Noite das Assombrações

If you like Ed Wood's crazy body of work, you'll like this film. It's not as good as "Plan 9," and it rivals "Glen or Glenda?," but it's better than the rest of Wood's films. It's clearly shot with such a low budget that it's almost like watching a live, closed-circuit video feed from the inside of a spookhouse, circa 1959. The plot is inexplicable, and Wood's ensemble of actors is in top (or should I say bottom?) form, especially Paul Marco as Kelton. For sheer ultra-low budget fun, the film is right up there with "The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies," "Robot Monster" and "The Brain from Planet Arous." See it, if you get a chance.

How can you not like a picture that opens with a man (Criswell)sitting up in a coffin and warning that the story you are about to see may make you faint. Then the credits come on and you see the director is Edward D. Wood Jr. Yes, you may indeed faint . . .but from laughing too hard. This sequel to BRIDE OF THE MONSTER is fun on many levels. It offers unrelated footage from the unfinished movie HELLBORN (some of which later turned up in THE SINISTER URGE) which narrator Criswell tries to tie into the plot: there is also footage of Duke Moore that was shot for a 1/2 hour TV show that is woven in also. What was called "the old Willows house on Lake Marsh" is now "the house on Willow's Lake" and everyone remembers it used to be lived in by "the mad scientist who made monsters". The giant octopus is long gone but Lobo (Tor Johnson) has somehow survived and is now employed by Dr. Acula (Kenne Duncan) a phony medium. Lobo is supposed to be the "monster" in the plot but one look at him makes you think otherwise. Dressed in rags, badly burned, half blind, groaning like he is in constant pain, Lobo inspires more pity than fear. In one scene Lt. Bradford (Moore) does not even seem to notice Lobo when he is standing right next to him! Well this is still a fun movie. The ineptness of an Ed Wood movie is compensated by the sincerity that he put into every production. Ed really believed he was contributing to the movie genre and making his mark. He sure did! Not quite in the way he expected, but look how many people are still watching his movies to-day!

Ed Wood rounds up the usual suspects for this craptastic shocker. Lt. Moore is hot on the trail of shyster medium Dr. Acula (Uh huh, Dracula…I get it) who sets up his show in the good old Dr. Vornoff's (Bela Lugosi's lair in 'Bride of the Gorilla' (1955)) old lair to bilk little old ladies hard earned social security by channeling their love ones with floating sheets and phantom trumpet players who couldn't hold a tune even if they had pockets.. This guy couldn't talk to the dead with a two cans connected by string.

The Woodmeister really outdoes himself with 'Ghouls'. I was laughing my butt off during the good doctor's séances. Oh great swami salami please raise the dead. 'Night of the Ghouls' is badly acted with horrible dialogue and some of the cheesiest effects in all his films. I had a great time with this one. 4/5

Old couple driving past the house where Old Lugosi experimented years before with Lobo (from "Bride of the Atom"). They see a woman dressed in white and are so alarmed they go report it to the police then have to go to hospital for a sedative. In the urgency, the cops call for their off-duty Luitenant, Bradford, to call off his night at the opera with his wife to go investigate. Un-offically, he's the resident ghost chaser you know (though the department can not and will not admit it!!). Anyway, he chooses idiot Cop Paul marco to go join him instead of any of the other guys. Marco somehow doesn't actually go with him, but goes alone about an hour or so later after finally managing to get a patrol car. He spends 1/2 the film in his car outside the mansion fainting from seeing this woman in white and taking potshots at her (as well as a woman in black who has now turned up) Bradford meanwhile, has broken entry to the house and is greeted by a *cough* Dr.Acula. This Acula guy holds seances. he spends ages on one seance with Bradford watching. The viewer is treated to a trumpet that plays by itself, a black man pulling faces as well as a few indescribable objects that look like parts of a car. Anyway, after a (long) while We learn Dr. Ac is a FAKE!!! The woman in white is infact...a woman in white who has to scare the cops away!!! Bradford, in Ac's absence goes off to explore the old mansion and spends some time reminiscing about the bannister (luckily(!) for the viewer, we can hear his thoughts). He bumps into Lobo (who is more hilarious + wooden than ever). Ac finds Bradford with Lobo who lock him up in a room.

Meanwhile Marco has called for help and by now actually gets out the car and enters the place. There are a few confrontations between cops (Bradford escapes from the room with no problems at all) and Ac and the white lady + upon receiving $10K from the seance decide to make a run for it. He sends one of his "actors" to shoot at the cops!! (for a fake seance??). Lobo is finally shot dead, but the real twist has just started...

This is grade Z rubbish. REALLY bad. In an attempt to escape right at the end, Dr. Ac actually RUNS TOWARDS his nemesis'!!

Not as "good" as plan 9 (unfortuntely) but worth seeing for Wood-Fans

Seriously bad movies takes the viewer into unexplored realms of weirdness quite beyond the range of more conventional films (there's an extraordinary sequence in 'Night of the Ghouls' depicting a seance, for example); although when a film begins with Criswell rising from a coffin to deliver a pious homily on the existential threat posed by juvenile delinquency you've got a pretty good idea what to expect. Veteran cameraman William C. Thompson meanwhile creates some memorable images; the single most haunting probably being the closeups of Jeannie Stevens in her fleeting appearances as the Black Ghost.