DEAD RINGER (1964) Bette Davis fans will get a kick out of watching her play twins in this post-Baby Jane chiller, but everyone else will most likely be bored. Penniless spinster, Edith (Davis), finds out her lost love of 20 years – who married her twin sister, Margaret (Davis) – has died of a heart attack and confronts her rich, cold-hearted sister at the funeral. Edith eventually murders her sister and takes over Margaret’s lavish life, but complications arise when Edith discovers shocking secrets about Margaret that puts her in danger. The story is often hysterically melodramatic, and loses momentum rather quickly, something a shorter run time and tighter pacing might have helped with. Actor Paul Henreid (Now, Voyager, Casablanca) directs the film with confidence up until its old fashioned, “the murderer must be punished” ending. Davis is excellent, though. C
HOSTEL PART III (2011) A trip to Las Vegas for three friends turns into a bloody nightmare when they’re abducted by the Elite Hunting Club and subjected to grueling torture and death. This direct-to-video threequel lacks Eli Roth’s eye for detailed, visceral action, but director Scott Spiegel (Intruder) does a decent job at delivering what audiences expect from these films. The gore is surprisingly played down (most likely due to budget restraints) and none of the characters are particularly likable, eliminating any suspense of their impending doom. Yet the whole thing is oddly entertaining, and at just 88 minutes it’s a quick way to be distracted. B–
THE WITCHES OF EASTWICK (1987) Lively horror-comedy with Jack Nicholson giving one of his best and funniest performances as the devious Daryl Van Horne. The self-named “horny little devil” arrives in the charming hamlet of Eastwick, Rhode Island, and puts his devilish moves on the town’s three alluring, and husbandless, women (Cher, Susan Sarandon, and Michelle Pfeiffer), all of whom hold supernatural powers. It isn’t long until Daryl exploits their witchy abilities to his advantage and turns the seaside village on its head. Hilariously adapted by Michael Cristofer, the movie thrives on George (Mad Max) Miller’s energetic direction and the chemistry between the four stars. Add to the mix a maniacal Veronica Cartwright as the town’s soothsaying bible bouncer, and a crackerjack, FX-fueled climax and you’ve got a near-perfect example of classic ’80s cinema. A–