The never-ending struggle of an Egyptian Narcotics Bureau unit. This time around,the murder of a rich Arab named Bashiri leads colonel Yussef Bey and his right-hand man Lieutenant Mourad to... See full summary »
An ancient genie is released from a lamp when thieves ransack an old woman's house. They are killed and the lamp is moved to a museum to be studied. The curator's daughter is soon possessed... See full summary »
Andra St. Ivanyi
An English family of six takes in a pregnant woman who disappears shortly after giving birth. They raise the baby girl as their own, but over the years the strange deaths of their children ... See full summary »
After being wounded by a bullet, bank robber Charlie Blake seeks shelter with his gang at his brother's mountain retreat. There he rekindles his romance with his brother's wife and reconnects with the boy he believes is his son.
JACK THE RIPPER OF London (Jose' Luis Madrid, 1971) *1/2
This had been shown on late-night Italian TV some years back and, later, I recall it being mentioned favorably online; hence, given its theme of an updated version of Jack The Ripper and the fact that it starred Euro-Cult icon Paul Naschy, I decided to check it out this time around. However, it turned out to be quite a mess: not so surprising when considering that the only other J.L. Madrid film I've watched was the similarly dispiriting THE HORRIBLE SEXY VAMPIRE (1970)!; as in that film, the women here are mainly on screen in order to disrobe and get butchered.
The plot provides three possible suspects of the serial killings: a crippled and bitter ex-trapeze artist (Naschy) whose wife is among the victims, a handsome schoolteacher of noble birth but who's actually impotent and, surprisingly, a police commissioner who just happens to be the latter's boyhood chum and is also secretly in love with his wife (Orchidea De Santis, whom I saw in the flesh and on screen in Luciano Salce's equally obscure but infinitely superior political satire, COUP D'ETAT  at the 61st Venice Film Festival)!
The Swinging London locations are just about the only authentic element here: both the gore and the occasional action scene look extremely phony; another clear measure of the film's lack of budget is that Naschy's accident (which continues to haunt him) is hilariously depicted simply by having the actor throw himself in front of the camera and utter a couple of none-too-convincing groans!
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