a recurring role, tying into Monsignor Korecki directly. The yet-to-be-explored relationship between Father Ignatius and Monsignor Korecki (Boris McGiver) evokes an interest.
While “The Demon of Death” isn’t a haunting episode, but explores the mysteries and terror of death through science to provide an interesting environment for an episode. It introduces a new character that adds to the cast.
Tired Tropes and Triggers
There’s not much to report here that particularly crosses the line and what teeters on the line holds a dark comedic tone.
Perhaps Sister Andrea’s flaw might rub some the wrong way, as it deals with her overwhelming faith. However, it’s a minor point at the moment. Again, I lean on liking some complexity for the wise sage archetype.
What I Dislike about “The Demon of Death”
“The Demon of Death” still plays it safe with its supernatural elements, but that does seem to be Evil’s standard. At this point of the series, it seems a strange restraint. However, the new normal remains functionally paranormal.
While the premiere starts with an interesting procedural plot, it doesn’t direct the season like prior premieres. This episode doesn’t deliver a massive refocus as season 2’s premiere, but that’s because its conclusion doesn’t deliver as focused of a direction. Regardless, “The Demon of Death” is still an episode that slips away despite its premiere status.
Ben (Aasif Mandvi) seems needlessly hostile as they investigate a soul’s potential weight. The study delivers a thorough scientific process, which makes his resistance linger on the “angry atheist” archetype.
The demon shown on screen certainly isn’t the demon of death the title suggests. While the plot revolves around the mystery of death, there is a demon with a more carnal domain. As future episodes dive into their respective demons, it does seem to be an inaccurate title. However, the demon of the episode will get further focus in a different episode.
Final Thoughts
“The Demon of Death” doesn’t stand out as a premiere but provides an interesting procedural episode. As Father Ignatius will become another key character in the series, giving him an entire episode to introduce him is a nice strategy. While it’s not a haunting episode, it still provides a level of camp with interesting characters to pull it off.
(3 / 5)
Released in 2010, Rare Exports asks an important holiday question. One that no one else has dared to ask.
What if Santa was a ten-story-tall monster buried under the ice for centuries?
The story
Rare Exports is the story of a little boy named Pietari. After doing what is frankly too much research for a little boy, he realizes that Santa is not the jolly old elf we all think of. He is, in fact, a monster who eats bad children. And it turns out that Santa was trapped in the ice near Pietari’s little town. All this would be well and good if a Russian mining team weren’t in the process of cutting him out of the ice. So it’s up to Pietari to convince everyone of the dark, horrific truth.
Santa Claus is coming to town.
What worked
Some movies need to make sense. Some don’t. Rare Exports is one of the latter.
Why were the Russians digging in the snow to find Santa? What was the plan there? What happened to Pietari’s mom? And who did they sell the elves to? Do the elves need air or water to live?
We don’t get answers to any of those questions. And frankly, we don’t need them to enjoy Rare Exports.
This is a wild story about a little boy who discovers that Santa is a mythical monster with a bunch of scrawny old men with big white beards to do his evil bidding and eats bad children who haven’t been beaten by their parents enough. What sort of explanation would help this story in any way?
I mean, we could pick apart why it’s suddenly legal to sell people, or at least mythical creatures that look like naked old men, or why this all happened right next to the only little kid who had the exact knowledge needed. But in the end, wouldn’t that be like asking how Santa gets into people’s homes when they don’t have fireplaces? Doesn’t that objective reasoning just piss on the Christmas magic?
What didn’t work
While Rare Exports was fun, there were parts that I did not appreciate. For one thing, there wasn’t a single woman or person of any color in this film. Literally not one. Not an extra, not in the background. This little Finnish town is populated entirely by white men. And yes, it is Finland and there isn’t a hugely diverse population. But it’s also 2010. People move. Also, women exist.
On the subject of seeing too many white men, we also saw too much of the white men. Specifically, we saw far too many old white male actors entirely nude. There was just no reason for this. These men were portraying elves. They didn’t have to be naked. If they were naked, they didn’t have to have, um, yule logs. Maybe elves are like Ken dolls. There were so many options that didn’t include so much old man wang.
Finally, I wish we’d seen Santa Claus. Not to spoil the ending, but he never actually emerges to attack anyone. And that feels like a cop-out. If we’re going to be teased the whole movie with this depiction of monster Santa, we should at least get to see monster Santa.
Though, after what they did with the elves, maybe it’s a blessing we didn’t see him.
In the end, Rare Exports was well worth watching. It was hilarious, creepy and bloody. And while it wasn’t perfect, it was a delightful holiday horror comedy.
(4 / 5)
Released in 2016, Christmas Crime Story is about a disastrous robbery on Christmas Eve, and all the many lives impacted by the selfish decisions of one person.
And then, suddenly, it isn’t. But we’ll get to that part.
The story
Christmas Crime Story is the tale of a Christmas Eve holdup gone wrong. We see the story from several points of view, starting with Chris, the detective first on the scene.
Chris is having a hard Christmas Eve. So, on his lunch break, he visits his mom at her diner. It appears that they have a contentious relationship. But nothing is solved in this quick visit.
Chris goes on to pull over a man speeding. When the man, named David, pulls over, Chris discovers something in the trunk. That something must have been pretty damn incriminating, because rather than open the trunk, David shoots him dead.
We then switch to David’s pov for the night. Then his girlfriend’s pov. Then, the man his girlfriend has been cheating on him with. And on and on we go, until we see how all of these different stories and people come together for a dark, sordid Christmas Eve.
What worked
The first thing I want to say about Christmas Crime Story is that it’s heartwarming. Like, to a fault, which we will be talking about.
The ending is very sweet, in a Christmasy sort of way. Families come together, people are filled with joy, and all is right in the world for almost everyone. Except for Lena, who deserves to have a bad Christmas, everyone gets a happy ending.
That brings me to my next point. The characters, mostly, are all deeply sympathetic. Even when David or James are killing people, you feel bad for them.
You don’t agree with what they’re doing, but you do feel bad.
You have to feel sympathetic for the man whose girlfriend hired a killer to merk him. Or the woman whose daughter has cancer. Or the guy who just can’t find work, even though he’s trying to make good decisions. You want things to work out for them. You want them to be okay. Even when they do terrible things.
Finally, I always love stories told from so many different points of view. It’s always fun to see a story unfold in a nonlinear way, but in a way that makes more and more sense as we get more points of view. It’s a hard thing to pull off, and I think Christmas Crime Story did it very well.
What didn’t work
Unfortunately, all of the sympathetic characters and clever storytelling methods in the world won’t save a story that doesn’t work. And Christmas Crime Story just does not work.
Let’s begin with the ending. The big twist near the end of the movie. I won’t spoil it, but you will for sure know it if you’ve seen the film. Or, if you waste your time watching the film.
As a rule, twists work when they make sense. Not when it feels like the writers threw up their hands and said, “Okay, but what if everything we just did for the last hour and fifteen minutes didn’t happen, and instead…”
This wasn’t clever. It wasn’t fun. It felt like the writers didn’t know how to end their movie and just decided to cheat.
Finally, I mentioned earlier that Christmas Crime Story was heartwarming. And yes, that is nice.
But is it maybe a little too heartwarming?
I mean, we have an adorable angel of a child with cancer. Her parents don’t have enough money for her treatment. We have two poor guys who are in love with a black-hearted woman. And we have a detective so sweet and kind that he makes you rethink ACAB. And, he’s about to get married to his pregnant girlfriend. And they’re naming the baby after his mom. And his name is literally Chris DeJesus. His mom’s name is Maggie DeJesus. I tried to think of a sillier less subtle name to use as a joke, and I literally couldn’t think of one.
They could have at least named him De La Cruz. That would be more subtle, and I still would have complained.
In the end, Christmas Crime Story just missed the mark. It came very close to being a good movie. But it focused too much on how it wanted you to feel, rather than telling a satisfying story that made sense. Much like that third glass of eggnog, it’s fun in the moment and regretful after. If you’re looking for a satisfying Christmas horror, I’d suggest looking elsewhere.
(2 / 5)
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