Charles Buchinsky, better known as Charles Bronson, was a World War Two veteran who went on to superstardom as one of the most iconic “tough guys” in film history.
Balladeer’s Blog has reviewed several of his westerns so far, but this time I’ll examine Bronson’s offbeat, uncharacteristic starring roles.
SOMEONE BEHIND THE DOOR (1971) – This Eurothriller directed by Nicolas Gessner was also released as Two Minds for Murder. Charles Bronson stars as an amnesiac patient of sinister brain-surgeon and psychiatrist Laurence Jeffries (Anthony Perkins himself).
Jeffries knows his wife is cheating on him and subjects Bronson – billed as the Stranger – to unethical psychological programming to make him think the brain surgeon-psychiatrist’s wife is really his wife, then manipulate him into murdering her.
In the role of unfaithful wife Frances Jeffries is Bronson’s wife Jill Ireland, since we’re in the period when Charles dragged her into everything with him like she was Linda McCartney to his Paul. The story isn’t plausible, of course, but artsy Eurothrillers always accentuated atmosphere and “what if” situations over realistic plots.
Anthony Perkins tones down his twitchiness a bit and Bronson is credible as the manipulated amnesiac thinking he’s met the wife his memory loss wiped from his mind.
To say anything more would give away too many spoilers. Continue reading
FOES (1977) – Though I’m reviewing this movie under my Bad and Weird Movies category, let me be clear that Foes is not bad and it is weird in the best way possible. I’ve watched the 91-minute version with Jerry Hardin (Deep Throat from The X-Files) and Macdonald Carey (“Like sands through the hourglass …”) top billed AND the 72-minute version with just the virtual unknowns appearing. 
AGAINST THE DARK (2009) – As Halloween night creeps ever closer, let’s take a look at the most atypical movie from Steven Seagal’s Down Years. Say what you will, but Against the Dark at least stands out among the Waddlin’ Warrior’s many direct to video turkeys during his Fat Elvis phase. 
Viewers are thrown right into the post-apocalypse setting. A disease has heavily reduced the global population. Many are dead but many more live on as violent predators who feed on the living.
Can you believe it’s just one week until Halloween! 
BARTHOLOMEW 
MISTER RABBEY
WAXWORK (1988) – I’m often surprised at how comparatively overlooked Waxwork is when it comes to 1980s horror films. It’s played straight, packs in a variety of menaces, fun Easter Eggs and sufficient scares and gore for that decade of Freddy Krueger, Jason Voorhees and Pinhead. A sequel followed in 1992.
CEMETERY OF TERROR (1985) – HALLOWEEN MONTH CONTINUES! Released in Mexico as Cementerio del terror, this overlooked movie makes for some nice Halloween season viewing and is even set on October 31st. Cemetery of Terror is not as campy as Mexican Wrestling Horror flicks or notorious works like 
THE BOD SQUAD (1974) – Hong Kong Cinema’s Shaw Brothers helped produce this cross-cultural martial arts exploitation flick that plays like an Andy Sidaris film crossed with a WIP movie from the 70s. 
TIMEBOMB (1991) – With Alien: Earth being streamed in recent weeks, it has brought with it the usual remarks from Alien franchise fans about what a raw deal Michael Biehn got when his character Corporal Hicks was killed off with Newt in between films.
Previously, Balladeer’s Blog reviewed various examples of Bruceploitation Movies, that odd subgenre full of martial arts spectacles exploiting and otherwise trying to cash in on the explosion of popularity in kung-fu films that the real Bruce Lee brought to the west. 
BRUCE, KUNG FU GIRLS (1977) – Also released as Bruce’s Angels, Bruce Lee’s Kung Fu Girls and several other titles, but I have a soft spot for this more inane title selection. I really hope that movies titled Bruce, Gone with the Wind; Bruce, Whose Life is it Anyway? and Bruce, Even Cowgirls Get the Blues also exist. But as we’ve established, I’m kind of weird. 
DEADBEAT AT DAWN (1988) – Four years in the making, Deadbeat at Dawn is rightfully called America’s Street Fighter – as in 
Audiences not only wince at the violence in Deadbeat at Dawn, they thrill to the stunts that Van Bebber and his collaborators were able to pull off without the benefit of professional stuntmen or fight choreographers. 
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