THE HOWLING & AN AMERICAN WEREWOLF IN LONDON - The Lycanthrope Classics That Changed It All

THE HOWLING (1981) d. Joe Dante (USA) 

AN AMERICAN WEREWOLF IN LONDON (1981) d. John Landis (UK/USA)

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In the spring and summer of 1981, werewolf cinema underwent a radical transformation—not through one film, but two. Released just months apart, The Howling and An American Werewolf in London didn’t just revive a fading subgenre—they redefined what cinematic horror could look and feel like. Each film approached lycanthropy from a different tonal angle, yet together they set a new benchmark for practical effects, storytelling, and the balance between terror and dark humor.

A BUCKET OF BLOOD & THE WASP WOMAN: CORMAN QUICKIES IN 1959!!!

A BUCKET OF BLOOD (1959) d. Roger Corman (1959)
THE WASP WOMAN (1959) d. Roger Corman (1959)

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The year before he became the American rival to Hammer Studios in the Gothic Horror department with The Fall of the House of Usher (1960), Roger Corman was the reigning "King of the B's" at the drive-ins across the USA, delivering thrills and chills to teenagers young and old. Tonight, we celebrate two prime slices of black-and-white low-budget fare that still manage to deliver the goods: A Bucket of Blood (starring "That Guy" Dick Miller) and The Wasp Woman (with Susan Cabot), both from 1959!

THE TERROR (1963) / TARGETS (1968) BORIS KARLOFF DOUBLE FEATURE!!!

THE TERROR (1963) d. Roger Corman (and others) (USA) 

TARGETS (1968) d. Peter Bogdanovich (USA)

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1963’s THE TERROR, celebrating its 60th anniversary, is a legendary curiosity item from producer/director Roger Corman, more famous for its origins than the finished product. According to legend, when Corman wrapped shooting on The Raven ahead of schedule, he took advantage of Boris Karloff’s two extra contracted days to slap together this tale of a reclusive baron with a dark secret.

A BUCKET OF BLOOD (1959) movie review

Bucket of Blood, A (1959) d. Roger Corman (USA)

Step right in, Daddy-O, for the coolest combo of comedy and horror to make the scene. At once parody and time capsule, director/producer Corman and screenwriter Charles B. Griffith simultaneously slam and celebrate the “Beat” generation and its penchant for kooky poetry, groovy jazz, hipster slang, and the search for “the next big thing.”