Phenomena (1985)

MAY 17, 2008

GENRE: GIALLO, ITALIAN, SUPERNATURAL
SOURCE: DVD (OWN COLLECTION)

Ah, Phenomena. My introduction to Italian cinema! Of course, by that I mean I saw Creepers, the severely edited US version of Argento’s film. I believe my mom rented it when I was about 6, because it had the girl from Labyrinth in it (occasionally known as Jennifer Connelly), and assumed I would enjoy it (not as much as I would when I hit the age of 11 or so and realized that Connelly was in fact one of the hottest women in the world). As a kid I remember being completely confused by the film, and thus “hated” it. I watched it again when I was about 17, this time the correct 108 minute version, and liked it a lot, and decided to start watching more Italian horror, which is how I came to see Demons and Zombie (and thus got introduced to Lamberto Bava and Lucio Fulci). So now, once again 11 years later, I watch it again as a sort of seasoned veteran of the output of one Dario Argento.

And it still holds up. The kill scenes are grand (if a bit jarringly edited at times, such as the beheading at the beginning), the plot is a nice blend of the usual black gloved killer stuff with the rather odd “Insect ESP” angle, and Donald Pleasence is, as always, a delight. I also quite much liked the monkey (why couldn’t she have gotten into the house in time!?!?!? :(), and the killer is one of Argento’s most memorable nuts.

The opening scene is a particular delight. In addition to being set in a location that looks a lot like the one in the climax of Opera (still my favorite Argento film), the credits reveal that none other than Giorgio Armani was the costume designer. You always hear about big actors who have horror movies in the early parts of their filmographies, it’s amusing to know that the same goes for fashion designers. His costumes for Connelly are much appreciated (she spends most of the film in a nightie. Fine by me.).

Ironically, I think it would be even better if it was edited down a bit. New Line (who distributed the film in the States) had the right idea, they just went overboard. For example, there’s a scene in an asylum that is among the most useless scenes in film history. All it does is foreshadow (rather clumsily to boot) the backstory that the killer is about to reveal herself anyway. An extra line in her exposition could have removed the ‘need’ for the scene entirely (I say ‘need’ because, as far as I’m concerned, we don’t need to know how the killer came to have a son anyway). This sequence comes after the film’s most annoying scene, where a body is wheeled out of a house, set to an Iron Maiden song. It is completely inappropriate to the scene, which is followed by a scene of Connelly running around (also useless). Without this entire chunk of the film, not only would it be shorter, but simply less “huh?” worthy.

There’s also a completely odd moment early on where the film suddenly has a narrator. He never says another thing in the film, and in fact his one line is pretty useless anyway, since he’s narrating action that wasn’t hard to follow anyway (he essentially says “And so Jennifer arrives at school”, over a shot of Jennifer arriving at school.). The movie has a knife wielding monkey, an insect trying to arouse Jennifer Connelly, etc... but nothing really made less sense than the use of a narrator here.

Another puzzling moment occurs about an hour in or so. Connelly is on a bus, using a fly to determine where the killer lives. When she gets off the bus, we see a guy sitting in the front row suddenly stand up, walk to the back of the bus, and shut the window next to the seat Connelly just vacated. Huh? Even for Argento, these things are a bit baffling.

(I just checked the IMDb, I guess there’s a scene where a woman asks her to shut the window that was cut, but why cut the setup and leave the punchline? And it looks like a dude shutting the window anyway. And even if not, she’s on the other end of the goddamn bus!)

Still, a damn good film, and one of the better introductions to Argento one could offer. It’s not as strange as Suspiria or even Opera, nor is it as completely accessible as Trauma or some of his newer films, which might give someone the idea that an Argento film is of complete and sound logic. A nice sort of hybrid, with the bonus of an incredibly cute and yet then-underage Connelly, which makes you as the viewer feel as creepy as you are creeped out.

The DVD is pretty packed compared to some of the other Argento films in the set. In addition to a commentary that’s worth listening to (since Argento is on it, plus Claudio Simonetti!), there are two music videos, which are interesting as both are instrumental songs. There is also the traditional interview with Argento where he discusses the film (he says it’s his favorite), and another making of piece that is, for some reason, half dubbed, half subtitled. I would have liked a bit about the alternate, 82 minute version, but oh well.

On a side note – did anyone besides me think that the girl who first taunts Connelly in the film’s big Carrie ‘homage’ was Coralina Cataldi-Tassoni?

What say you?

Read more »

Argento, Giallo, Italian, Supernatural,

{[['']]}

Torso (1973)

FEBRUARY 17, 2008

GENRE: GIALLO, ITALIAN

SOURCE: THEATRICAL (REVIVAL SCREENING)

One of the more common complaints about Grindhouse was that the double feature may have worked better had Planet Terror come AFTER Death Proof instead of before. Since Planet was such an adrenaline rush, it made DP seem "slow" in comparison. So it was a good thing Eli Roth was wise enough to show Torso before Pieces, since Torso IS indeed a slow film and building up to the incredibility that is Pieces was the right thing to do.

Torso is similar to Pieces, in that it's kind of a terrible movie made incredibly good by the sheer batshittedness of it all. But whereas Pieces almost never slows down (when there's a lull in the killings they simply have an attack by the college's "Kung Fu professor"), Torso takes its time, offering very little action in the first hour before a rousing and even somewhat shocking final 20 minutes.

I'm not sure if this was a cut print or not (it was certainly in bad shape), but if not, Torso must be the least violent/gory Giallo film ever. Many of the kills are off-screen entirely, and even the on-screen ones are fairly tame compared to the other films of the era (even ones older than this, such as Bava's Kill Baby Kill). I meant to ask Eli Roth, but I opted to make Mother's Day references instead (I am SO EXCITED for Wednesday's screening of that film).

In fact, most of the movie is simply people leering at each other. Literally every 30 seconds there is a shot of someone looking at someone who is looking at them with a sinister face. Some are reasonable, but at one point a woman somehow senses a guy watching her from down a hill, seemingly a mile away. If you cut all of the looking out, the movie would be about 12 minutes long.

So what's good? Well, the batshit dialogue, as always. One scene begins with a bunch of guys sitting around talking about our heroines; one says "They don't seem to be very politically aware." His friend responds "So what, I'd like to get with all three of them!" Charming. The plot also relies on continual confusion between a scarf that is either red over black or black over red, and this difference is explained at least three times. There's also a guy who looks like David Copperfield, and a brief lesbian scene that comes and goes out of nowhere.

As mentioned, the finale pretty much makes up for a lot of the film's shortcomings. After killing three of the female leads in one swoop (offscreen again, though at least this is used for shock reveal to the surviving girl), the Final Girl does the old "slide a newspaper under the door to catch the key" trick. But she misses, the key falls to the floor. Then, the killer reaches into frame and puts the key on the newspaper for her! It's so delightfully painful to watch it go from hope to despair to false hope... genius scene.

I would be remiss if I didn't mention the "can scene". For reasons never explained, one scene is shot from the point of view of a tin can on the ground. We see the can, and hold on it, as a group of locals walk around talking about the girls. One guy kicks the can, and it rolls over near the killer. The killer walks off with his new information about the girls, and we stay with the can. It's hilarious.

Like I said, this was part of the Eli Roth festival, and I am pretty sure that if I watched this one by myself I would be bored even by the stuff I mentioned as good. It's amazing how much the crowd's spirit can add to the enjoyment of a film, and I would strongly urge anyone who thinks that they can replicate the theater experience in their home by spending thousands of dollars on a system to first fuck themselves and then head on over to their local revival house on a night that is showing a cheesy film like this (or even a genuine crowd-pleaser like SLither) and see how much they are missing. Plus, in addition to a sort of "Movie Internet Site Powerhouse" (my row included delegates from CHUD, Aintitcool, JoBlo, ShockTillYouDrop, and, obviously, Bloody-Disgusting), the crowd included John Gulager, Edgar Wright, Sage Stallone, and even the guy who plays Superman on Hollywood Boulevard. No special seating, no VIP treatment, everyone there just has a good time together. Pieces is too good to never watch again, but Torso? Watching it anywhere but a theater full of appreciative fans would just be pointless.

In short, the sound system and maybe even the size of the screen may be "better" at your home, but those things are nowhere near as important as the crowd factor of a real movie theater. Please support your independent theaters, because when it comes to these types of screenings, there is nothing in the world that is as stupid as saying "Why go see a movie I have at home?"

What say you?

Read more »

Exploitation, Giallo, Italian,

{[['']]}

Tenebrae (1982)

OCTOBER 2, 2007

GENRE: GIALLO, ITALIAN

SOURCE: DVD (ONLINE RENTAL)

I think I’m about halfway through the Dario Argento filmography now, thanks to Tenebrae (aka Unsane). Also, I’ll use this space to point out I will be adding more tags so folks can find a collection of reviews more easily. I have added Chilling Classics, and now that I have about a half dozen, I’ll be adding “Argento” as well. Hurrah!

This one’s sort of similar to Deep Red, except the main guy is a novelist instead of a musician. And it’s a lot more coherent. In fact, this may be the most logical and accessible of Argento’s films (at least of the ones I’ve seen). The murders aren’t overly graphic (the victims even seem to have skeletons for once), there aren’t too many “Huh?” moments, and there’s even a relative lack of nightmare scenes (the few that we do see are actually flashbacks of a sort). Granted, there are a few things that require the characters to do things for no reason (like when the main character puts his bag down at the airport and walks away), but that’s nothing compared to the utterly baffling nature of something like Phenomena (aka Creepers). The strangest moment in the film is probably when John Saxon, apropos of nothing, demonstrates how stable his hat is by sort of headbanging. There’s also a delightful scene where Saxon laughs at some guys fighting in the background (something that occurs a few times in the film – there’s almost as much background violence as there is murder scenes). Good to know ol’ Chief Thompson enjoys other folk’s misery.

I watched the English dub, which was quite good (I’m pretty sure most of the actors were speaking English). The only time the Americanization is ever evident is in the first scene, where the killer is reading a book that is written in Italian, yet magically translates to English for close-ups. Also, in this scene, Argento demonstrates that when he speaks English, he sounds like David Warner (though maybe this isn’t Argento’s voice, he says it is but maybe he means the Italian dub version).

As always, the music by Goblin (not actually called Goblin here for some legal reason I can’t recall) is fantastic. Hilariously, the characters seem to like it too, as one of them is actually listening to the score on her record player at one point. Another character even yells “Turn it down!” OK, so maybe the movie is a little weird.

The commentary is pretty great, despite the usual gaps I’ve come to expect on an Argento track (since it’s always been like 15 years since he last watched the movie). “She was kind of a whore, right?” someone comments about a particular actress, “A bitch?” And they all get confused at the pop song placed over the credits, which none of them are familiar with, leading to the otherwise unheard of extra feature “Alternate End Credits” which features the song they got so miffed at (as the DVD producers went back and put the right song in for the feature after Argento complained). DVD is not anamorphic, but otherwise it’s a nice little package. But apparently, out of print, hence the lack of an Amazon link. Figures. A rare movie I not only recommend to fans but non-fans as well, and I can't help you buy it. Yet, goddamn Fright Club is easily located for sale! Fuck you, whoever invented moratoriums.

UPDATE: Anchor Bay has re-released the film. Woo!

What say you?

Read more »

Argento, Giallo, Italian, Video Nasties,

{[['']]}

Trauma (1993)

AUGUST 12, 2007

GENRE: GIALLO

SOURCE: DVD (ONLINE RENTAL)

You gotta wonder what family gatherings are like at the Argento home. Stendhal of course had Dario directing his daughter being raped, and in Trauma, when she was only like 16, he’s got her nude in one scene, and making out with a guy 2x her age in another. He also is apparently confused as to where the vocal chords are located in the human body, as no less than 3 disembodied heads are seen talking in an otherwise realistic movie. What the hell’s with this guy?

Oh but I love him so. Like almost all of his films, I enjoyed every minute of it, even when I hadn’t a clue as to what was going on (why the dream sequence with Asia breaking a VHS tape?). There’s a bit with a little kid who you think is going to decapitate himself that ranks as one of my favorite bits in his modern career, the only disappointing aspect is that the kid doesn’t go all the way, as it were.

This one is a lot like Deep Red at times, but that’s a good thing, since that’s one of his best. I’d rather be reminded of Deep Red than, I dunno, Jenifer (“Hi, I’m Steven Weber, and I’m gonna write myself into a movie where my character is constantly getting blown”). There’s also a lot of moments that made me laugh out loud, like when a pharmacist punches a guy out for trying to fake a prescription. I think the world would be a better place if more pharmacists dealt out their own unique brand of justice.

Also the motive behind the killer’s… killings (look, YOU write 200 horror movie reviews in as many days, see how witty you get), is pretty goddamn disturbing and awful. Expectant mothers should decidedly NOT watch this film. I would even go so far as to say it’s the most genuinely horrifying thing I have seen in a horror movie in ages.

The Anchor Bay DVD has a good collection of extras as well. A 20 minute ramble from Argento about his experience on the film, some behind the scenes stuff of Savini at work, and a commentary by Alan Jones that is similar to the Tim Lucas ones on the Bava films, except he sounds like he actually wants to be there (unlike Lucas) and occasionally offers some wonderfully random asides (“I saw Demons with Clive Barker, who looks terrible nowadays”).

Dario, if you’re reading this: Not that I ever totally understand any of your movies, but this in particular troubled me: Why the ending with the reggae music and dancing girl?

What say you?

Read more »

Argento, Giallo,

{[['']]}

The Stendhal Syndrome

AUGUST 5, 2007

GENRE: GIALLO, ITALIAN
SOURCE: DVD (ONLINE RENTAL)

Argento and Troma, together at last! I love that I live in a world where Alone in the Dark has two DVD releases and yet a film from one of the greatest horror filmmakers of all time has an introduction that includes Lloyd Kaufman pushing Toxic Avenger 4 and almost falling into a subway entrance.

Yes, for whatever reason, Argento’s mid 1990’s film The Stendhal Syndrome couldn’t get a better distribution than Troma, who has given the film, in addition to the usual Troma bullshit you have to suffer through on all their DVDs, the absolute worst video transfer I have ever seen for a relatively new film.

Having apparently been left out in the sun and bathed in milk, this transfer is an abomination to the AV world and an insult to Argento. I can overlook the lack of an anamorphic transfer, but not the fact that all of the blacks look a yellow-ish gray or that there is absolute no detail in anything on screen. It basically looks like a VHS bootleg. Granted, it’s not one of his best films, but no director, least of all a true master like Argento, deserves to have their film shown in such a manner. Luckily, Blue Underground is re-releasing the film this fall (that's the version in the Amazon link, for the record); hopefully the transfer won’t be such an ocular affront.

The extras are nothing to write a blog paragraph about either. Despite being billed as a “Special Edition”, most of the extras are about Troma, not the film (or none of the above: “Ruggero Deodato remembers Cannibal Holocaust” - ??? That movie’s not even a Troma release!), and the two that actually do pertain to the film are poorly shot and edited. Whatever.

The film itself is OK. The story is fine, and the Ennio Morricone score is phenomenal, but as a whole the movie is a bit overlong. Also, one can’t help but be distracted that the director’s daughter Asia is in the film, playing a character who gets raped twice. What the hell did they talk about on the set? “Hi Dad, what are we filming today?” “You, crying, while you are being raped.” “OK, sounds good, don’t forget today is Mom’s birthday.” It’s just odd.

I was disappointed that the titular syndrome wasn’t used very much in the film after the first half hour. I find it to be a pretty fascinating affliction (and it’s real) and I think more could be done with it, instead of the rather bland gender reversal motifs that make up most of the film. As someone who suffers from a few odd syndromes himself (such as benign fasciculation syndrome, which causes certain muscles to randomly and rapidly contract, or twitch, for hours or even days on end), I would like to see more horror films use random diseases as a backdrop. I bet Wes Craven could make a great movie about carpal tunnel.

Also I should note, as every other review of this film does, that this was the first Italian film to use digital effects. It shows.

What say you?

Read more »

Argento, Giallo, Italian,

{[['']]}

Bay Of Blood (aka Twitch Of The Death Nerve)

JULY 24, 2007

GENRE: GIALLO, ITALIAN
SOURCE: DVD (ONLINE RENTAL)

What do you call it when you’re watching a movie that’s not exciting you that much and you start to wish you were watching another movie from the same director only to find out later that they were both the same movie? There’s gotta be a Sniglet for that.

Such was the case with Mario Bava's Bay of Blood. Once it became clear it wasn’t as great as I heard it was, I began to wish I had rented Twitch of the Death Nerve instead, which I thought was a different movie. Turns out they are the same. In fact, Tim Lucas (who provides those awkward commentaries on the other Bava films I have watched, like Black Sunday) has declared that this film has more titles than any other in history. I don’t doubt it.

I think part of why I was left underwhelmed by the film was due to the god awful presentation it was given on Simitar’s DVD. Not only is it non-anamorphic, it’s not even centered on the screen correctly, so zooming in to make up for the lack of anamorphisity results in some of the top being cropped off and a thin black line still visible on the bottom (sometimes. The film also shifts around on the reel switches). Plus the audio is possibly the worst ever committed to DVD. Even the Mill Creek releases sound better. I had to turn my receiver up to -4 to hear the film. I usually have it around -20, and that’s with the AC going (which was not the case today). And I still had trouble making out some of the dialogue.

And look at this fucking main menu! It looks like it was designed by Miauk. At first I thought the disc had gweeped and was showing me multiple menus at once. Seriously, this disc isn’t worth the urine I sprayed all over it once I finished watching the film. The film may be far from perfect, but it at least deserves a respectable transfer.

The other thing that kept me from loving the movie (I’m guessing it will grow on me, since there was nothing technically BAD about it) was that there was something like 23 killers. For a movie that inspired so many slasher movies (particularly Friday the 13th), I was expecting one or maybe two killers, tops. But I think every character in the film (except for the four random teens who show up and get killed in scenes that were later stolen outright in F13 sequels) kills another one at some point. I kept thinking about that one ending of Clue where Tim Curry reveals himself to be Mr. Body and that everyone else killed the wrong guy.

Gotta love the ending though. The final people (except for a guy named Ventura who just disappears mid-scene) are celebrating their victory, only to be suddenly shot to death by their children, who think it’s all a game. Hahahaha excellent.

Anyway, if you haven’t seen it yet I strongly urge you to wait until a proper DVD release is available. There is no reason anyone should support Simitar by purchasing the piece of shit they released.

What say you?

Read more »

Giallo, Italian, Video Nasties,

{[['']]}

Stage Fright (aka Deliria)

JULY 6, 2007

GENRE: GIALLO, ITALIAN
SOURCE: DVD (ONLINE RENTAL)

You may have noticed that many of my writeups begin with little anecdotes about how I came to watch the movie, or maybe some thoughts on my pre-conceived notions of the film, or sometimes just a totally random and pointless aside about a ham sandwich I particularly enjoyed. In Stage Fright’s case, I have a few! Which is a good thing; I don’t have much to say about the movie itself.

About a hundred years ago or so, or maybe just six, I took part in the production of a short film that was designed as an homage to Stage Fright. My good friend Joe Canistro was the writer/director, and another good Joe, Pasciscia, was the DP. I forget what exactly my job was, probably editor. I just remember hanging around the set (Joe’s house) and yammering on about movies. And one night a few of us went to see Ghosts Of Mars, aka the worst Carpenter movie ever. That’s the sum total of my memories of that entire summer actually. I was drinking a lot.

Sadly, the film was never completed. I forget if everything was filmed or not, but the dude with all the footage has yet to give it to anyone (i.e. me) to edit, despite repeated promises for the past 98 (five) years or so. Oh well.

Now, during the production of this unseen masterpiece, I borrowed the real film from Joe, on a format known as VHS. A VHS tape was a giant black brick that you put inside an equally giant machine, where it would proceed to eat the damn thing, though occasionally it would not, allowing you to watch a film. Each time you watched it, the quality would degrade. Why we didn’t just use DVDs, I don’t know. But all I know is, that tape is still sitting, unwatched, in my room (and I’ve moved like 3 times since then). Look Joe, if you’re reading this: at this point it’s safe to say that you’re not getting it back. Sorry.

But I watch… yeah yeah yeah. Anyway, I had it in my queue on Netflix for awhile, but it was always “short wait” or whatever. It finally came a few weeks ago, but the disc inside was some noir film from the 50s that had the same name. I’m sure it’s a good film in its own right, but goddammit, when I rent an Italian giallo, I want an Italian giallo! Or a porn.

So I had to send it back and wait AGAIN for it to arrive. Which it finally did today, and I figured I owed it to myself, Netflix, and certainly Joe, to watch it ASAP. Did it live up to 6 years of half-assed interest?? Yes! While not a bad film by any means, it was just very by the numbers for the most part. Granted, it came before some of the films it reminded me of (particularly Opera) but that’s neither here nor there.

The killer’s getup is pretty amazing – regular shirt and pants, GIANT OWL HEAD. Watching him run around with a chainsaw near the end is possibly one of the most terrifying images I’ve seen all week, especially if you look at it as a metaphor for all the deforestation action, which of course it is not, in any way, shape or form.

Giovanni Lombardo Radice (misspelled in the credits as John Morghen) plays a flamboyant man named Brett. NON-SPOILER: Radice gets killed. Shocking. You know, I’d like to see a film where Radice faces off against Lance Henriksen, another actor who has never seen the end credits of a film in which he appeared. It would be the most suspenseful scene in film history.

The music in the film is fantastic, the main theme sounds like Jim Steinman’s song "Nowhere Fast" (from Streets of Fire, the finest Michael Paré film of all time, with the added bonus of Diane Lane in her prime) mixed with Hall and Oates’ "Maneater". I know I said “fantastic” when any logical person would declare that that sounds awful, but you gotta trust me. Also, the play that the people are putting on is vastly more entertaining than the film itself. The story, such as it is, is apparently about a guy in an owl mask who rapes and kills singing hookers. I would pay upwards of 12 dollars to see some bright spark actually turn this play within a movie into a real play. Christ, I saw a stage production of Donnie Darko once, it would at least be better than that.

(Seriously, Donnie Darko: The Play. It was in a basement in Cambridge, MA. “Hey, let’s make a no budget play based on a shitty movie with a lot of effects!” Genius. Why not turn Star Wars into a one-woman show while you’re at it?)

Anyway, in short; though the actual movie is nothing special, it’s got some great superfluous stuff, and follows the fine Italian tradition of skeletonless characters, so: recommended.

What say you?

Read more »

Giallo, Italian,

{[['']]}

The Girl Who Knew Too Much (aka La Ragazza Che Sapeva Troppo)

JULY 4, 2007

GENRE: GIALLO, ITALIAN
SOURCE: DVD (OWN COLLECTION)

It’s almost charming to watch a film with simple explanations for possible plot holes. Such is the case with Mario Bava’s The Girl Who Knew Too Much, which many consider to be the first giallo film (but really is more of a Hitchcockian thriller, as most of the deaths are offscreen).

Halfway or so through the film, the American heroine (the incredibly beautiful Leticia Roman) gets scared in the house she is staying in, and decides to put some talcum powder on the floor and then wrap string around the furniture in order to trip any would-be intruders (she got the idea from a murder mystery book). Now, no one would possibly give a shit about this, but the narrator takes the time to point out that the killer probably doesn’t read those types of books, but even if he did, this particular one was just released in the States and thus wouldn’t have been translated into Italian yet, therefore he wouldn’t be aware of her ruse. LOVE IT.

(We can ignore the fact that she wraps so much string around the place that even the killer was an illiterate, he’d also have to be blind, dumb, and possibly dead entirely to not notice it.)

The only real flaw in the film is that the killer is pretty obvious right from the start, because she literally appears out of nowhere, introduces herself to the heroine, and then insists the girl stays in her house while she is out of town. Even if there weren’t any unsolved murders in my life, if someone came up to me and said “Hey I’m Billy, we have a mutual friend, want to live in my house for a while?” I would call the cops immediately. At least, after I checked the place out. If it had central air and decent water pressure in the bathroom, I’d probably take my chances.

Actually, it seems pushy strangers are just everywhere in Italy. John Saxon practically forces her to go sightseeing with him, and in the first scene, a guy next to her on the plane all but shoves a cigarette into her mouth. “May I offer you a cigarette?” “I have some” “No, I insist, take the whole pack!” Wow! In the next scene we learn they are laced with marijuana, and the subplot goes away until the very end, when the girl wonders if everything that happened was in fact just a hallucination. Lady, you took like two drags from a standard joint, I highly doubt that resulted in a week long ‘trip’ where you imagined you were in a Hitchcock movie (though it would certainly explain why she covers the entire fucking house with string. Seriously, shit looks like Shelob came through on her way to fuck with Samwise).

But I dug the film. Since it’s in black and white, Bava’s usual lush color palette is obviously missing, but otherwise this is a solid thriller. Unfortunately, like some of his other films, it has been “homaged” so many times you may feel like you’ve seen it all before, but that shouldn’t be a detraction. Since the box set (5 films, including previous Horror Movie A Day entries Kill Baby Kill and Black Sunday) is readily available for 20-25 bucks, fans should definitely pick it up and see where a lot of genre standards began.

What say you?

Read more »

Giallo, Italian,

{[['']]}