Black Sabbath (1963) - News Poster



Tony Cavalero Is Ozzy Osbourne in Motley Crue Biopic The Dirt

Tony Cavalero Is Ozzy Osbourne in Motley Crue Biopic The Dirt
Tony Cavalero is riding the Crazy Train to Netflix, as the actor has been cast to play Ozzy Osbourne in the upcoming Motley Crue biopic, The Dirt. Netflix is currently working on a biopic that chronicles the career of Motley Crue, one of the biggest and most recognizable rock bands of all time. Though Ozzy Osbourne wasn't directly involved with the group, Motley Crue toured with the Black Sabbath frontman on one of their early tours and is going to be included in the biopic.

The Dirt will primarily focus on Motley Crue's rise to fame in the 80s, which was when Ozzy Osbourne was at the height of his powers as a rock n roll icon. Ozzy had his fair share of struggles with alcohol and substance abuse, which also plagued the various members of Motley Crue. So this is sure to be a big part of Ozzy's inclusion in the movie.
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Bono Thinks Music Is Too "Girly" Now, And I Think Bono Should Stop Talking

If you thought we were going to be be able to kiss this awful, dumpster fire of a year goodbye without another set of misogynistic quotes from a misguided celebrity, you thought wrong. Squeaking in just under the wire, Bono sat down with Rolling Stone to give an interview that is, well, actually a very fitting end for 2017 when you think about it. In addition to opening up about his near-death experience, the U2 frontman also discussed why he thinks it's sad that male musicians no longer have an outlet for their rage. And why is that? Well, apparently because women know how to dominate the charts now, too. "I think music has gotten very girly," he said. "And there are some good things about that, but hip-hop is the only place for young male anger at the moment - and that's not good. When I was 16, I had a lot of anger in me.
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Kill, Baby…Kill! – The Blu Review

Review by Roger Carpenter

During the first half of the 60’s Mario Bava created several genuine horror classics that remain high-water marks in the genre over a half century later. Films such as Black Sunday (1960), Black Sabbath (1963), The Whip and the Body (1963), and Blood and Black Lace (1964) either pushed the boundaries of horror or helped to establish cinematic tropes still used in modern horror. Always saddled with shoestring budgets and bad deals, Bava nevertheless remained optimistic in the face of his cinematic struggles. A case in point is the troubled production of Kill, Baby…Kill! which ran out of money midway through the shoot. The cast and crew were so loyal to Bava they worked for free to finish the film—a film, by the way, which only had a 30-page script with no dialogue when filming commenced. Bava had the actors make up their own lines, preferring to resolve
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Horror Highlights: Nitehawk Cinema’s October Programming, Red Christmas Clip, Web Of The Spider Blu-ray

  • DailyDead
Brooklyn's own Nitehawk Cinema has announced their programming guide for October and it includes Mario Bava's Kill Baby, Kill, Black Sabbath, and so much more. Also: check out a clip from Red Christmas before its home media release on October 17th, and we also have details on the Blu-ray release of Web of the Spider.

Nitehawk Cinema's October Programming Revealed: To learn about the October programming at Brooklyn's Nitehawk Cinema, read the details below or visit them online.

“New Horror

We are in the midst of a horror film resurgence. A significant group of contemporary horror films made in the past couple of years is reminiscent of the socio-political classics of the 1960s and 1970s in that they are boldly confronting the terrifying undercurrent of life today. Like their predecessors, these films tackle class, gender identity, and race in a way that shows us both where we are and how far we,
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Blu-ray Review – Kill, Baby… Kill! (1966)

Kill, Baby… Kill!, 1966.

Directed by Mario Bava.

Starring Giacomo Rossi Stuart, Erika Blanc, Fabienne Dali, and Piero Lulli.


In the early 1900s a remote village is cursed by the ghost of a little girl.

Despite the misleading title, Kill, Baby… Kill! is not a slasher or a giallo but is a Gothic chiller in the same vein as Mario Bava’s earlier supernatural works Black Sunday and Black Sabbath. Set in the year 1907 in a remote village deep in the Carpathians the film begins on a dark and gloomy note as a distressed woman appears to throw herself onto some spiked railings and it doesn’t let up as determined doctor Paul Eswai (Giacomo Rossi StuartThe Last Man on Earth) arrives to perform an autopsy. However, as is customary in remote villages with an inn and very little else going on, strangers aren’t taken to very easily
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Kill, Baby… Kill!: Bava’s Beautiful Best

When a filmmaker creates a number of movies that qualify for masterpiece status, it becomes nearly impossible to quantifiably conclude which one stands above the rest as his or her single greatest achievement. We have our favorites, of course, but can any of us really name which of Hitchcock’s films is his definitive best? Or Kurosawa’s? Or Spielberg’s? The same is true of Mario Bava, the great Italian director who made films across a number of genres but who is best known for his work in horror. How does one name a single “best” movie from the man responsible for Black Sunday and Blood and Black Lace and The Whip and the Body and Black Sabbath? It’s like naming a favorite child.

While his 1966 movie Kill, Baby... Kill! isn’t always named as being one of Bava’s best, it absolutely deserves to be part of the conversation and is,
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Shock: Mario Bava’s Swan Song

After nearly 40 years in the business and with 22 officially credited features as a director, Mario Bava made his final feature film with 1977’s Shock, also known to U.S. audiences as Beyond the Door II. Just three years after its release, Bava died of a heart attack. He was 65 years old.

Of all his horror films, Shock feels the least like what we have come to expect of a “Mario Bava movie.” While most of his work has an aesthetic and feel that’s very specific to his sensibilities, Shock seems like it could have been made by any number of the Italian horror directors working at that time. This is probably because, as the story goes, the movie actually was made by another Italian horror director working at the time: Bava’s son Lamberto, who co-wrote the screenplay and is a talented filmmaker in his own right, with titles
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New York’s The Quad Cinema Hosting Massive 21-Movie Mario Bava Retrospective

Back in May, The Quad Cinema in New York celebrated the diverse works of director Larry Cohen, and they're now devoting the big screen to filmmaker Mario Bava in a massive retrospective series featuring screenings of 21 of the influential Italian director's films. Currently underway and running until July 25th, the Bava retrospective is highlighted by 35mm screenings of films such as Black Sabbath and Black Sunday, a 4K restoration of Planet of the Vampires, and much more.

Details on the Bava screenings can be found below, and to learn more, visit the Quad Cinema's official website.

"The Quad celebrates the Italian maestro of the macabre with a near-complete retrospective of his work—21 titles with 13 on 35mm—plus the U.S. Premiere of a new 4K restoration of Planet of the Vampires

Over the course of more than two dozen features, Mario Bava’s distinctive style developed from baroque manipulation of
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Movie Poster of the Week: The Posters of Mario Bava

Above: Us one sheet for Black Sunday (Mario Bava, Italy, 1960).Earlier this week I featured Francine Spiegel and Dylan Haley’s terrific new poster for the re-release of Mario Bava’s Kill, Baby...Kill!, which has been playing at New York’s Quad Cinema in a 50th anniversary, 2K restoration. (Full disclosure: this week I started working for the film’s distributor, Kino Lorber, although I can take no credit for that design.) Today, the Quad follows up that run with Mondo Bava: 20-film retrospective of Bava’s films with many of the films on 35mm.Though Bava made over 30 films in various genres over the course of more than two decades, he is best known as perhaps the greatest stylist in horror, the maestro of the macabre. The posters for his horror films may not always convey Bava’s sense of style (notable exceptions being the French posters
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DVD Review – Caltiki, The Immortal Monster (1959)

Caltiki, The Immortal Monster, 1959.

Directed by Riccardo Freda & Mario Bava.

Starring John Merivale, Didi Sullivan, Gérard Herter, Giacomo Rossi Stuart, Gail Pearl, and Daniela Rocca.


A group of scientists investigating the disappearance of an ancient Mayan civilisation discover a remnant of an alien species that infects one of their crew.

Caltiki, The Immortal Monster is an Italian sci-fi/horror movie from 1959 that is credited as being directed by Riccardo Freda (The Vampires) but features more than a bit of the handiwork of one Mario Bava, the legendary filmmaker responsible for Gothic horror classics Black Sunday, Black Sabbath and the influential giallo Bay of Blood. In it, a group of archaeologists are investigating what happened to an ancient Mayan civilisation that just seemed to disappear. When one of the crew dives in the pool that is situated inside the ruins of the ancient city a blobby alien entity is awakened,
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Seddok, L’erede di Satana (Atom Age Vampire)

Seddok, l’erede di Satana (Atom Age Vampire)

Region 2 Pal DVD

Terminal Video Italia Srl

1960 / B&W / 1:66 flat letterbox / 103 min. / Street Date June 12, 2011 / available through / Eur 6,64

Starring: Alberto Lupo, Ivo Garrani, Susanne Loret, Sergio Fantoni, Rina Franchetti, Franca Parisi, Roberto Bertea.

Cinematography: Aldo Giordani

Film Editor: Gabrielle Varriale

Makeup Effects: Euclide Santoli

Original Music: Armando Trovajoli

Written by: Gino De Santis, Alberto Bevilacqua, Anton Giulio Majano; story by Piero Monviso

Produced by: Elio Ippolito Mellino (as Mario Fava)

Directed by Anton Giulio Majano

Let me herewith take a break from new discs to review an Italian release from six years ago, a movie that for years we knew only as Atom Age Vampire. Until sporadic late- night TV showings appeared, it existed for us ’60s kids as one or two interesting photos in Famous Monsters magazine. Forry Ackerman steered away from adult films, with the effect that
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Drive-In Dust Offs: Planet Of The Vampires (1965)

  • DailyDead
A spaceship heads to a remote planet to answer an Sos. Upon arrival on the fog covered world, they discover an insidious alien race that needs warm bodies to propagate their species. Yeah, I love Alien (1979) too! However, the film I’m referring to is Mario Bava’s Planet of the Vampires (1965), an influential departure for the prolific horror auteur and a gorgeously rendered sci-fi/horror blend.

Now, by no means am I suggesting that Sir Ridley Scott borrowed from Mario Bava (he claimed he never saw Planet beforehand); but I will say that this film also has a giant alien skeleton at the helm of a ship. Regardless of influence (or lack thereof), Planet still plays today due to Bava’s magnificent brushstrokes that drip from every frame.

Planet of the Vampires was also released as (take a deep breath): Planet of Blood, Terror in Space, The Haunted Planet,
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The Future of Horror (won’t be found in the Us)

While horror films have been dominated by American directors and films, most casual horror fans seem to forget that some of the most unique, frightening and innovative horror films spawned from countries other than the Us. Italy of course played a great part in this, bringing forth some of the most innovative directors. Started by Mario Bava (“Black Sabbath” 1963) and Riccardo Freda (“The Horrible Dr. Hitchcock” 1962) in the 60s, who inspired a list of great directors such as Dario Argento (“Profondo Rosso” 1975), Lucio Fulci (“The Beyond” 1981), Michele Soavi (“Deliria” 1987), Pupi Avati (“The House With the Laughing Windows” 1976), Lamberto Bava (“Demons” 1985) as well as the more exploitative cinema of Ruggero Deodato (“Cannibal Holocaust” 1980), Umberto Lenzi (“Cannibal Ferox” 1981)...

[Read the whole post on]
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Fangoria Podcast Network: “The Girls In The Back Row” Go Bold With Bava’s “Black Sabbath”!

  • Fangoria
Fangoria Podcast Network: “The Girls In The Back Row” Go Bold With Bava’s “Black Sabbath”!
On this week’s episode of The Girls In The Back Row, Kate & Tab continue their month-long series on Italian Horror with a look at Mario Bava’s groundbreaking anthology, Black Sabbath! The petrifying pair discuss Bava’s use of lighting and color to change the mood of each segment, the alterations made to the American cut to reduce some […]
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Drive-In Dust Offs: Die, Monster, Die! (1965)

  • DailyDead
By the mid ‘60s, the glory days of Boris Karloff were far behind him. The gentle giant forever known as the screen’s original (and best) Frankenstein monster was relegated to appearing in disappointing quickies that squandered his immense talents. However, there were some twilight standouts: Mario Bava’s Black Sabbath (1963), a couple of animated delights, How The Grinch Stole Christmas! (1966) and Mad Monster Party? (1967), and his dignified portrayal of an aging horror star in Peter Bogdanovich’s debut, Targets (1968). Nestled in between (and often shown the door) was Daniel Haller’s Die, Monster, Die! (1965), an early, colorful, and fun foray into the world of H.P. Lovecraft.

Released by Aip in the Us in October on a double bill with Planet of the Vampires (Bava again), Die rolled out to theatres and drive-ins across the land, but had to wait until February to be released in England under the ghastly
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Mill of the Stone Women (German import)

Mad doctors! Mortiferous maidens! Horrifying hallucinations! A key early Euro-horror and one of the very first in color, this French-Italian production is a medical horrorshow crossed with a folk tale -- its centerpiece is a vintage carillon attraction in an old mill; creepy Scilla Gabel is the minatory seducer who bridges the gap between life and death. Mill of the Stone Women Region A+B Blu-ray Subkultur / Media Target Distribution GmbH 1960 / Color / 1:66 widescreen / 90, 95, 96 min. / Die Mühle der versteinerten Frauen / Street Date June 30, 2016 / Eur 24,99 Starring Pierre Brice, Scilla Gabel, Wolfgang Preiss, Robert Boehme, Dany Carrel Cinematography Pier Ludovico Pavoni Production Designer Arrigo Equini Film Editor Antonietta Zita Original Music Carlo Innocenzi Written by Remigio Del Grosso, Giorgio Ferroni, Ugo Liberatore, Giorgio Stegani from Flemish Stories by Peter Van Weigen (possibly apocryphal) Produced by Giampaolo Bigazzi Directed by Giorgio Ferroni

Reviewed by Glenn Erickson

2016 is shaping up as a
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5 Dolls for an August Moon

A "lesser" Mario Bava is still a fountain of great filmmaking; and this annihilating melodrama sees a score of greedy folk wiped out at an island retreat, for fun and profit. Shot (and stabbed) through with Bava's visual imagination, it's a sexy, memorable murder thriller. With an authoritative Tim Lucas commentary. 5 Dolls for an August Moon Region B Blu-ray + Pal DVD Arrow Video (UK) 1970 / Color / 1:85 widescreen / 81 min. / Street Date February 1, 2016 / 5 bambole per la luna d'agosto / Available from Amazon UK £14.99 Starring William Berger, Ira von Fürstenberg, Edwige Fenech, Howard Ross, Helena Ronee, Teodoro Corrà, Ely Galleani, Edith Meloni, Mauro Bosco, Maurice Poli Cinematography Antonio Rinaldi Production Designer Giuseppe Aldrovandi, Giulia Mafai Film Editor Mario Bava Original Music Piero Umiliani Writing credits Mario di Nardo Produced by Luigi Alessi Directed by Mario Bava

Reviewed by Glenn Erickson

The experts say that Mario Bava kicked off the giallo parade with his 1964 Blood and Black Lace
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Review: "Twice Told Tales" (1963) Starring Vincent Price And Sebastian Cabot; Kino Lorber Blu-ray Special Edition

  • CinemaRetro
By Hank Reineke

On the eve of the November 1963 release of Twice Told Tales, the British actor Sebastian Cabot would tell a reporter from the Copley News Service, “They’ve been after me to do more of the horror pictures with Vincent Price. I wouldn’t mind that a bit, though I must say I wouldn’t want to do them exclusively.” He intimated that he and his co-star had discussed a possible future pairing in “a light comedy” motion-picture. Alas, it was not to be; the two actors would not work together again. Cabot, of course, would soldier on and enjoy success as both a television personality and a recognizable voice-over actor. Following the passing of Boris Karloff in 1969, Vincent Price would reign as the big-screen’s uncontested “King of Horror.” Cabot’s estimation of Price as an actor “extremely adept” at light-comedy was incisive. Throughout his long and fabled career,
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Today is Boris Karloff’s Birthday – Here Are His Ten Best Films

Article by Jim Batts, Dana Jung, and Tom Stockman

No other actor in the long history of horror has been so closely identified with the genre as Boris Karloff, yet he was as famous for his gentle heart and kindness as he was for his screen persona. William Henry Pratt was born on November 23, 1887, in Camberwell, London, England. He studied at London University in anticipation of a diplomatic career; however, he moved to Canada in 1909 and joined a theater company where he was bit by the acting bug. It was there that he adopted the stage name of “Boris Karloff.” He toured back and forth across the USA for over ten years in a variety of low-budget Theater shows and eventually ended up in Hollywood. Needing cash to support himself, Karloff landed roles in silent films making his on-screen debut in Chapter 2 of the 1919 serial The Masked Rider. His big
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Pieces of Terror: Tales Of Halloween and a Look Back at Horror Anthologies

  • DailyDead
With the impossibly fun Tales of Halloween now in wide release, it seems like as good a time as any to dig deep into one of my favorite subgenres of horror: the anthology film. From Tales from the Crypt to Tales from the Darkside to Tales from the Hood, the horror anthology offers something for everyone. And apparently that something is “tales.”

In speaking with most of the directors from Tales of Halloween, there was consensus in their feelings about what makes for a great anthology film: singularity of vision and consistency of quality. Both can be difficult to achieve, as the format practically dictates that some segments be stronger than others or express a different voice. But when an anthology can achieve even one of those things, there’s the potential for real horror movie magic.

There are great anthologies made by one filmmaker, among them Mario Bava’s Black Sabbath,
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