Given the overly-familiar nature of many low budget films, anything which comes up with an idea that’s at all novel should be congratulated. The Captive (which was also released as Armistice) deserves some credit for trying something different.
There’s no questioning the ambition of Automata – after all, this is a largely European production which is attempting to beat big budget US science fiction films at their own game
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.
Mario Moroni made two films during his long career in Italian cinema, both of them are authentic poverty row efforts of little critical or aesthetic value. But as nobody else is deranged enough to waste their time examining his work, it seems like an appropriate job for The WildEye…
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.