The fourth and final Missed the Bloody Cut horror selection of this year, 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 ignored like the old haunted murder mansion on the block – and that they are definitely worth a watch (just maybe not several re-watches).
A different take on the genie storyline, 1987’s The Lamp (originally released as The Outing in the United States – much to the chagrin of the film makers) plays on slasher tropes, finding a group of lame teens fighting for their lives, yet against a supernatural jinn (aka genie) rather than psychotic human being.
Written by Warren Chaney and directed by Tom Daley, they flash us back to 1893 – an introduction to the horrific history of the lamp, with its track record not improving in the present, after a group of felons attempt to rob an ancient gypsy woman, killing her in the process. . . the power within the lamp quickly offing all of them as well.
Next finding its way to a museum in Texas, famed archaeologist Dr. Wallace (James Huston) is intrigued by the piece of history, but it is his teenage daughter, Alex (Andra St. Ivanyi), who is infatuated with it. The father and daughter aren’t on the best of terms – she actually wishes he’d drop dead (not a good thing to do in front of a magic lamp). After the row, she puts on a ruby bracelet that was found in the same box of artifacts, but it won’t come off. . . binding her to the lamp and the evil power found within it.
Perhaps seeing a new vessel in the young woman, the influence of the jinn has her orchestrate an overnight party in the museum for her friends. . . something unbeknownst to her father – who is too distracted by his love affair with Alex’s teacher, Eve Ferrell (Deborah Winters – she also plays the above mentioned gypsy, as well as the one seen in the 1893 flashback).
Joined by her kindly boyfriend, Ted (Scott Bankston), as well as two couples, buxom Babs (Damon Merrill) and jock Ross (Barry Coffing), and principal’s daughter Gwen (Tracye Walker) and cool Terry (Raan Lewis). . . what they don’t know is Alex’s abusive ex-boyfriend, Mike (Red Mitchell), and his redheaded sidekick, Tony (André Chimène), have snuck into the museum as well – to teach the sixsome a lesson.
Locked down in what amounts to a torture chamber, the jinn will have way too many dangerous options to choose from – fans, spears, dinosaur teeth, living snakes, suits of armour, a mummy, and none of this is including its own superior strength. After witnessing the jinn’s superior power at dispatching people earlier in the film, one can only wonder if any of these teens will survive a night in the museum.
Falling into the precarious position of being not quite good enough to be good, but not quite bad enough to be wholly entertaining, Chaney’s script does slowly grow on you with time. It’s actually quite a creative concept, it’s just a little sluggish to get going, with the eventual evening arrival at the museum bringing with it some more creative kills, a few memorable moments, and an impressive design feat to visualize the giant jinn.
A middling Texas effort, The Lamp has its moments, but never fully shines. What it does feature are some decent efforts from first time performers, a few macabre kills, some smoky effects that eventually bring with it an impressive genie, and some intriguing slasher elements that never go to the excess. So, it’s up to you to decide whether you want to rub this lamp or not, otherwise, you might just want to destroy it.
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If asked to be part of a surgical team dealing with a satanic preacher with a serious heart issue, perhaps it’s best to renounce yourself from that job. . . otherwise, you might end up like Nurse Sherri (aka The Possession of Nurse Sherri, Black Voodoo, Beyond the Living, Hospital of Terror, Killer’s Curse, and Hands of Death – talk about covering your bases).
A 1978 C grade horror exploitation picture directed by Al Adamson, Nurse Sherri (Jill Jacobson) is one of several highly successful nurses working at an illustrious hospital. Along with Tara (Marilyn Joi) and Beth (Katherine Pass), they bring old school service to their patients. . . and by service, I mean they tend to fall in love with them, eventually servicing them in other ways (further proof that the current health care system is not what it used to be). For instance, Tara has fallen head over heels for football star Marcus Washington (Prentiss Moulden), who has lost both eyes in a recent car crash – tough break, though he has found his new squeeze without even looking (sorry, I had to).
Sherri’s not as interested in the patients, but rather head doctor Peter Desmond (Geoffrey Land). . . a man who was also part of the surgical team (fitting, as he looks so sinister, he could be Dr. Kevorkian). Bad luck for all of them, as evil preacher Reanhauer (Bill Roy) dies on the operating table – and it won’t end there. Despite having the after death ability to influence doors, locks, cars, and numerous other natural elements, he possesses Nurse Sherri (otherwise, the movie would have had to go with another one of its titles). Out for revenge on everyone who did him in, he’ll haunt and taunt, and use the nurse to purge the world of those who scorned him.
And sadly this isn’t flattering for poor Nurse Sherri, as she starts to sound like George Burns (at least they could have given her the cigar). In and out of control of her own consciousness, you never know where she’ll be. . . and who doesn’t trust a young buxom brunette woman in nurse’s attire? But, the real question is: can anyone stop this evil preacher’s spirit? And, maybe even more importantly, will nurse Sherri ever get her sweet voice back?
Feeding off of the possession craze, it never goes the route of The Exorcist, instead keeping things more grounded. Other than Sherri’s new deep voice, she basically blacks out and becomes a psychotic killer – using anything at her disposal to off those she’s being told to (forgetting what she’s done when she comes to). With an intriguing premise, it never truly overcomes its Ed Wood-esque budget, coming off as cheap, grungy, and gritty – the way some people like it.
Ultra cheesy horror fun, Nurse Sherri is perfect late night schlock for Halloween season. Coming in two different versions, mainstream and exploitation, the latter has a few more sex scenes added. In fact, the one extra scene between Tara and Marcus helps clarify their relationship, while the three back to back to back sequences featuring either Sherri or Peter are simply added titillation. A last note – there is actually a mighty impressive car chase, ending with the top half of the car being sheared off and the driver jumping from the moving vehicle as it goes over a cliff. So, I’ll leave it up to you to decide whether this is your type of thing, otherwise, you might be better off burning your copy.