Given how many times Richard Burton eventually married before his death (five!), more than a little irony exists in viewing Bluebeard today. From Superman producer Alexander Salkind and The Caine Mutiny director Edward Dmytryk, the film version of France’s felonious folktale casts Burton as cerulean chin-bristled World War I hero Baron Kurt Von Sepper, returning from aerial battle to only wage the war of the sexes on the ground by marrying — and killing — one beautiful woman after the other.

Bluebeard the movie’s first victim is Bluebeard the character’s sixth wife (Karin Schubert, The Panther Squad), felled by a bullet in an hunting “accident.” Before long, Bluebeard finds himself entranced by flapper girl Anne (future Happy Hooker Joey Heatherton). Despite all the red flags surrounding the guy — a one-eyed cat, a cobweb-strewn castle, a crazy old woman combing the hair of his mother’s corpse — Anne happily becomes Wife No. 7, the Jell-O to his jam.

When she finds his … let’s just call it a “scrapbook” of past wives, he confesses everything to her chronologically, doomed spouse by doomed spouse. Buckle in, viewers, because the result is an all-star panoply of acts of uxoricide, with Burton’s master of misogyny wearing more shades of purple than the Joker and Prince would find tasteful. Virna Lisi (The Statue) is seduced into a guillotine; Marilù Tolo (My Dear Killer) is drowned; and Agostina Belli (The Night of the Devils) takes a falcon to the face.

Most amusingly, Raquel Welch (The Last of Sheila) plays against type as a nun whose inventory of global dalliances angers Bluebeard into such a rage, he locks her in a coffin. Genuinely funny is how increasingly annoying he finds the gorgeous Nathalie Delon (Le Samouraï) for her endless baby talk and for naming her breasts “Jasmine” and “Sicumin.” When she hires a prostitute (Sybil Danning, Chained Heat) over to give her husband-satisfying whore lessons, Bluebeard catches them au naturel and penetrates them both … with a pointy-tusk chandelier, so get your mind outta the gutter.

If “prestige Eurosleaze” exists, Dmytryk’s Bluebeard is the default example, with Burton at his most bombastic. The Gothic gaslighter pops with color and delights with a campy tone, trashy sequences and an Ennio Morricone score that positively fucks. Bluebeard will tickle you pink, if you let it. —Rod Lott

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Having lived in Japan only six months, the English-speaking Karen (Ariel Sekiye) is having a rough go fitting in with fellow housewives in her community volunteer work — so much so, the gaijin resists attending the group’s two-day camping retreat. (True, it doesn’t help the trip is to a village protected by a fox spirit who “will punch you and drag you to hell.”)

The night of arrival, boss Akiyo Yoshihara (Eigi Kodaka, Headcrusher) and her fellow mean girls play kokkuri-san, the Asian country’s coin-on-paper version of Hasbro’s Ouija board — hence this film’s title, Ouija Japan. Folklore has it that breaking the rules brings consequences; sure as Shinola, the ladies awake to find their group thinned by one. Karen’s idea of calling for help is to run outside half-yelling, “Somebody! Somebody!”

How could this trip get any worse? For starters, that fox deity could self-install an app on everyone’s phone: a game that pits every girl for herself in a fight to the death.

That happens. And — just like Candy Crush, I assume — the more they kill, the more features they unlock. By sword, rifle, pipe and electric-powered gadget dropped in a full bathtub, Karen and the others battle it out until 15 lives are claimed. The upper-left corner of the screen — yours, not the app’s — keeps a body count so viewers don’t have to put forth that effort.

In Ouija Japan, first-time director/writer Masaya Kato (not the actor) has a premise that, while not exactly original, is plenty perfect for this genre — or for a mix of the horror and action genres, as we have here. However, it’s not well thought-out, with early scenes merely repeating information from the previous; by design, scuffle after scuffle make up the latter half, yet each feels so endless, it’s exhausting. Perhaps Kato was checked out as well, because the final shot is not only a cliché, but a cliché so clichéd, it’s used as the sign-off for all five Scary Movie entries.

There is no nice way to say this: Taken individually or collectively, the acting is awful. Kodaka overplays the villain role to twirling a nonexistent mustache; after vowing to have the metaphorical last laugh, she physically utters one. Worse, in her first credit, Sekiye has a sleepy and lifeless presence; if she had a line that didn’t begin with some unnatural variation of “Oh, um, uh,” I missed it. —Rod Lott

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Lovers of horror anthologies shouldn’t be put off by Dark Stories’ generic title, French language or origins as an internet series. Despite all those warning signs — and even more, discussed below — the portmanteau picture arrives as a nice surprise.

With more than a smidge of Scheherazade, Kristanna Loken (Terminator 3) plays a suburban mom in the wraparound story. Tied up and trapped in her basement by a sentient, super-creepy ventriloquist’s dummy (voiced by Scott Thrun, 2019’s Anna), she tells stories to the bald killer puppet as a survival technique — six in total.

Up first is a quite creative tale of an art museum exec (Delphine Chanéac, Splice) whose child is sucked into the paintings by a demon. The most overtly comic piece finds Sébastien Lalanne as a a zombie — “immortal, but delicate” — seeking vengeance on the men who put him in the morgue before all his body parts fall off. Arguably the scariest segment concerns a woman (Tiphaine Daviot) haunted by a djinn to the point of an Elm Street-ian sleeplessness.

Less satisfying, although not bad, are bits about ghosts following park jogger Dorylia Calmel (Let the Corpses Tan) and former Bionic Woman Michelle Ryan probing the claims of abduction by aliens — and subsequent God complex — of dimwitted farmer Dominique Pinon (Delicatessen).

Further confounding the aforementioned expectations, Dark Stories feels of a whole even with directing duties split between Guillaume Lubrano and François Descraques — the former responsible for another anthology series in the rather rotten Metal Hurlant Chronicles. Here, however, Lubrano’s sewing skills in unifying disparate elements have improved, striking the right balance of horror and humor all its own vs. beholden to EC Comics. So many contemporary collections of terror tales stumble from that start, so it’s a pleasure to see one not only get it right, but maintain it. —Rod Lott

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Not to be confused with the found-footage spooker Apartment 143 — dyslexia excepted — Apartment 413 is almost entirely a two-hander in one location. Yes, of course it’s the unit of the title: a depressing-looking place in a depressing-looking complex in Austin, with a fitting “FML” carved into the window AC unit’s exterior side.

Community college dropout Marco Reyes (Nicholas Saenz, Mr. Roosevelt) needs a job. And fast, because his girlfriend, Dana (Brea Grant, All the Creatures Were Stirring), is about-to-pop pregnant. He’s not having much luck, considering his alarm mysteriously fails to wake him as set, thus causing missed interviews.

As he sits in his apartment all day applying for jobs — and playing video games — stranger things begin happening: Trash re-appears; an unknown text message suggests it’s “not your baby”; and Post-it Notes pop up like magic, scrawled with threats like “THIS IS A WARNING.”

Things escalate from there. Stress? Black mold? Psychotic break? Residual haunting from the site’s domestic murder two years prior?

You’ll find out, although the ending is more confounding than disturbing. As the first film for both director Matt Patterson and writer Ron Maede, Apartment 413 likely serves as a calling card for bigger and better things, rather than a Texas-sized reworking of Roman Polanski’s Repulsion through a millennial-hipster lens. At just under 80 minutes, credits included, not enough happens to do lasting damage, yet so much solitary time with an increasingly unlikable guy is a lot to ask of the audience; as a short, it would be three times more effective. —Rod Lott

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