Last of the Badmen is a bit of a favourite of mine, and shows George Hilton at his best with a performance that seems to encapsulate the intriguing divisions within his acting persona.
In many ways The Sweet Body of Deborah can be seen as an archetypal pre-Argento giallo. The motivating factors are greed, lust and hatred rather than pseudo-psychological disturbance.
Here’s another entry in the ‘batty biddy’ cycle of films (see also the recent Italian production The Butterfly Room and, of course, the great grandmummy of them all, What Ever Happened to Baby Jane?).
One of the most positive developments in the world of cinema over the past few years is the resurgence of the western genre. At one point last year cowboys seemed to be literally falling out of the sky: Slow West, Salvation, The Dark Valley, The Hateful Eight and so on.
Suave, milk-drinking Bronson Terrail (George Hilton) arrives in town and immediately challenges the local cardsharp Lucas (George Eastman) to a game of poker. Much to everybody’s surprise, he wins.
British ghost stories tend to break down into two basic types. On the one hand, you have your ‘gothic’ haunted house horrors, which are generally set in enormous country piles and often – although not always – in the past.