Billing itself as “Nuttier than a Squirrel Fart,” Hillbilly Horror Show makes one long for the subtlety of Elvira. The mixed-mailbag showcase of horror shorts takes a comedic approach to its very brief host segments, although the four featured films are serious on the whole. The Hillbilly clan’s Hee Haw sensibility hardly meshes well with the contents it purports to champion.

Doing those duties from the innards of a mobile home are trailer-trash bumpkin Bo (Bo Keister, The Taking of Deborah Logan); his mumbling cousin, Cephus (Scott Geiter, Midnight Matinee Psycho); and Bo’s “kissing” cousin, Lulu (Maxim model Rachel Faulkner). In a stereotypical thick-hick accent, Bo does most of the talking: “You know whut that means? We gettin’ piss-ant drunk and watchin’ movies!”

Four “movies” play, with Lulu sporting skimpier clothing — star-spangled bikini included — between each one. First up is Franky and the Ant; not only is it questionable to qualify it as horror, but the story struck me as pointless and, worse, its two hit men annoyingly speak as Quentin Tarantino rip-offs. Next is the wordless Doppleganger, a fine, stop-motion animation with two skeletons. Although wonderfully executed visually, it also leaves the viewer wanting in all other departments.

Almost free of dialogue, Amused is another inconsequential bit, this one of a woman fleeing a zombie in a snow-covered rural area. Finally, there’s The Nest, the lengthiest segment of all. Its primary special effect — of killer bees stripping their victims to the bone — is excellent, but wears out its welcome, much like Hillbilly Horror Show itself. —Rod Lott

Get it at Amazon.

Wracked with guilt and grief over the “fast driving” that caused the death of his wife, businessman Fred Saunders (Barry Coe, Jaws 2) believes his beloved Laura (Jo Morrow, 13 Ghosts) will return to him from her tomb. Eager to speed that process along, he resorts to visiting a séance and a secret society, both of which are revealed to be a sham. Fred’s chances of a spousal reunion seem slim until he meets … Doctor Death: Seeker of Souls!

An amateur magician with G.I. Joe hair, Doctor Death (John Considine, The Thirsty Dead) possesses the power to transfer the soul of a freshly departed body into a corpse, thereby reviving the latter. This trick he demonstrates to a small audience (with elderly former Stooge Moe Howard seated in the front row) by sawing a suicidal woman with hideous facial burns in half: “As she requested, she must — as we call it — ‘die.’ And so we shall gladly fulfill her request, and in so doing, why not be entertaining at the same time?” Ergo, the girl is split in two, and her life force stuck into a busty blonde (Sivi Aberg, The Teacher) who will come to wear flimsy nighties to meet the doc’s desires. Sold!

Fred agrees to pay the $50,000 cash fee in advance. But no matter how many women Doctor Death kills and orders, “I command you! Enter that body!,” he is unsuccessful at fulfilling his end of the deal. Fred, meanwhile, starts dating his pretty secretary (Cheryl Miller, TV’s Daktari), so you know how the lines of that triangle will intersect.

The only film directed by career A.D. Eddie Saeta, Doctor Death is yet another variation on Georges Franju’s Eyes Without a Face, but without any airs of artistry or metaphors; in garish colors, he pumps up the exploitable elements for all they’re worth. The movie is, I think, rife with self-awareness; Considine’s gleeful performance is simply too chewy for this not to be the case, and raises Seeker of Souls above a made-for-TV look to tongue-in-cheek enjoyability. —Rod Lott

Get it at Amazon.

With Day of the Mummy, it’s tough to tell who had it easier: William McNamara (Chasers), since his role is largely offscreen and spoken? Or Danny Glover (Saw), who literally sits behind a desk for the entirety? No matter your answer, the loser is clear: We.

That’s because the movie is as wretched as the Day is long. And damn, does this ever feel like director Johnny Tabor (Eaters) took the time of the title to heart. His horror flick is so lazy that its opening credits present a pair of (no-)names in a typeface that has defaulted from the fancy one everyone else gets. If they didn’t bother, why should we?

McNamara’s Dr. Wells seeks a big ol’ diamond from an Egyptian king’s tomb, rumored to be cursed and of course it is. To get his hands on the goods, he joins a team of archaeologists — who look like they’d be on such an adventure only if MTV crafted a reality show around such a concept — and together, they penetrate the tomb. I hate to spoil it, but with just a few minutes left in the movie, our asshole archaeologists find a CGI mummy.

Because Wells’ eyeglasses have a built-in camera, we see what he sees. Given that much of Day of the Mummy takes place within narrow cave paths in the dark, the POV gives viewers the feel of watching — but not playing — a first-person shooter. In the corner of the screen, Glover’s character sits and watches and guides and comments and occasionally gets flustered. (For proof of the latter, check out the eight-second clip below from the final scene, which I shot with my iPhone. Doesn’t it seem like he’s having a stroke while pitching a fit?)

If you’ve seen the trailer, you’ve seen the movie; I wish I had not progressed past that first step. —Rod Lott

Get it at Amazon.