Invasão Sinistra

1968's "Incredible Invasion" (Invasion Siniestra or Sinister Invasion) completed the Boris Karloff quartet of Mexican titles for producer Luis Enrique Vergara, as shown by the absence of Julissa as his daughter, replaced by German beauty Christa Linder, Yerye Beirute from "Fear Chamber" cast as the serial killer Thomas. Prof. John Mayer offers the octogenarian actor his greatest screen time at 24 minutes, a forward looking scientist of 1890 whose new invention produces a laser that destroys a boulder (a nice nod to "The Invisible Ray" of 1936), but alarmingly earns the attention of a space invader out to put an end to mankind's interference. Why the alien decides to use an accomplished razor wielding psychotic as a go between, continuing to supply him with more female victims to butcher, makes this a truly unpleasant viewing experience, and once Mayer too falls under the telepathic control of its evil influence (both characters giving off deadly signs of radiation) the picture simply stops dead with no further development. The local villagers are in an uproar as they search for the missing victims, every woman save for Mayer's daughter just another corpse for the morgue, far too much footage given over to sleazy exploits than its ailing star. What could have been the best of this final four is a jumbled collection of ideas that fail to coalesce, though Boris as usual is able to make a silk purse out of a sow's ear in beefing up Mayer's resistance to his brain's unwelcome occupant. The lone alien on display looks like a reject for Gerrit Graham's part of Beef in Brian De Palma's "Phantom of the Paradise," essentially a parody before there was such a thing. It's an astonishing twist of fate that this Karloff feature would actually echo the nuclear message of Lugosi's farewell "Plan 9 from Outer Space," whose invaders were just as rash and incompetent, while the mob of torch wielding villagers offer a pleasant reminder of the good old days at Universal. Few people could have caught up with this obscurity until the butchered VHS version called "Alien Terror," not the best way to enjoy Karloff's last screen performance, though sadly ironic is the ultimate fate of writer/producer Luis Enrique Vergara, following his leading man into the afterlife by dying just one year later at a shockingly youthful 47.

It has poor lighting, poor sound(as everyone except Karloff is dubbed, and on one occasion even he is dubbed, by someone doing a very bad impression. The editing is bad, although this may be down to a poor quality hacked up print, but in general it looks like a cheap film with Karloff's stuff looking like it could all have been shot in a couple of days. There are some classic funny bits, unintentional. I don't know why but I find a woman (possessed by an alien) slapping a man till he just punches her and knocks her out quite funny. *slap slap slap* *thwack* man wins. The plot was not that unusual but it was quite hard to follow what was going on even if you were paying attention. Karloff had a cool voice. 2/10 - Maybe slightly watchable for occasional funny bits.

Boris Karloff helped the producer and director put this film on the screen. Boris dispite his illnesses and inability to walk around, made this film a classic for all Karloff fans. "Alien Terror" or "The Incredible Invasion" should never have been made, very poor acting with the exception of Karloff, poor photography and sound. It is sad that this film was the last feature film Karloff ever made.

This movie likely won't be of much use to the bulk of humans infesting the surface of the planet Earth. But it may interest Boris Karloff fans and amateur theatrical detectives who like to dissect bad movies like lab specimens. What you get here is one of the most disjointed and bizarre films ever made, a combination of what appear to be two films edited to seem like a larger whole. The first movie consists of about thirty minutes of footage featuring Boris Karloff playing a white suited scientist who invents a disintegrator ray device. The were filmed on soundstages in southern California, with some ending up in this film and others in FEAR CHAMBER, THE SNAKE PEOPLE and HOUSE OF EVIL.

The second movie was filmed after his scenes were completed in Mexico and attempts to match the Hollywood scenes with actors -- some the same -- wearing similar costumes on similar sets, reciting more or less similar toned dialog & engaged in similar actions. Idea being that they are on one side of the room and Karloff on the other: Sometimes characters who were present for both sessions walk back and forth between the scenes, which is quite strange. Their hairstyles and lighting changes subtly, creating a disjointed viewing experience that overwhelms whatever the script was about.

If memory serves, a space alien in what can only be described as an Art Neveau flying saucer gets wind of the disintegrator ray and decides it is too great a threat for mankind to posses. The alien looks like Yahoo Serious and wears a silver lame space jump suit that reminded me of David Bowie from THE MAN WHO FELL TO EARTH. So did some of the flying saucer's design elements, consisting mostly of beakers with colored fluids bubbling through them. The spaceship is mostly shown from the inside too, requiring the viewer to sort of have to take the director's word for it's existence.

The alien takes possession of various cast members and compels them to sabotage the disintegrator ray, which is probably for the best after the local military gets wind of the situation and decides they want a portable version to serve as a weapon. This results in several conversation scenes where characters veer from the California shoot to the Mexican footage. It's a great lesson in how a film can be constructed, and we can only hope that we can learn from it or the seventy three minutes it runs is a waste.

Fans of Boris Karloff will likely be pleased, he's on screen a bit in this one and looks great in that white suit which sharp viewers will recognize as the same one from THE SNAKE PEOPLE, likely filmed earlier that day. Others are well warned to try something else.

Boris Karloff once again gives a performance that outclasses a shoddy production. The last of the four Mexican-American cheesy B's that the genre star made before his death, it stars Karloff as John Mayer, a scientist in 19th century Europe. He's perfected a ray machine; it attracts the attention of a rather harmless looking spaceman. Believing that Mayers' invention must be destroyed, the spaceman (Sergio Kleiner) forces lady killer Thomas (the hulking Yerye Beirute) to work for him, and the psycho infiltrates the Mayer household.

Also starring Enrique Guzman as young scientist Paul Rosten, Christa Linder as Mayers' lovely niece Laura, and an appealing Maura Monti as Mayers' disfigured assistant Isabel, "The Incredible Invasion" a.k.a. "Alien Terror" may be just the thing for some lovers of cinematic trash. Granted, it can be slow and dull at times, with uninspired direction and a silly script co-written by actor Karl Schanzer (whom you may remember as the sleazy lawyer in "Spider Baby"). It doesn't have any real atmosphere, and the score is hilariously ineffective. But it does offer some fun, provided you're partial to this sort of thing to begin with.

As with the other movies, this had Mexico-lensed scenes helmed by Juan Ibanez, and Jack Hill (the B movie great who gave us classics like "Coffy", "The Big Doll House", and "Switchblade Sisters") handling the L.A. studio scenes. (Jose Luis Gonzalez de Leon is credited as a co-director.) Sadly, Karloff's failing health is apparent; he couldn't move about very much, and required the use of a mobile oxygen unit, but he's still effortlessly delightful, giving as much as he can to a fairly standard kind of genre character.

It may be of some interest to people to compare these four movies and decide how best to rank them. This isn't the most entertaining, but neither is it the worst of the bunch.

Five out of 10.