1975's "Kiss of the Tarantula" may have been easily overlooked in its day as a low budget drive-in quickie, but in recent years is gaining momentum as a cult item. As a two time solo feature on Pittsburgh's Chiller Theater (Nov 22 1980 and Aug 6 1983), I was familiar with it at the time but had long forgotten the details, not surprisingly. The only horror film shot in Columbus, Georgia, it didn't do the kind of business it was expected to, a cast of local unknowns with one Hollywood import, Eric Mason, a TV veteran cast as town sheriff Walter Bradley and uncle of teenage Susan (Suzanne Ling), whose father John (Victor French lookalike Herman Wallner) is a mortician, one reason why she's been shunned by classmates and branded as weird. A more understandable reason is her total devotion to her pet tarantulas, enabling her to kill her abusive and unloving mother, who was plotting with Walter to murder her husband, his own brother. This knowledge is also known to Susan, who grows into pretty womanhood with her uncle's unwanted advances becoming more creepy over time. After classmates accidentally kill one spider in her home, she sets the others loose on them in a parked car at the drive-in (double billing "Dirty Harry" and "Magnum Force"), unable to get out of their vehicle before fatally succumbing. The two people who suspect the truth soon meet their dooms, the first in claustrophobic fashion, the other strangled by the brutal sheriff who knows his niece is responsible but still desires her for himself. The climax is certainly fitting, but leaves the viewer feeling rather empty, no characters to identify with or root for. The central figure of Susan is never developed to any likable degree, glimpses of remorse not enough to register beyond the surface. This is the critical lack preventing audience sympathy for her, unlike better known protagonists such as Willard or Carrie. The film pretty much ends with Susan unsuspected and free to continue, with all her enemies dead, yet this provides no satisfaction for the audience, left only with the pervasiveness of unease. In that way the picture does succeed in its modest approach and rural atmosphere, pretty much the definition of a cult film.

When a cheating wife is discovered plotting her husband's death, her oddball daughter commits matricide with the aid of some hairy, eight legged companions. Creepy little thriller is a poor man's "Willard" in which the beguiling Susan (Suzanne Ling - never seen before or again) is remarkably naive to the cruel intentions of various sleazy characters with whom she comes into contact. High on the pervert-alert, is her nefarious uncle (Mason), the local police chief who's been chasing her tail since puberty, discovers her involvement in a series of unexplained deaths and seeks to protect his political ambitions abetting a cover-up to divert suspicion away from his family. Mason is the epitome of ugliness, and his predatory pursuit of the adolescent Ling, is as appealing from a cinematic perspective as it is morally repulsive.

Intense over acting and varying breeds of comically amateurish supporting performances coupled with laughable set-ups contrived for lukewarm climaxes, successfully mar what could have potentially been a minor sleeper, such is the satisfying symmetry in the storyline. Director Munger's casual treatment and unimaginative scene construction, display a lack of detail that is evident throughout the film, though he does manage to conjure some modicum of suspense at every critical peak – it's just a shame there's not a more palpable indication of the tarantula's impact on the victims (most seem to succumb to shock and hyper-anxiety, or is that just the quality of the acting?).

"Kiss of the Tarantula" takes a convenient pathway to imagined justice, while the central character's psycho-sexual motivation, which is intimated throughout the film, is never properly explored or connected to her deviant behaviour. As such, Ling's character is little more than a facade, and much of the film's promise is diluted by the superficial treatment. Perhaps lethally hampered by the budget, while there's lots of potential, overall, it's significantly lacking in the execution.

Also known as Death Kisses and Shudder, this gender and species swapped cover version of Willard is all about Susan Bradley, a little girl who can control spiders, which she does to kill her mother - well, she was gonna kill daddy - before taking out anyone else who displeases her. Susan really loves her spiders - to the point that one scene almost suggests that she loves them biblically. Oh 1975, what a magical time you were to be alive.

The big issue is Walter, Susan's creepy uncle and a dirty cop. He has evidence that his niece has killed at least two people, but he covers it up and even kills to protect her, all so he can get the chance to aardvark with this little arachnophile. Guess what? She's not having it. Oh yeah - Walter was also sleeping with her mom and helping her plan to murder his own brother. Whew!

You kind of have to love a movie where a little girl kills an entire VW worth of teenagers at the drive-in. This movie checks almost all the boxes for our site: murderous children and animals gone wild. If only there was an acid sequence, a Satanic ritual and George Eastman dressed as a big hairy tarantula.

Writer and producer Daniel Cady would go on from this to write and produce several adult films, such as Soft Places, Reflections and Tomboy under the name William Dancer. He also produced the regional shocker Dream No Evil.

Director Chris Munger would also direct Black Starlet and The Year of the Communes, a documentary narrated by Rod Steiger.