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The Bedlam Files Website

Reviews & Commentary by Adam Groves

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BLOOD FEAST

What is it about H.G. Lewis’s flicks that are so much fun? They’re not “good” by any stretch of the imagination—indeed, they’re often downright atrocious. Case in point: BLOOD FEAST, the first of Lewis’ gore epics

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BLOOD DELIRIUM

Eighties Italian sex-horror trash, a film SO amazingly crude, exploitive, wrong-headed and plain crazy it’s…well, a classic of sorts! 

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BLOOD BEACH

A middling early eighties monster movie notable for its outrageous ad campaign and intriguing premise

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BLOBERMOUTH

A redubbing of the 50’s classic THE BLOB by the So Cal comedy troupe the L.A. Connection, complete with added-on special effects (such as a cartoon mouth for The Blob).  Is it funny?  Yes.  Is it stupid?  Of course.

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BLIND WOMAN’S CURSE

From Japan, a diverting exercise in genre-mixing by madman director Teruo Ishii.  Containing elements of the horror and Yakuza genres, the film, released in 1970, was quite a trailblazer

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TOPOR: STORIES AND DRAWINGS

An unheralded but important volume, this, as it was the first-ever English language collection of stories by France’s late Roland Topor, whose brand of macabre satire remains quite distinct

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THE TOOTH FAIRY

Graham Joyce is an author it’s taken me years to discover. I’m just glad I’ve finally gotten around to making Joyce’s acquaintance, and that I’ve read his 1996 novel THE TOOTH FAIRY

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THRILL

By BARBARA PETTY (Dell; 1977)

A quintessentially 1970s concoction that gleefully mixes sex and bloodlust in a manner that would likely be deemed irresponsible today. Set in a convincingly detailed New York City business world, THRILL involves two women, the haughty businesswoman Katherine and the needy hanger-on Sandra, united by the fact that they’re roommates–and also by a brutal murder.
This novel’s opening third reads like a female-centric CHASING HAIRY, with Katherine and Sandra finding themselves frustrated by the men in their lives and picking up the unsuspecting playboy Ted one night at a singles’ bar. This leads to a torrid threesome at Ted’s apartment, and his inevitable murder at the hands of Katherine, whose inner frustrations reach the tipping point when she catches Ted trying out some brutal S&M moves on Sandra.
From there a newly emboldened Sandra takes charge, covering up the crime and dealing with the aftermath. She also rather impulsively contacts Katherine’s estranged father, allowing her reckless nature to boil over. In the process Sandra lays bare her true feelings for Katherine, which reach far beyond friendly affection. Another murder is imminent, and this time Sandra is the aggressor.
With THRILL author Barbara Petty has turned out a uniformly well written chiller whose psychological acuity matches its all-too-convincing portrayal of the business world. It also contains some genuinely winsome bloodletting, rendered all the more unsettling due to the ever-present undercurrent of perverse eroticism. Sandra in particular is unabashedly turned on by the violence, a fact Petty makes clear without any feminist pontificating (DIRTY WEEKEND this novel thankfully isn’t).
The author runs into trouble, alas, in her insistence on giving an unconscionable amount of verbiage to some superfluous cop characters investigating Ted’s killing, nearly turning a compelling psychological horror story into a routine police procedural. The novel is at its best when depicting the twisted relationship between Katherine and Sandra, with most everything else falling flat.

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