If there’s one thing that the makers of The Scopia Effect can’t be accused of it’s a lack of ambition. Whereas most low budget science fiction films try to make the most of their limited resources by reducing their scope – relying on a small number of characters and settings – this does something rather different
“I could kill to get me a pretty woman, but not for money…”, a line which could well have been an epitaph for George Hilton, who displays his trademark easygoing charm in this likable oater with a technical crew that reads like a ‘Best Of’ compilation.
One of the more notable features of Italian horror films in recent years is just how unpleasant they have become. Not just in terms of the production values, which are often, how to put it… raw. But also in their subject matter: there seems to be a concerted focus on extreme violence and, more particularly, extreme sexual violence
It’s been a couple of years now since I published In the Name of the Law, my book about Italian crime films prior to the poliziotteschi trend, but here’s a little bit of content I wrote for it which never made it into the final cut… my top ten Italian crime films made between 1945 and 1969.
This was the first in a number of collaborations between George Hilton and director Giuliano Carnimeo (if one excludes the uncertain input that Carnimeo had in I due figli di Ringo, that is). An exemplary example of the wheels-within-wheels school of scriptwriting…
There’s been a bit of a resurgence in British werewolf movies recently. Over the past year or two we’ve had the likes of Howl and Blood Moon, both of which were reasonably effective, and Silverhide, which quite frankly is not.
There’s more than a hint of Pupi Avati about La casa nel vento dei morti, the 2012 release directed by Francesco Campanini. It’s not just the title, with it’s deliberate echoes of La casa dalle finestre che ridono…