Tuesday, August 31
Monday, August 30
The Murderdolls have reformed with Wednesday 13 on vocals and Joey Jordinson of slipknot on guitar! Awesome! This thing rocks!! Check it out now and go to:
http://www.murderdolls.com to order the CD
Sunday, August 29
Directed by: Fred and Beverly Sebastian
Rocktober Blood is the story of a heavy metal band of the same name fronted by singer Billy Eye. The movie opens in a recording studio with Billy letting loose with a killer heavy metal screeeeaaammm. Glorious. We are treated, in grand padding style, to the entire song here.
Billy Eye is played by actor Tray Loren. This guy looks about as metal as Donnie Osmond. Sporting curly black hair and a terrible fake laugh (that gets REALLY overused throughout this movie), Billy is a real dork. The rest of the band looks on as Billy records his vocals. Among them is band member Lynn Starling, whom we learn was once romantically involved with Billy... but he's too cool to be tied down to just one chick. He's a rocker - she shoulda known better. He leaves to get some strange as Lynn goes into the booth to sing the backup vocals for the latest track, "Rainbow Eyes," a tune that isn't bad until it gets to the chorus - that damn thing will painfully stick in your head for days afterwards.
After finishing laying down tracks Lynn heads to "take a Jacuzzi" - because all quality studios have Jacuzzis, right? Gratuitous lingering of the camera here as Lynn undresses slowly, followed by plenty of tub scenes, then more gratuitous lingering as she towel dries afterwards.
Meanwhile someone is stalking about the studio after hours with a knife, killing band members and studio hands one by one. We follow the feet of the murderer as he stalks his victims - one guy has his throat slit and falls dead across a pinball machine. A girl is grabbed by the hair and drug screaming and kicking into a back room where she is lifted into the air and shoved onto a wooden rack, a dowel jutting through her chest. She's left hanging there like a sack of dirty laundry.
Lynn, finished with her Jacuzzi now, is confronted by the killer, who it turns out is none other than Billy. He corners with a knife and is about to do her in when a security guard interrupts. The security guard, obviously intimidated by the awesome rock and roll prowess of the amazing Billy Eye, turns and high tails it outta there! Last thing we see is Billy chasing the security guard saying "come here you little fucker..."
Cut jarringly to a guy on a stage in a monster mask and hood. Pop up captions explain what's going on... "Two years later - Rocktober Blood Press Party." Turns out Billy was arrested for the murder of 25 rock and rollers - quite the busy boy - and executed for the crime! The old band has since reformed with our girl Lynn as the lead singer, this time called "Head Mistress."
Dude in the monster mask is doing the robot and some lame break dancing moves to the band's music. A reporter and cameraman are there from MVTV doing a special on the band. We are treated to another entire song, "Rainbow Eyes," while folks dance along.
But once again it turns out there is a mysterious figure lurking in the shadows. Lynn soon meets him alone face to face and it is none other than Billy, this time with some dorky black makeup around his eyes. But he's dead, right? No one believes Lynn when she reveals that she saw Billy. They all know he's dead and assume the pressure is getting to her. Lynn is really upset, so they send her off to relax at her cabin at the lake.
Once there we get some standard b-movie padding as Lynn walks through the woods, trying to take her mind off her problems. Two other girls have accompanied Lynn there and are doing aerobic work outs while she’s off on her walk. They’re dressed in classic 80s spandex and leg warmers... we get even more padding with some gratuitous aerobic workout shots and close up butt shots.
Lynn returns from her walk and tells the girls she’s convinced Billy is lurking around the cabin, but the girls don't believe her. The phone rings and when Lynn answers the caller hangs up. This happens several times until the caller finally speaks and threatens Lynn with this line: "Blood. I want your hot steamy pussy blood all over my face..."
Nice. Later that night one of the other girls is alone in the house and thinks she hears something. She heads into a room with a Jacuzzi (man those things are everywhere), and as she leans over the tub a hand shoots up from within the water, grabs her by the throat and pulls her under, drowning her. The killer then drags her body into another room and stuffs her into a trunk.
Lynn returns with a basket of food from the grocery store. She heads into the bathroom to take a bath... lots of naked Lynn in the tub here and more padding shots as she towels herself off afterwards. As she turns to leave the bathroom - boo! - a jump scare of Billy, in her face with completely goofy makeup on. He REALLY looks like a super-dork now.
She screams and Billy chases her around for a bit, torturing her. He cuts the electricity and phone lines and is about to do her in when her manager shows up to check on her. Lynn attacks him in the dark, thinking he’s Billy, and stabs him in the shoulder.
We cut back to the stage set where Headmistress is getting ready for the next evening's performance. Lynn is trying to convince everyone Billy is still alive and tried to kill her, but they don't believe her. She's the only one who has seen him. They agree someone's messing with her, but don't believe its Billy Eye. Oh ye of little rock n' roll faith!
Lynn decides she knows Billy is still alive, and she won't rest until she digs up his body to prove it to everyone. So after much argument with the manager and security man, she decides to go dig up Billy Eye's body.
Cut to my favorite movie element, a graveyard at night. Oh yeah! Lynn and one of her backup dancers pull into the graveyard to do the deed. No one else would help, so they decided to go it alone. After they dig down (to what appears to be a two feet deep grave) they quickly uncover the casket. Inside is Billy's corpse - a ridiculously fake skeleton, bleached white, obviously some cheap Halloween prop, with fake eyeballs in the sockets and giant earthworms crawling over it. Genius!
Back at the club the band is ready for the big show, but someone is sneaking around backstage in the shadows again. We see it’s Billy and he kills Lynn's hairdresser with a hot iron to the neck. Lynn heads upstairs to find her manager and instead finds Billy Eye again. This guy just lives to torture her! He chases her around laughing that stupid fake laugh, and corners her – and this is where the big twist ending is revealed.
It turns out Billy Eye was indeed executed, but it was the wrong Billy Eye - it was his TWIN brother. This guy's name is John, and he's the one who actually wrote all the music - he is also the one who actually did the killings two years ago, and framed his brother for the deed - and now he's here to finish the job with her.
He tells her they're going to put on the ultimate Rocktober Blood and gore show. He grabs her and there is an insert shot of a bottle of ether, with the word "ether" written in black marker on the bottle. Hilarious!
We then cut to Billy standing over Lynn in a purple lined casket – she’s obviously been drugged. He closes the coffin and it’s...
The big heavy metal rock moment!! Head Mistress onstage, striking metal poses and bringing the rock!
There are girls in chains and lingerie around the stage, and tons of smoke and lights.
A guy in costume wearing the monster mask we saw before comes out and sings the first song, “Killer on the Loose”.
As part of the act he kills the girls in lingerie, but this guy isn’t faking – he really does kill them with a blade that’s attached to the bottom of his mic stand - the band, thinking its part of the act, keeps playing!
There is a hilarious scene where this guy cuts the head off one of these girls then tosses it into the audience... and again, NO ONE NOTICES!!
At this point the coffin with Lynn in it rises onstage from below, in a cloud of smoke. Lynn comes out of the coffin, still groggy from the hand lettered ether, and tells the masked man that Billy Eye is there but he tells her, “Don't worry, he's dead. I took care of it...” So Lynn, in true rocker fashion, simply goes on to perform! We get to hear Rainbow Eyes one more time, in its entirety (they must have been really proud of that song), while the guy in the mask crouches and stalks around the stage acting as if he's going to attack the band while they're rockin’ out!
At this point the masked man pulls off the hood - and it IS Billy EYE! OMG - he grabs Lynn and handcuffs himself to her. The band, rather than help Lynn escape, decides to rock out, and we're treated to the first song we heard in the movie... again! In its entirety... again!
But, while Billy's singing Lynn is struggling with the cuffs and manages to work free, just as her manager sneaks up behind Billy and clubs him over the head with a guitar... thus Billy is defeated by rock and roll... but not before he finishes the song, hitting the final, piercing final note just as electricity from the smashed guitar courses through him!
This movie has it all – an awesome title, great music, 80’s fashion, and a twist ending. The music in this movie is by the band Sorcery, and is pretty rockin’. You get lots of 80’s fashion here – legwarmers, spandex and big hair. It is a true 80’s video treasure that is so bad it’s good. It was directed by Beverly Sebastian and written and produced by Beverly and Ferd Sebastian. The Sebastians were a filmmaking couple who were responsible for such gems as this, Gator Bait, Delta Fox and Gator Bait 2. Definitely worth tracking down.
Here's the big rock scene at the end - Headmistress singing "Killer on the Loose"
Friday, August 27
On there I found an item that I remember oh too well from my Halloweens as a kid. It is one thing I always wanted from the store and usually got, because it was such a cheap item. I'm talking about the ever popular VAMPIRE BLOOD.
Of course if you had vampire blood you had to have fangs. Here is a cool piece of packaging from that same site with some vintage plastic teeth in it:
So you got your blood, you got your fangs - you have to put it all together with a vampire costume. That's exactly what I did the Halloween this photo was taken. I am not sure how old I am here, but I'm going to guess around ten.
Thursday, August 26
This is a Mexican film by director Rene Cordona Jr., and this version is dubbed in English. It tells the story of a rich playboy named Hugo (played ironically by Hugo Stiglitz) who owns a huge vacant monastery. He lives there with his mute butler Dorgo, who resembles Tor Johnson and walks with a limp. Turns out he's something of a collector and has a very unique collection in his basement... the severed heads of past lovers that are kept in glass boxes. He also has a huge collection of cats he keeps as pets in a special fenced off room of the monastery. He feeds them a unique diet - the ground up bodies of these lovers. In addition he also dabbles in a bit of cannibalism, as we see when Drago warms up some fresh lady-meat and feeds it to Hugo. Mmm mmm.
We get a back story to why Hugo is murdering women and collecting their heads, but like much of the movie it doesn’t really make sense. Told in flashback, it turns out his henchman Dorgo murdered his first true love, and this drove Hugo to kill other women and collect their heads (The head of his first love is among these trophies, too). You see, Hugo's family were both collectors and taxidermists, so naturally he followed in the family footsteps, combining the two hobbies with a little good old fashioned murder.
The scene below is my favorite one of the movie, the moment where Hugo first reveals his collection to his current girlfriend (who unknowingly is soon to become cat food).
This movie is high on atmosphere but not so much on plot. It sets up these bizarre scenarios and lets the story run its course with little thought to logic. Despite this it is a pretty entertaining movie if only because of the sheer bizarreness of it. This is the type film you have to see to believe – they don’t make ‘em like this anymore.
Here's the Trailer for Night of 1000 Cats:
Wednesday, August 25
The Diablocast is an all music podcast. It features the best of horror punk and metal ranging from classics such as The Cramps and The Misfits to current bands such as Diemonsterdie, Calabrese, Blitzkid, and many, many more. Diablocast has been on the web since December 2007, and I’ve listened to several of the older podcasts and always enjoyed them. They’re now listed on itunes so hopefully that’ll mean more frequent podcasts! He occasionally posts interviews with bands as well, such as the one he did with Calabrese in Episode 7.
So where can you find the DIABLOCAST? Glad you asked. Go to:
http://diablocast.blogspot.com/ to check out the blog where all the older episodes are archived, or go to itunes to subscribe (there is also a subscribe button right there on the blog).
Tuesday, August 24
Monday, August 23
This video is of a now abandoned walk-through style haunted attraction located in southern Kentucky in an area named Cave City. It is still standing, but closed to the public - it was in a bad state of disrepair when I took these pictures back in 1993, and finally just fell completely into a state of disrepair.
It was a classic walk-through funhouse style attraction, and in it's heyday was probably pretty darn cool. I still found it awesome, even though it had obviously seen better days. As you worked your way through the house various props would spin around, light up, or pop up at you. Or at least they were supposed to - about half of them were no longer functioning. They charged us a dollar each to walk through as many times as we liked that day - and we had fun going through over and over. I'd love to buy that thing and restore it to it's former glory... but I'm afraid one of these trips through Kentucky I'll see it demolished. So here is a video to preserve it for all posterity - Our trip through Charmin' Charles Haunted House!
To learn more about Charmin' Charles and see more photos go to:
Sunday, August 22
Saturday, August 21
This movie basically tells two stories that intertwine. One is the story of a vampire and vampire hunter who are both seeking an ancient relic (a scarab amulet) that has the power to control the dead - One to control it, the other to destroy it. The second story is about a group of friends who unwittingly stumble across this amulet and are drawn into this conflict, and in the process find themselves in a world of the supernatural.
** Spoiler Alert**
There are walking dead in this movie but they are not zombies by Romero standards – they don’t bite people and pass on some contagious virus. Nope, they’re just good ole shambling mounds of flesh. Very refreshing in this age of Romero remakes and rehashes.
The amulet is an interesting plot device in and of itself and my very favorite scene happens when the protagonist, Gretchen, played by actress Sean Serino, first learns the amulet has special powers. She is awakened by a strange sound and the amulet glowing. The sounds are coming from her refrigerator. When she opens the fridge she finds all the meat inside writhing and pulsating, as if trying to come back to life. Very cool scene here.
The cinematography is really beautiful – this is one great looking movie. There are cameos by two of my fellow horror hosts, Count Gore DeVol and Big Chuck Schodowski, which I was really glad to see. Veteran makeup guru turned actor Tom Savini is in this one as well. But Jason Carter steals the show in the role of Vampire hunter McCalister. He's great in every scene and really does a terrific job.
The Dead Matter has plenty of violence and gore but no nudity, and not much in the way of language that I remember, so it is a pretty family friendly horror film. The music is all by Midnight Syndicate, of course, and is their usual terrific spooky stuff. I would love to host this one on the air one day, as I think it would really go over well on television, especially around Halloween time.
This movie is available for a limited time at Hot Topic stores nationwide. It is packaged with two Midnight Syndicate CDs as well, so it is quite a deal. Pick it up while the getting is good!
Thursday, August 19
Wednesday, August 18
Yesterday's guest Blogger Camiele White clued me in to something very cool going on at the website she works for, Star Costumes. They are giving out a $1000 scholarship to student studying to work in the horror film industry. Here's what they say about the award:
Why a Horror Scholarship?
We love horror! We make our living selling scary costumes, makeup and masks, and we owe a lot of our success to the creative output of the horror industry. This scholarship is our way to give back, and to help the horror industry continue to terrify us in the years to come.
Currently, there are no other scholarships designed specifically for students planning to enter the horror industry. Our goal is provide assistance to help the brightest and most creative students meet their expenses and help launch their career in horror cinema.
To find out more about the Horror scholarship including details and requirements to enter go to:
Tuesday, August 17
The First Class Genius and Bad Taste of Peter Jackson
It’s a pleasure to know that with the advent of maturity a director is still capable of displaying the full strength of his creative muscle. Peter Jackson has shown that though budgets and production may have grown, despite “prestigious” accolades having intensified the amount of expectation and pressure, his keen eye for gross detail and subtle ostentation (if there is such a thing) has never wavered. In fact, given his access to millions of dollars and some of the sharpest minds in cinematography, his lust for all things earth-shattering has been quenched from here to Christmas.
As with most directors, Jackson’s big screen aspirations were humble. Unlike many of his contemporaries, however, he came on to the film scene with absolutely no fear in his green second before the dawn of worldwide notoriety. Two films in particular stood out as examples of the complex wealth of creativity that dripped from Jackson’s psyche. I’m, of course, referring to Dead Alive and Bad Taste --films that exploited the glamour and calamity of gore while giving horror a more gratuitous pool of hilarity from which to drink. What Jackson did effectively in these two films was stretch the palette of the audience, pushing them to the limits of their capacity for madness and over the top nasty.
Firstly, Bad Taste. In the context of cult horror, Bad Taste is a film that definitely earns its honours for being truly one of the most original and ridiculous films ever made. With aliens that eat their own vomit for supper, an unsuspecting collections agent simmering in a pot of vegetables and herbs, and a protagonist who, when his skull is cracked, continues to stuff random brain matter back into his head, it’s no wonder the film is heralded as one of Peter Jackson’s most remarkable. It’s gratuitous and filthy, qualities that shouldn’t shock true Jackson fans. It’s this fearlessness that woke Hollywood up to the potential of someone truly twisted and magnificently brilliant. The gory nonsense of the film should be lauded for its overall creativity --albeit, the acting was nothing short of film school mediocre. What’s impressive is the early hints of genius that shone through as Jackson, who directed, produced, and wrote the film, managed create a zombie/alien gore fest without the aid of any real money. This creativity is also glaringly obvious in the manner in which he chooses to shock the audience --sipping “chuck” (vomit, for the uninitiated), eating the brains of a corpse with a soup spoon, and keeping one’s skull from falling apart with a leather belt --all nods to having the mind of a mad scientist with the budget made up of maxed out credit cards. Seeing as the film was shot on week-ends over the course of four years, it’s truly incredible that the film got any air time at all. But the cult fanaticism of the film allowed Jackson to go on to bigger and better things.
Which leads us, of course, to Dead Alive. This is one of those films that defies all logic and manages to become truly magnificent. It also does an incredible job of highlighting the untapped potential of its director. Jackson ventures further in terms of plot and classic horror fright whilst still maintaining his unyielding desire to stretch the scope of gore. His humour becomes increasingly evident with every film that he produces --making references to porn films starring a chambermaid and a donkey, tap-dancing on the perverse with a zombie table fuck, and explicitly exploring the slightly incestial with a jolting “rebirth” (with our protagonist being sucked back into his zombie-alien mother’s womb). It’s no wonder that people began knocking down Jackson’s door when the film saw daylight. It’s a marvel of cinematic simplicity and elegance --if nothing else, it managed to scare the hell out of Hollywood who would’ve probably preferred paying Jackson to create instead of letting his madness run rampant in the streets.
Without a doubt, Peter Jackson is one of the most astounding directors of the last 25 years. Never mind his increasing number Hollywood shout-outs, horror owes him a big debt of gratitude for injecting some fearless stupidity into a genre that preys on its audience --instead of big, boisterous shocks, you get disgusting and creative killing sprees and all manner of fluid ingestion. If you ask me, his horror career is something that’s still completely underrated and overlooked by those new to his genius. You’ll always have those fools who only know of Jackson’s relationship to elves, orcs, and wizards. But, what can you do? As Peter Jackson has shown us, there’s absolutely no accounting for bad taste.
Article writer by day, renegade poet by night, Camiele White loves any and everything film. She chases only the original (or incredibly funny) and has been known to talk for hours about subjects that most people just don’t care about. Right now, she gets her jabberjaw jollies writing about Halloween costumes. If you want to give her a buzz, she can be reached at cmlewhite at gmail.com.
Monday, August 16
Bride of Frankenstein
The Old Dark House
The Changeling (the George C. Scott movie, not the Clint Eastwood movie. Which is good, too, though.)
Thanks again for spending some time talking with me, Eric. Congrats on all the success of the Goon – not bad for a Middle Tennessee boy! Here’s to the next decade and bigger and better things – (including the live action Goon I still think would be amazing!
To Find out more about Eric and keep up with all things Goon in nature, go to:
Friday, August 13
Before I begin with our latest nominee into the Horror Rock timeline I thought I’d post links to all the entrants so far:
Screamin Jay Hawkins
Johnny Kidd and the Pirates
Screaming Lord Sutch
Pretty impressive list! Our latest entrant recorded what is arguably the most recognizable spooky song ever recorded. It is a song that is loved universally and has been covered by tons of artists throughout the years as diverse as Zacherly and The Misfits. The man I’m talking about is Bobby “Boris” Pickett, the man who did the Monster Mash.
He went into the military and served in the Korean War in the US Army. It was there that he started singing with a doo-wop group entertaining troops. Once out of the military he worked as a stand-up comic. Here his classic monster roots began to show, as he worked up a special bit in the middle of his routine featuring impressions of Boris Karloff and Bela Lugosi.
In 1962 Bobby co-wrote The Monster Mash with record producer Lenny Capizzi. There had been many novelty songs recorded previous to The Monster Mash, so they weren’t breaking new ground here. But what was different about The Monster Mash was the level of success it attained.
The song invents a new dance, the Monster Mash. Bobby sings the song using an impression of Boris Karloff (and Bela Lugosi in the line “Whatever happened to my Transylvania Twist) as the monster’s maker, reprising the voices he used in his stand-up routine years earlier. The song was written quickly by Bobby and Lenny, and was more popular than either ever imagined. Bobby would go on to perform live on a variety of shows including American Bandstand, the Steve Allen Show and The Dating Game.
Funny thing is it was initially turned down by every major label. Producer Gary Paxton - who also did all the sound effects on the song, by the way – pressed 500 copies of the song on his own label, Garpax – and drove around to individual radio stations handing them out. It became a huge cult success, and London Records called wanting to sign Bobby and release the Monster Mash, which became a number 1 hit. The record was called “The Monster Mash” by Bobby Boris Picket and the Crypt Kickers.
Bobby recorded other novelty records including Monster’s Holiday, Graduation Day, and The Monster Rap among others. He went on to do some acting on TV in such shows as Bonanza, Petticoat Junction, The Beverly Hillbillies, T.J. Hooker and others, and in a number of films such as Deathmaster, Strange Invaders and Lobster Man from Mars. However, it was for The Monster Mash that he was forever best remembered. Bobby passed away on April 25, 2007, after a battle with leukemia.
I was interviewed over at by John Cozzoli over at Zombo's Closet about my past Halloweens and why the holiday is so important to me. Fun stuff - if you aren't reading Zombo's Closet regularly you're missing out. Check it out here:
Thursday, August 12
This week's creature Feature is a movie that'll really bug you - it's a story about a high rise building with a major ant infestation. These ants aren't just any old ants though - they're radioactive killer ants!
It's called GLASS TRAP and believe me, it ain't no Empire of the Ants - schlocky fun Fred Olen Ray style. It stars C. Thomas Howell, the Soul man himself, and a horde of enlarged and enraged ants.
I tell ya, something about this movie just crawls all over me...
Wednesday, August 11
In it Buck and Wilma are out on a nice little space cruise in a small spaceship. They stop in at a space station to drop twiggy, the robot, off for repairs so they can get a little alone time at a nearby space resort planet. Yowza! Wilma is looking extra fine, as usual, in skin tight spandex - this particular suit has a bare midriff to boot.
Soon after they land a derelict ship crashes into the station. It is The Demeter, and all the crew onboard are dead, their life force having been drained from their bodies. Unbeknownst to Buck and Wilma, however, the bodies aren't the only thing onboard this craft - there is also an alien entity onboard that is now loose on the station. It first takes the shape of a glowing red ball of light, looking like something from the 60's Star Trek series. It later materializes and shows itself as the Space Vampire it is - a being called the Vorvon. Upon further investigation the ship doctor discovers there are two strange markings on each of the dead crew member's necks. This futuristic sawbones has no clue what could have caused it, but Buck, with his superstitious 20th century mind, begins to suspect the truth. He phones home to Earth and has them do some investigation on the ship. Turns out the Demeter was formerly owned by a Captain Helsin, a bounty hunter. Turns out the Vorvon killed his parents and Helsin was chasing him seeking vengeance. But apparently things didn't quite go as planned and the Vorvon got the better of Helsin. Silly vampire hunter - I mean, bounty hunter.
The Vorvon, as any hot blooded male, alien or otherwise, would, immediately sets its sights on Wilma. it must have her! Along the way it drains a few humans until it finally gets Wilma alone - but wait! It doesn't just suck the blood from her neck. Oh no - this vampire is way too cool for that. He uses the devil horns a-la Ronnie James Dio, like some satanic vamp rocker, placing his fingers on either side of her neck to drain her energy.
He raises the dead members of his crew and they come back to life to do his bidding, They are, honestly, very little help. Like the zombies in Night of the Living Dead they're slow moving and all messed up - they kind of slow Buck down but don't stop him. The Vorvon decides to hightail it out of the station with his new Vorvon bride. He highjacks the nearest craft and flies off the station, but turns out Buck has a surprise in store - he has sabotaged the ship. He got word from Earth that the Vorvon can be destroyed by an overload of power, as Buck phrases it "Just like Dracula couldn't stand the light of day." Buck has reprogrammed the ship to fly into a fiery planet, and Wilma escapes just in the nick of time.
The neat thing about this episode is the obvious ode to Nosferatu and vampire movies in general. The vampire is bald like Nosferatu, and has similar (but somewhat more goofy) looking features. The ship is the Demeter, which is the same name as the ship in Nosferatu that also sailed into port with a cargo of dead crew members and a thirsty vampire. There is the a fore mentioned Dracula reference as well as the Bounty/vampire hunter Helsin, which is only one letter and a Van removed from vampire hunter Van Helsing of the original Stoker novel.
All in all a goofy but fun episode - Don't know how I missed this one, or if perhaps I saw it and just don't remember - Either way it was great to see it this time around.
Tuesday, August 10
This is without a doubt the single worst "remake" movie ever, and in fact one of the worst films I've ever seen, period.
Van Sant took everything that was great about the original and bastardized it. Billed as a "shot for shot remake" Gus amateurishly apes the Hitchock film, poorly imitating the original. But that not being bad enough, he also occasionally adds scenes that weren't in the original film - like Norman Bates masturbating while looking through the peep hole at Marion undressing, complete with gratuitous sounds to fully illustrate his not-so subtle action.
This is a ham-fisted clumsy attempt to parrot a much more talented director's work. It isn't art, it isn't clever - it is plagiarism and badly done at that. It adds nothing to the original except color and tacky scenes, and that certainly ain't an improvement.