El vampiro atómico
Guión:
Herbert J. LederCámara:
Lionel BanesMúsica:
Buxton OrrReparto:
Marshall Thompson, Kim Parker, Terry Kilburn, Michael Balfour, Peter Madden, Victor Harrington, Tom Watson, Alexander Archdale, Meadows White (más)Sinopsis(1)
A scientist is working with telekinesis in a series of experiments. Strangely, the emissions from a nearby nuclear power plant enhance the intensity of his vibrations, and soon he develops the power to materialize his thoughts in the form of brainlike creatures. The creatures frighteningly become invisible, escape, multiply, and leap on people's backs to devour their brains. The film features Marshall Thompson, who also starred in IT! THE TERROR FROM BEYOND SPACE. (texto oficial de la distribuidora)
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Reseñas (1)
Poster tagline: NEW HORRORS! MAD SCIENCE SPAWNS EVIL FIENDS! TAKING FORM BEFORE YOUR VERY EYES! Wow... I’ve seen a thing or two in the realm of monster movies, starting with large mutant ants and ending with praying mantis, but running brains with tails and antennae? I have not had the pleasure. They are called "mental vampires" and they run around on the ground, make rumbling sounds, attack people from behind and, in the words of one of the scientists, they bite the back of the head and suck the brains out like the yolk of an egg. It was all caused by a local scientist who got out of hand experimenting on a mind-materialising machine and the radiation from a nearby nuclear power station gave the evil creatures life-giving energy. First of all, it must be said that the film itself is not as much fun as the brief synopsis might suggest. The attacking brains remain invisible 90% of the time and only reveal themselves in all their glory 10 minutes before the end, when the radiation from the plant exceeds the safety limit. But then comes a rather bizarre ten-minute sequence, when the running brains attack people in large numbers and after they are hit with a bullet or a hammer you see some cute splatter effects with splashing ketchup. Indeed, the last ten minutes have an iconic feel that would beg for a remake within a grindhouse project. Until then, the tension is built through unseen, hunter-like wanderings through the woods, or the actors grimacing, theatrically grabbing the back of their necks.
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