Murray's love of exploitation films and sensational subjects proved a perfect formula for selling his Mexican horror acquisitions. Aside from films like The Brainiac and other legitimate classics such as El vampiro and Witch's Mirror, Murray's theatrical showings included Muñecos infernales / The Curse of the Doll People (1960); The Robot vs. The Aztec Mummy (1957) plus its sequel Wrestling Women vs. the Aztec Mummy (1964). He also churned out two of the most popular wrestling imports, Samson vs. the Vampire Women / Santo contra las mujeres vampiro, (1962) and Samson in the Wax Museum / Santo en el museo de cera(1963), a perfect pair of showcases for Santo, one of Mexico's most beloved masked wrestlers. Working out of Coral Gables, Florida, Murray oversaw the rewriting and overdubbing of all his imports at a tiny studio called Soundlab Inc., which was, in fact, one of the first facilities in the U.S. to focus effectively on reworking foreign films for English-speaking audiences. Meanwhile, back in Mexico, director René Cardona had covered nearly every genre imaginable as a writer, director, and actor. In 1969 he tore into horror anew with Night of the Bloody Apes (also known as La Horripilante bestia humana). The Americanized dubbed version of Cardona's cult film boasts genuine footage of open-heart surgery, occasionally hilarious betrayals of the movie's minuscule budget (including fake grass that moves when stepped on), and some genuinely harrowing violence. Throughout the 1970s, American horror films evolved in new directions and shattered virtually every conceivable taboo on screen. This was a relatively dormant period for Mexican scare fare. The young Guillermo del Toro spent those years awash in horror cinema from all over the globe. After helming two lauded shorts, Doña Lupe (1985) and Geometria (1987), along with multiple episodes of the horror TV series La Hora Marcada, del Toro rose to prominence with his international arthouse sensation Cronos (1993), a tale of a cursed antique device and its demonic promise of eternal life. Since then, the Guadalajara-born del Toro has interspersed the Hollywood blockbusters Mimic (1997), Blade II (2002), and Hellboy (2004) with the Spanish-language The Devil's Backbone (2001) and Pan's Labyrinth (2006). Along with Texas native Robert Rodriguez, whose From Dusk Till Dawn (1996) ignited a new fascination with Aztec mythology and blood rituals, Guillermo del Toro is serving to keep Mexican horror cinema alive. List of Mexican horror films Dos monjes /