The Phantom (1931 - B/W) - Dreary old dark house with Guinn "Big Boy" Williams.
The Drums of Jeopardy (1931)- Has Warner Oland as mad doctor Boris Karlov (yes, really) in a speedy silent-like Imperialist Russian melodrama.
Behind The Mask (1932 - B/W) - Karloff gangsterism.
Get That Girl (1932 - B/W) - Blurry silentish vehicle for limber acrobat/Casino Royale director Richard Talmadge.
Murder at Dawn (1932 - B/W) - Mischa Auer in dimly-lit crime tedium.
Supernatural (1933 - B/W) - Sangsteresque mad woman melodrama with Carole Lombard and Randolph Scott.
The Moonstone (1934 - B/W) - Dreary quota quickie-ish modern dress adap from Monogram. Fedoras ahoy.
The Return of Chandu (1934 - B/W)/Chandu On The Magic Island (1935 - B/W) - Lugosi miscast as hero. Even the film treats him like a baddie.
Black Moon (1934 - B/W)- Tedious Fay Wray voodoo romance.
Double Door (1934 - B/W) - Awful, talky, on cheap chipboard stages. Paramaount adap of a Lifetime-ish Broadway play about a spuned mad woman. Ok.ru.
The Ninth Guest (1934 - B/W)- Roy William Neill directs a murderous drawing room argument.
The Beast of Borneo (1934 - B/W) - Uninteresting travelogue.
House of Mystery (1934 - B/W) - The only highlight of this Monogram dud is a Hindu ape.
The Crime of Doctor Crespi (1935 - B/W) - Von Stroheim's 1930s Casualty.
Condemned to Live (1935 - B/W)- Dreadful, primitive vampire thing.
Shadow Of Chinatown (1936 - B/W) - Unactionable un-Chinese Lugosi serial cutdown.
Revolt of the Zombies (1936 - B/W) - Dean Jagger in colonial Cambodian thuggee grot.
King Solomon's Mines (1937 - B/W) - Paul Robeson's singing highlights a stolid adap.
Torture Ship (1939 - B/W) - Catfighting, inept ocean peril with Lyle Talbot.
Son of Ingagi (1940- B/W) - A jaunty all-African American mad science pic, more like a musical.
Before I Hang (1940 - B/W) - Disappointing Karloff science-crime noir wannabe cheapie.
Ladies In Retirement (1941 - B/W) - Hollywood Briddish music hall Gothic.
The Face Behind the Mask (1941 - B/W) - Peter Lorre goes about, shifty and feeling sorry about himself.
King of the Zombies (1941 - B/W) - Just a load of people including Mantan Moreland bulge their eyes out.
The Living Ghost (1942 - B/W) - Mediocre Monogram thing about a pathetic zombie in a house.
The Mad Monster (1942- B/W) - Incompetent Zucco/PRC scientific wolf man pic.
The Corpse Vanishes (1942 - B/W) - Mostly Bela hanging about a wedding like a seedy uncle.
Man with Two Lives (1942- B/W) - More fedora-laden Monogram folderol.
The Mad Doctor of Market Street (1942 - B/W) - Atwill on autopilot.
Leopard Man (1943- B/W)- Feels ashamed to be horror.
The Return Of The Vampire (1943 - B/W) - The idea of a vampire amongst the Blitz and ARP wardens, but Lugosi seems half hearted.
Revenge of the Zombies (1943 - B/W) - Carradine reanimating plantation nonsense.
See also Face of Marble (1946 - B/W).
The Monster Maker (1944 - B/W) - A PRC melo where acromegaly makes people look like aliens in a 90s TV sci-fi.
The Soul of a Monster (1944 - b/w) - Forgettable Columbia paranormal noir.
Crazy Knights (1944 - B/W) - Intolerably goofy Shemp comedy.
The HalfwayHouse (1944 - B/W)- Sentimental Welsh Ealing with the Johns clan as ghosts.
Murder In the Blue Room (1944- B/W) - Annoying musical-comedy. Ian Wolfe buttles.
Voodoo Man (1944 - B/W) - More interchangeable Lugosi experiments.
Ghost Catchers (1944 - B/W) - Olsen and Johnson stink.
Gildersleeve's Ghost (1944- B/W) - Baffling radio adap. Has a gorilla.
Phantom of the Opera (1943)/The Climax (1944) - Color musicals with limited horror dressings.
The Woman Who Came Back (1945- B/W) - True/bullshit melodrama.
Black Magic (1944 - B/W)- Boring Monogram Charlie Chan.
The Great Flamarion (1945 - B/W) - Cookie-cutter vaudeville noir.
DEVIL MONSTER (1936/1946 - B/W) - Stock footage laden travelogue seemingly enacted by arthritis patients.
The Phantom Speaks (1945 - B/W) Richard Arlen walks about feeling sorry for himself.
Devil Bats Daughter (1946- B/W) - A big cheat.
The Brute Man (1946- B/W)/House of Horrors (1946- B/W) - Rondo Hatton didn't have much presence.
The Beast with Five Fingers (1946 - B/W) - Lorre miscast, too glossy for its own good, feels like a period piece even though it isn't.
The Strange Love of Martha Ivers (1946 - B/W) - Same as almost every noir.
The Amazing Mr. X (1948 - B/W) - Noir longingly staring at a beach.
Feathered Serpent (1948 - B/W) - Roland Winters' Chan is like Abanazer.
Inner Sanctum (1948- B/W) - Yokel noir.
The Fall of the House of Usher (1950 - B/W) - Amateurish primitive Britishadap with Gwen Watford.
Bride of the Gorilla (1951 - B/W) - Jungle tedium with little ape action. Woody Strode has more presence and dignity than his character calls for.
Son of Dr. Jekyll (1951 - B/W) - 15 years too late. Dreary, and forgotten/forgettable.
The Strange Door (1951 - B/W) - Less a horror, and just a rote albeit goth swashbuckler. See also the also-Karloffian The Black Castle (1952 - B/W) with Richard Greene.
The Voice of Merrill (1952 - B/W) - I'm sick of noirs, even UK ersatz ones with Edward "not Le Mesurier" Underdown.
Captive Women (1952 - B/W) - Boring 50s apocalypta. Not to be confused with Untamed Women.
Dementia (1955 - B/W) - An incompetent nightmare.
The She-Creature (1956 - B/W) - So dreadful PeterLorre was horrified when he was offered the role.
FRIGHT (1956 - B/W) - DrearyW. Lee Wilder reincarnation guff.
CURUCU, BEAST OF THE AMAZON (1956 - B/W) - Unmemorable travelogue disguised as horror.
Francis in the Haunted House (1956) -Goofy, terrible Mickey Rooney vehicle.
Back From the Dead (1957 - B/W) - More reincarnation guff, explicitly dramatising the "Bridey (sic) Murphy" case.
Blood of Dracula (1957 - B/W)- Intolerable. Eddie Munster as a sorority girl.
The Thing That Couldn't Die (1958- B/W) - Dreadful western-infused ranch horror.
The Incredible Shrinking Man (1957 - B/W) - I'm not quite a fan. Again, it's a Twilight Zone concept.
The Giant Claw (1957 - B/W) - Worth it only for the incredible beast.Ok.ru
The Werewolf (1957 - B/W) - A hairy man wanders around a national park being chased by other hairy men.An old woman looks like Kenneth Mars.
The Unknown Terror (1957 - B/W) - Terrible jungle/caving schlock.
Invasion of the Saucer Men (1957 - B/W) - Gormless idiocy with Frank Gorshin and some aged teenagers.
The Monolith Monsters (1957 - b/w) - How are rockpiles scary?
The Smallest Show on Earth (1957)- Twee.
She-Devil (1957 -B/W) - Laborious sub-noir premake of the Wasp Woman.
Beginning of the End (1957 - B/W) - Bert I. Gordon's incompetent grasshopper boredom with Peter Graves. Mant!
Zombies of Mora Tau (1957 - B/W)- More jungle gruel.
Voodoo Island (1957 - B/W)- So incompetent that the model used for the establishing shot of the resort is infinitely worse than the model used as a model of the resort by Karloff and co for investors. Elisha Cook pulls his face.
Attack of the 50 Foot Woman (1958- B/W) Again, rural sci-fi-tinged jiggle schlock. Ok.ru
Not to be confused with the deliberately idiotic Lou Costello vehicle The 30 Foot Bride of Candy Rock (1959 -B/W).
Night of the Blood Beast (1958 - B/W)- Proto-Alien drear.
Teenagers Battle The Thing (1958) - Literally amateur Indian mummy.
My World Dies Screaming (1958 - B/W) - Shonky American psychothriller dressed up in gimmicks.
The Snorkel (1958 - B/W) - Annoying Hammer Nancy Drew-alike with Mandy "Nellie the Elephant" Miller as the bitchy heroine.
Monster on the Campus (1958 - B/W) - Typical Universal50s schlock, down to jokes about attractive men studying palaeontology. More hairy men.
The Flame Barrier (1958 - B/W) - More shonky jungle schlock.
The Space Children (1958 - B/W) - Children's Film Foundation-type larks done seriously, with added peril.
Macabre (1958 - B/W) - Unidstinguished William Castle trash.
Terror from the Year 5000 (1958 - B/W) - AIP crud. Is Salome Jens' Hollywood's leading alien-actress?
Frankenstein's Daughter (1958- B/W)/She-Demons (1959- B/W) - Crud from Cunha.
Flesh and the Fiends (1958 - B/W)- Staid, sub-Gainsborough gothic with Cushing as Dr. Knox.
Corridors of Blood (1958-B/W) - Lee and Karloff do more old-fashioned grave-robbing.
The Haunted Strangler (1958)- Karloff in a dodgy Lodger.
The Brain Eaters (1958- B/W) - More AIP nonsense, with Leonard "Nemoy".
Ghost Of Dragstrip Hollow (1959 - B/W) - Like a bad SCTV parody of 50s JD movies.
The Cosmic Man (1959 - B/W) - A big goofy Glitterball.
Teenage Zombies (1959 - B/W) - Prematurely aged action-less,no-budget cop.
The Hideous Sun Demon (1959 - B/W) - 'Tis hideous.
Night of the Ghouls (1959 - B/W) - Ed Wood was a cabaret man not a filmmaker.
Battle Beyond The Sun (1959) -Typical Soviet po-faced space larks, edited for Corman by Coppola.
Ants are not the menace in B.I.G.'s Beginning of the End, giant grasshoppers are. I'm imagining you gazing at the screen in a daze, like Kate Reid in The Andromeda Strain, with all these dodgy low budget horrors and sci-fi clicking past your eyes. Must be oddly soothing.
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