Lately, I’ve enjoyed comparing my favorite horror and exploitation queens to the grand stars of old. For example…the statuesque Julie Strain is akin to the buxom Jane Russell. Jennifer Rubin, who undulates with a smoky noir texture, is in the same school as Marie Windsor while the charms of Deborah Dutch emerge as a sexier version of cockeyed second banana Una Merkel. 
Meanwhile, I believe that indie goddess Ellie Church has the looks and comedic chops of Jean Harlow in her prime. Church puts these glamorous elements into perfect use as The Widow, the prime wraparound character in the terror anthology Skeletons in the Closet. Here, she delivers her lines with low key sauciness and a sardonic timing and, handily, steals the show.
Riding the understandably undying love for the ‘80s, Skeletons’ other segments resemble the mixed bag of goods akin to other solid anthologies. Thankfully, this means that there is generally something here for everyone. Other standout segments, therefore, involve a sarcastic babysitter and her surprisingly crafty young ward and a scary visit with a mysterious grandmother that signals the arrival of a very savage curse.
Those who prefer a little deep thought and theatricality with their cinema will also appreciate the bloody artistry of the Meisner segment, anchored by writer-actress Rhiann Owen’s truly emotional work.
Skeletons can be purchased at www.scotchworthy.com. More information is also available at https://www.facebook.com/skeletonsintheclosetmovie/.
Until the next time, SWEET love and pink GRUE, Big Gay Horror Fan!
www.facebook.com/biggayhorrorfan
Nicely, as an actress, Moore simply navigates her character’s growth from timid to uncontrollably lustful. There is no grand posing, but you truly believe that she has fallen under her supernatural partner’s spell. Meanwhile, Byron Minns, as the vein strewn reason for Moore’s down fall, makes one understand why she would tumble down this murderous rabbit hole, head first. 
But the scariest force that Romero came up against may have just been booming theater goddess Ethel Merman. In 1938’s 
pular stars of her time…albeit in some of the strangest cinema ever produced.
Naturally, Henie, who spends much of the movie in close-ups featuring an approximation of thoughtful whimsy, finds her true love by the film’s spectacular finish. Chaney, of course, would go on to classic monster status with his appearances in such films as 1941’s 
H
Davis, of course, would go on to become one of the queens of gothic horror with appearances in such revered projects as 
Big Gay Horror Fan 