So silent. So deadly. So final.

The mid-1970s horror market was awash with low-budget genre experiments, and Kiss of the Tarantula, directed by Chris Munger, fits neatly into that mould: a small-town thriller with a pulpy premise and an uneven execution. It’s a film that teeters on mediocrity for most of its runtime, but one that manages, almost unexpectedly, to crawl toward something far more compelling in its closing act.

The story follows Susan Bradley (Suzanna Ling), a troubled teenager whose closest companions are her pet tarantulas. Bullied, misunderstood, and scarred by childhood trauma, Susan turns her eight-legged friends into weapons, unleashing them on those who cross her. It’s a deliciously pulpy set-up—revenge served on a platter of fangs and venom—but the execution is too often sluggish, bogged down by pedestrian pacing and flat staging that sap the film of its potential bite.

For much of its runtime, Kiss of the Tarantula plays like a TV movie stretched too thin: the dialogue feels stilted, the performances serviceable but uninspired, and the horror largely tame. The spiders themselves are often more a novelty than a source of genuine terror, filmed with a kind of clumsy reverence that undercuts their menace. The film seems unsure whether it wants to be a serious psychological character study or a campy exploitation piece, leaving it stranded in the middle ground.

And yet, in its final act, something shifts. The atmosphere thickens, the tension sharpens, and the climax pays off with a burst of lurid energy that the preceding hour sorely lacked. Susan’s descent reaches a grim inevitability, and the film finally embraces its morbid premise with conviction. It doesn’t completely redeem the shortcomings, but it does leave the viewer with a stronger final impression than the slow middle stretch would suggest.

The Prognosis:

As a whole, Kiss of the Tarantula is far from a lost classic. It’s a curiosity, an example of 1970s regional horror that never quite capitalises on its deliciously twisted concept. Still, thanks to its striking finale, it avoids being dismissed outright. Mediocre for most of its length, lifted only at the end.

  • Saul Muerte