Satan's Black Wedding

Director Nick Millard's SATAN'S BLACK WEDDING is an interesting little curio of its era. Right off the bat it must be stated that if you're looking for a slick, professional-looking production, then you'd better not bother with this one. Otherwise, it could cause severe cranial blistering.

For those not expecting much, there's a minor miracle at work here, in that, in spite of its heinous cheapness: cardboard sets, thrift store costumes, Walmart vampire teeth, "actors" gathered from some local park, etc., Millard somehow created a bleak horror movie with an unsettling atmosphere of dread and doom.

You'll watch agog, wondering how in the hell something so obviously shabby and inept could possibly give you the shudders!

Watch and be amazed...

Satan's Black Wedding (1975)

** (out of 4)

Mildly entertaining film has a brother investigating his sister's suicide. He eventually tracks down the killers to a church, which is being used by vampires for Satanic rituals. This is a very cheaply made film running just over an hour and while there's nothing too original going on here it does remain interesting throughout. If you don't expect The Exorcist or Rosemary's Baby then you should get a few minor grins out of this film. There's some nice, if cheaply done, gore scenes to keep things moving. Outside of that we get some really hammy performances, which lead to a couple laughs.

SATAN'S BLACK WEDDING (1976) is an hour-long American indie vampire flick I found on Youtube streaming in a good quality print. It's a surprisingly brisk little effort that begins with a woman being messily dispatched by a female vampire. Her brother attends her funeral and investigates her death, only to discover that she's not really dead but instead determined to destroy her own family.

Not a huge lot of plot ingredients in this micro-budgeted production, but the story of a defrocked priest engaging in devil worship works quite well. The vampire scenes are liberal on the bloodshed if you're okay with the joke shop fangs, and it's short enough to never outstay its welcome.

A woman writing a book called "High Satanic Rites," about vampirism in modern-day Monterey, California, commits suicide while under the power of an evil priest. The woman's brother, Mark, sticks his nose in the police investigation and more dead bodies show up, drained of blood. Mark's ex-girlfriend, his sister's research assistant, lends a hand and falls in love with him again. Mark confronts the priest in the basement of a church, where 180 years ago some nuns were praying and conjured the Devil. The Foul One used to enjoy watching Mark and his sister playing near the church as children. Now he wants to initiate both of them into the vampire's coven. Mark tries to escape from the priest and his vampire slaves, but crashes his car and dies.

The fade out of this daffy and very poor horror flick is memorable: Mark, bloodied and disfigured from the accident, stands before an unholy altar to wed to his dead, vampirized sister.

SATAN'S BLACK WEDDING originally played in theaters on a double-bill with the more well-known CRIMINALLY INSANE. Both films are a real endurance test for even the most hardened Z-movie enthusiast. Director Philip Miller is really Nick Phillips, who also directed CRIMINALLY INSANE.

After writer Nina (Lisa Milano) inexplicably commits suicide, her brother, Hollywood actor Mark Gray (Greg Braddock), tries to find out why, his investigation leading him to an old church where a cult of vampires plan to invoke the devil to preside over an unholy 'black wedding'.

Even with a scant running time of just over an hour, Satan's Black Wedding, from director Nick Millard, is still a real test of endurance, the film being inept in almost every department: the script is crazy bad, amateur actors struggle to keep their plastic joke-shop fangs in place, the blood is obviously bright red paint, the day-for-night shooting still looks like broad daylight, the sound is diabolical (in one scene, the dialogue is almost drowned out by the noise of nearby traffic and passing aircraft), and a pair of rats look embarrassed to be involved (at least the humans had a say in the matter).

While some people clearly enjoy Millard's work for its sheer clumsiness, I can't bring myself to rate it any more than 2/10—the same low rating that I also gave to Millard's previous movie, Crazy Fat Ethel (1975).