Given the complete lack of any images of this film, here's a picture of dapper George Hilton in more recent years

The Black Pirate

Aka Il corsaro nero nell’isola del tesoro 1965 Seven Film, S.P.A Director: Dean Vert [Vertunnio De Angelis] Story: Dino Sant’Ambrogio Screenplay: Aldo Barni [Aldo Barui] Cinematography: Antonio Belviso {Eastmancolor} Music: Felice Di Stefano Editor: Mariano Arditi…

Julian Glover almost makes watching Nazi Vengeance worthwhile

Nazi Vengeance

I would really like to give a positive review of Nazi Vengeance, after all it (a) doesn’t despite the title, feature yet more zombie nazies (zombezies), which is a good start and (b) it was filmed almost dead on my doorstep.

Ugo Tognazzi ddisplays his meat in Property Is No Longer Theft

Elio Petri: Property is no Longer a Theft

If The Working Class Goes to Heaven was a pretty idiosyncratic affair, Elio Petri’s next film, Property is no Longer a Theft (La proprietà non è più un furto, 73) is simply bonkers.

Amy Comber in Low


Low is a fairly good example of the recent micro-budgeted horror films which have recently been springing up in the UK. Good in that it exemplifies many of their strengths and failures, and good in that it’s one of the more interesting and better made of its type.

Nuot Arquint plays your average Joe in Tulpa - Perdizioni mortali

Tulpa – Perdizioni mortali

Tulpa – Perdizioni mortali is another in the series of ‘yeah, it’s OK but…’ giallos released in Italy over the last decade or so, this time out directed by Federico Zampaglione of Shadow

The Drummond Will

Drummond Will, The

The Drummond Will is a comedy thriller that taps into the ambiguous relationship that we have with the countryside in Britain, throwing in a little bit of the Coen Brothers and a large dash of Withnail and I for good measure.

Shadow, directed by Federico Zampaglione


Shadow is one of the better Italian horror films to have emerged over the past few years. Within the context of a genre that is now generally characterized by stilted acting, implausible dialogue and an over-indebtedness to past glories it scores points for being modern, well made and believable (if not realistic).