Blood of Ghastly Horror

You really get 2 bad films for the price of one.Its obvious the producers put 2 turkeys together to get one dead fish. If you see this film you may never go back to the video store again,feeling cheated and ripped off.

"Blood of Ghastly Horror" first began life as an unreleased Al Adamson heist feature from 1964 titled "Echo of Terror," then with new footage of go-go dancers and a brutal stabbing slipped out from Hemisphere Pictures in 1965 as "Psycho A-Go-Go" (not to be confused with "Two Tickets to Terror," in reality a rerelease title for 1961's "Half Way to Hell"). Adamson shot new footage of John Carradine in 1966, resulting in a second release, as "Fiend with the Electronic Brain," playing in selected Southern states as early as Dec 1967, courtesy David L. Hewitt's American General Pictures. By 1969, still more footage was shot, with Kent Taylor and Regina Carrol (Mrs. Al Adamson), and still later Tommy Kirk, resulting in what producer Samuel M. Sherman accurately described as an 'interesting editing exercise.' The finished (?) product was issued in 1972 by Sherman's Independent-International Pictures Corporation, simultaneously playing on television under yet another new title, "Man with the Synthetic Brain." Only a devotee of outright schlock could really appreciate what remains, provided they possess the knowledge of its convoluted backstory. We begin with a zombie-like creature named Akro (Richard Smedley) committing several murders, switching gears to a police investigation conducted by Sgt. Cross (Tommy Kirk), relating the background on Dr. Howard Vanard (John Carradine, entering at the 17 minute mark), who had implanted an 'artificial brain component' into almost dead Vietnam veteran Joe Corey (Roy Morton). He succeeded in saving Corey's life, but turned him into a homicidal maniac, later avenging himself on the remorseful Vanard by strapping him into his own device and electrocuting him (at the 37 minutes mark). Sgt. Cross now follows the trail of Dr. Elton Corey (Kent Taylor), father of the dead Joe Corey, who uses his voodoo powers to create the hideous Akro, seeking vengeance now against Dr. Vanard's daughter Susan (Regina Carrol), with most of the final half hour consisting of the original unissued heist footage, and Joe Corey's high altitude pursuit of stolen diamonds. As a director, Al Adamson displays a casual disregard for narrative competence, coupled with an inability to even focus the camera in the right direction, often leaving the performers off screen as they spoke. John Carradine is the biggest name in the cast, and is accorded top billing over Kent Taylor, who only enters at the halfway point, once Carradine's bespectacled scientist bites the dust. Tommy Kirk is the other veteran actor, not what one would expect for a solemn police sergeant, but as the only actor to work with both Al Adamson and Larry Buchanan ("Mars Needs Women," "It's Alive!"), deserves a measure of respect for surviving such highs and lows in a screen career soon to fade. "Blood of Ghastly Horror" is undeniably a bad film, but "Horror of the Blood Monsters" reached a new low even for Al Adamson. Pittsburgh's Chiller Theater aired this film once, July 23 1977, paired with second feature "The Black Cat" (1941).

Don't ask me how I did it, but even though this is technically a botched and splicey patchwork of a movie, I had a good time with it. It's poorly made to be sure, but somehow it's also mesmerizing in its ineptness at the same time. It helps going in to know the history...

It was directed by drive-in movie maestro Al Adamson (of "Dracula vs. Frankenstein" fame), who originally planned a straight jewelry heist picture in 1964 until meeting up with producer/mentor Sam Sherman who persuaded him to gradually add new scenes and ideas specifically for the horror/sci-fi television market in the early '70s. It was finally sold to TV with the lucrative title of MAN WITH THE SYNTHETIC BRAIN, but Sherman thought it could be milked further, so the movie was also played at theaters where it became known as BLOOD OF GHASTLY HORROR.

Ultimately emerging as connected pieces of different half-baked incarnations (one of these was even called PSYCHO A-GO-GO before the music was eliminated), the movie begins with a zombified maniac running around town strangling people. Through flashbacks within other flashbacks we're treated to a background story of how a Vietnam vet named Joe Corey was wounded and then "helped" by a wacky scientist named Dr. Vanard (the always welcome John Carradine) who planted some sort of mechanism inside Corey's head and unintentionally turned him into a murderer with a taste for jewel robbing (which is how the old 1964 heist footage managed to get utilized). But this man-made killer's got an angry dad who's also a scientist and is even nuttier than Dr. Vanard. He's out to even the score for what was done to his victimized son, and that includes making a mummified and whimpering she-monster out of Vanard's sexy daughter (Regina Carrol, director Adamson's wife).

This isn't a film for most audiences, but anyone who revels in idiotic or badly made exploitation films of the '60s and '70s would want to get a load of this concoction. You've got to hand it to Sam Sherman and Al Adamson, in any case... they knew how to have fun and freak out audiences. The current DVD available by Troma is badly framed, however... this cuts out some widescreen and results in an unfortunate pan/scan affair. But it's unlikely at the time of this writing that there's any better source material. * out of ****

Disjointed horror film that was made from a heist film that was cut apart and had new scenes added. It has something to do about a zombified people going around killing. The original film was a crime caper film about a jewel heist. Watching the film for the first time in years, and for the first time without commercials I found it to be an absolute disaster area of a film. Its awful. Its films like this that make me hate Al Adamson films because they are such patchwork messes with new and old footage mingling freely. After listening to the commentary on the DVD I have to temper my criticism of the film since its clear that the scenes from the original heist film were actually really good. Had that film been released (it couldn't get released because it had no stars) I'm pretty certain that it would have had a nice reputation and Adamson might have gone on not to be a hack. The trouble was that Adamson was willing to sell his film short and shoot and reshoot and cut apart the heist film. Producer Sam Sherman who does the commentary takes the blame for ruining the film with the re-cuts and rewrites. The film as it stands now seems to be about four films blended together, which is about right since the heist, the cops, the zombie and what ever else all seem to be in different films made at different times. Sherman in his commentary said the film plays better with commercials and he ain't kidding. Watching this on TV you can blame the station for hacking it up, however seeing it sans commercials you realize what a nightmare it is. Awful

Like horror has blood. A tossed salad of scenes whose relationship makes only a klutzy kind of sense. Combine this with the worst directing, photography, sound effects, and music imaginable and you have some idea what you're in for. Night scenes too dark to see the characters. A woman screams but no sound comes out -- they forgot to add it. A zombie wraps his arm around someone and they scream and fall dead to the ground. A man being shot grabs his chest before the gun goes off. Or how about the score -- a psychotic killer is chasing a woman and her child with intent to kill, accompanied by swinging jazz. This chase scene incidentally is most of the movie, or seems like it, killer running, woman and child running, killer, woman, on and on ... Zombies and mad scientist plot elements are stuck onto it with spit and string. To say this is a cheesy horror film is to be generous. Someone said it had never been used on MST3K -- that's probably because they'd be putting more work into ridiculing it than the filmmakers did in making it.