Taking a more melodramatic angle of the horror genre, towards the end of Universal’s golden age of scary movies comes 1946's She-Wolf of London, directed by Jean Yarbrough – a change of pace from the Lon Chaney Jr. led Universal features (he had already played the Wolf Man four times to this point, and would soon do so one last time in Abbott and Costello Meet Frankenstein). A period piece set in London, horrific murders continue to take place in a local park near the wealthy estate of the Allenby’s. Long rumoured to be cursed, the last vestige of the line is Phyllis Allenby (June Lockhart), a young, nervous woman who, instead of cheerfully planning her wedding to barrister Barry Lanfield (Don Porter), frets about the growing number of deaths in the vicinity – wondering if these acts might have been unknowingly done by her very own hand.

Who knew that killers in a giallo could accessorize... for in The Killer Nun (1979), the prototypical black gloves are replaced with a colourful pair of pink ones – much more fashionable. Co-written and directed by Giulio Berruti, he fuses the aforementioned themes of the giallo with the growing craze of nunsploitation...as well as being loosely based on the real story of Belgian nun Cecile Bombeek. This sordid tale follows Sister Gertrude (Anita Ekberg), a middle aged nun who has recently had some rather serious health problems. Having recovered from brain surgery, she is quite hysterical... fearing that she is still sick and in need of care. Leading her through an almost male-like form of mid-life crisis, dare I say that she starts quite a few bad habits: a serious addiction to morphine, leaving the hospital she works for in order to have affairs with unknown men, and creating a rather unique bond with her busty roommate nun, Sister Mathieu (Paola Morra) – you might call them bosom buddies, or breast friends with benefits – okay, enough.

The second Missed the Bloody Cut horror selection of this 2023, here are some more horror movies that did not meet my strict criteria (a rating of 7.0 or higher)... but are still entertaining films (horror fanatics may enjoy) that do not deserve to be shrugged off like the lights going out simply because it’s an ‘old home’ – and that they are definitely worth a watch (just maybe not several re-watches).

Nearing the end of the Golden Years of Universal horror, The Cat Creeps (1946), directed by genre specialist Erle C. Kenton (Island of Lost Souls, The Ghost of Frankenstein, Who Done It?), is the dying whisper of the old haunted house murder mystery film (at least until Scooby-Doo, Where Are You! brought back the excitement for kids in the late 1960s). In fact, this would be the last horror movie produced by Universal until 1951's The Strange Door – excluding Abbott and Costello meet Frankenstein, which is more of a spoof of horror movies. What started with horror films (followed closely by comedy spoofs) like The Cat and the Canary (1927 and 1939), The Old Dark House (1932), The Black Cat (1934 and 1941), The Ghost Breakers (1940), Hold That Ghost (1941), was then met with a supernatural element found in Cat People (1942), The Curse of the Cat People (1944), and She-Wolf of London (1946), to name but a few, The Cat Creeps pulling from all of these sources to make a, dare I say it, ‘copy-cat’ of the previous filmography.

The first Missed the Bloody Cut horror selection of this 2023, here are some horror movies that did not meet my strict criteria (a rating of 7.0 or higher)... but are still entertaining films (horror fanatics may enjoy) that do not deserve to be ignored like the dead body in the corner that college kids simply assume is their buddy sleeping off the alcohol and drugs – and that they are definitely worth a watch (just maybe not several re-watches).