Considering that the world and it’s dog (and even the dogs favorite stick) are bored to tears with Nazi zombie films, Fallen Soldiers does a neat trick by giving us, well… Napoleonic zombiesRead More
The short burst of 1960s ‘Sandokan’ films, based on Emilio Salgari’s most famous literary character, commenced with Umberto Lenzi’s Sandokan the Great (Sandokan, la tigre di Mompracem) in 1963. It proved enough of a moneymaker to spawn two unofficial sequels, produced by Ottavio Poggi for Liber Films and directed by Luigi Capuano, the first of which was Sandokan Fights Back.
Darkest Day answers one of those burning questions that’s at the heart of so many horror films today: what could possibly be worse than a global apocalypse?
It’s not often you come across the Etruscans in Italian films. There were a couple of giallos (The Etruscan Kills Again (72) and Murder in the Etruscan Cemetery (82)), but considering they were a civilization with a very distinct – and often macabre – set of beliefs, it’s surprising that they haven’t been used as cinematic source material more than they have.
At some point in the mid 1970s, narrative became king in cinema. The lyrical, semi-improvised and let’s be quite honest self-indulgent European art cinema made way for more muscular, focused productions from the likes of Scorsese and Coppola.
Reich of the Dead is an Italian take on the nazi zombie format directed by genre specialists Luca Boni & Marco Ristori (their previous credits include Eaters and Zombie Massacre, to which this is sometimes marketed as a sequel despite having nothing to do with it at all).
Across the River is very much a rural horror film, and it also happens to be one of the very best Italian genre releases for many a year (not, in all honesty, that there’s much competition).