![]() This kind of material was already dated when Price and his cohorts where in their prime twenty-five years earlier. The story is much closer to what can be described as a Gothic mystery. Long Shadows does believe that it is a horror film, but it is almost embarrassingly tame for an early 1980s horror movie. Ultimately the movie is a complete misfire by being too dull to be an adventure and not scary enough to be horror. The movie features sea monsters that look terrible even for 1965, so you can see that the movie wants to have it both ways as an adventure movie for the family and a horror flick for Price fans. War-Gods looks like a family friendly adventure in the Jules Verne model, but it was actually based on an Edgar Allan Poe poem which Price gets to recite and even plays a part in the story itself. Walker was actually retired by this time, but was lured out by producers Menahem Golan and Yoram Globus at Cannon Films who wanted an old style thriller to bring together the last surviving legends of horror, perhaps even beyond, as they had wanted Boris Karloff despite being deceased.Īnother common thread of these two movies is that neither one is completely sure of what it wants to be. Long Shadows was certainly a very uncharacteristic movie for Walker, but he was above all else a stylist and manages to infuse his last movie with a great deal of atmosphere and suspense. Walker’s films were usually very violent, sexed up and aimed at an adult audience. Long Shadows, on the other hand, was directed by Pete Walker, a director of many exploitation British horrors in the vein of the Italian giallo. After his script was heavily re-written, Tourneau was unhappy with the final movie. ![]() Nicholson, the dubious mini-moguls at American International pictures who specialized in low-budget movies for the youth market. He continued on to direct, among others the classic film noir, Out of the Past (1947) and the horror classic Night of the Demon (1957). ![]() War-Gods was directed by the impressive French filmmaker Jacques Tourneur who had gotten his start in America in producer Val Lewton’s company helming the amazing Cat People (1942). Mutually these movies also found their once great directors at the end of their careers.
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