The Playgirls and the Vampire is a modest, but rather agreeable, entry in the Italian Gothic canon. Released in the same year as Mario Bava’s superlative Black Sunday, it has none of the bravado (or perverse undertones) of that production…
While King of the Mountain doesn’t offer anything particularly new, it does what it does with some skill and easily competes with the many similar films being made in the English speaking world.
Every so often a low budget British film comes along which manages to confound expectations; they get decent reviews, but at the same time cricits hold back on their praise because these are not films made in the Mike Leigh / Ken Loach / retro kitchen sink tradition.
It’s been a while, but I’m finally ready to announce that a new WildEye publication is on the way! In the Name of the Law – Italian Crime Films from 1945 to 1969 is the third WildEye book
Based on a novel by Robert Sheckley, The Tenth Victim represented a marked sea change in Elio Petri’s oeuvre. Gone was the low key, wry approach of his former films: this is a brash, colorful production that exudes extravagance from it’s every pore.
Trees. They don’t have a auspicious role in the history of horror do they. Sinister and creepy as they might be, on the big screen they don’t really seem, well, all that frightening.
Back in the early 1970s, Alessando Perrella was one of those actors who popped up in just about every other cheapjack spaghetti western that was made