Just a year after being impaled in the heart and turning to dust, the undead Romanian vampire came back in American International Pictures’ THE RETURN OF COUNT YORGA, a largely superior sequel to 1970’s COUNT YORGA, VAMPIRE (see Fango Flashback here). Strangely, no effort is made by the filmmakers (including returning director Bob Kelljan, who co-wrote the follow-up with actress Yvonne Wilder) to explain just how Yorga (Robert Quarry again in his most famous role) actually returns to life; ditto, his ugly valet Brudah (Edward Walsh), who we last saw being stabbed to death in his master’s mansion. In RETURN, they just show up for this second go-round of cultured vampire shenanigans.

HOUSE OF FRANKENSTEIN? HOUSE OF DRACULA? MAD MONSTER PARTY? THE MONSTER SQAUD? Yeah, there are a number of monster mash-up movies out there to choose from. But what other horror picture features Dracula, Frankenstein’s Monster, The Wolf Man and The Mummy…in miniature form? “Undersized. Undead. And angry.” That’s the tagline for THE CREEPS, Full Moon’s direct-to-video 1997 release that brought together four of horror’s most famous monsters, albeit in scaled-down sizes. The once-colossal Frankenstein’s Monster reborn as a three-foot fiend? Hey, it’s the jumbo shrimp of horror cinema! But what else would you expect from Full Moon and the Band family…

We all have one of those movies—a flick you saw in the past that you can’t remember the name of, or who is in it, or even what it’s about…you can only remember one scene. So you incessantly describe the scene to every horror fan you meet, in hopes that somebody will remember the film’s title so this lone moment stops slowly drilling a deep and bloody hole into your brain.

THE EXORCIST spawned dozens of films dealing with devils, demons or Satanic cults in the 1970s, and one of the best but most underappreciated of those films was 1977’s THE SENTINEL. Directed by DEATH WISH’s Michael Winner, it opens with a young model, Alison Parker (Cristina Raines), moving into an old New York brownstone apartment whose only other tenant is a blind priest (John Carradine) who spends his days staring out his window.