THE LEGEND OF HELL HOUSE — SHOCKTOBER!

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Arriving in 1973, the same year that "The Exorcist" was released, "The Legend Of Hell House" is a barn-burning horror movie.

Many of the plot and design elements used in this influential genre film went on to be quoted, if not expanded on, by budding young horror directors in love with its artfulness.

The "Hell House" production designers went all out in creating a rich Gothic environment for our four intrepid ghost hunters to converge in the week before Christmas.

Physicist Dr. Lionel Barrett is hired to investigate ghost behavior at Belasco House, the "Mount Everest of haunted houses."

The home's millionaire owner was a sadist engaged in all sort of off-the-rails debauchery.

"Drug addiction, alcoholism, sadism, bestiality, mutilation, murder, vampirism, necrophilia, cannibalism, not to mention a gamut of sexual goodies. Shall I go on?"

The lost soul's of Emeric Belasco's sex-crime victims now want their own sexy-time payback.

The good doctor brings along his wife Ann (Gayle Hunnicutt), and physical mediums Ben Fischer (Roddy McDowall), and Florence Tanner (Pamela Franklin).

Erotic dreams turn into hot reality as the week twists with demonic possession, and more effed up stuff than you can laugh your ass off at.

There's a black cat that does a lot more than just cross paths.

Dark, twisted, and embellished with dated "modern" touches that make it all worthwhile, "The Legend of Hell House" is a minor masterpiece.

Roddy McDowall's not-camp-enough performance redeems him if only somewhat, when McDowall goes full Nic Cage for his big finale monologue.

If only Anthony Perkins had played the role. If only.

"The Legend of Hell House" is a hoot and a half.

A devious electronic music score by Delia Derbyshire and Brian Hodgson adds to the movie's creepy atmosphere.

Rated R. 90 mins.

HITMAN

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Richard Linklater and co-screenwriter/actor Glen Powell craft an enticingly funny and sexy social satire inspired by an unlikely true situation.

Leave it to Texas to hire a nerdy math and philosophy college professor to pretend to be a real-life hitman in order to catch those seeking unsavory assistance in the dispatching of an enemy.

That was back in the '80s and '90s, before texts, emails, social media posts, and search engine requests provided most of the background evidence in such cases.

Although the narration categorically informs us that hitmen don't really exist; that little bit of exposition is, well, absolutely untrue; it's just that everyday civilians don't usually have access to such skullduggery.

Rather than Houston, where the actual events took place, Richard Linklater sets the action in New Orleans. It reminds us of what a cool location New Orleans is for movies to be filmed. If there's one city in America that is palpably sexual, it's The Big Easy.

Glen Powell makes a splash as Gary Johnson, a mild mannered math teacher who finds his true calling, and a main squeeze (played by Adria Arjona), when he goes undercover to participate in sting operations against those wishing to purchase the services of a cold blooded killer, namely one poorly disguised Gary Johnson.

"Hitman's" overriding themeline is put both succinctly and indirectly during Gary Johnson's teaching efforts with his classroom students.

How well do we know ourselves?

What is our facility for changing our behaviors?

Gary tells his students to seize the identity that they want for themselves.

These burning questions catch fire as we are introduced to archetypal characters in search for illicit relief from personal problems further clouded by misinformation and America's twisted social norms.

While it may not be a perfect movie, "Hitman" is a perfectly nuanced satire.

"Hitman" comes at right time.

If only we could have such movies without the presence of guns. I suppose that's a big part if this movie's premise.

Richard Linlater's resume just keeps getting better, and better, and better.

Rated R. 115 mins.

WORKING GIRLS — THE CRITERION COLLECTION

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Lizzie Borden's third film, behind "Regrouping" (1979) and "Born In Flames" (1983), is a perfect chamber-piece of neo-realist social satire.

The film's feminist trappings of an '80s era Manhattan brothel provides the frame for a piercing commentary on the effects of American capitalism on women.

"Working Girls" could easily be adapted to be a modernday Broadway play.

It would be a sensation for its timeless qualities of social, sexual, and economic truth.

Molly (Louise Smith), a professional photographer, lives with her lesbian girlfriend when she isn't working as a sex worker in a Manhattan brothel run by a domineering madam.

"Have you ever heard of surplus value?"

That theme line shoots like a sharp political dart when a character speaks it.

“All workers create more value at work than they receive in wages. The extra surplus value goes into the boss’s pocket as profit.”

Surplus value is "the surplus produced over and above what is required to survive, which is translated into profit in capitalism. Since the capitalist pays a laborer for his/her labor, the capitalist claims to own the means of production, the worker's labor-power, and even the product that is thus produced."

Female hands hold cups of coffee, count money, and remove cum-filled condoms.

Everyone chisels; there is no place to hide.

Not Rated. 93 mins.