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2 out of 3 people found the following review useful:
Apparently they serve Miller Beer in hell., 7 April 2009

*** This review may contain spoilers ***

After pulling off a supermarket job (stealing... candy bars???) and busting through a police barricade, five teens - hunky Robin (Gregory Lech Thaddeus), pretty Mikki (Beatrice Ring), her brother David (Karl Zinny), brainy Tina (Lea Martino) and their getaway driver Johnny (Gianmarco Tognazzi) end up passing through a thick blanket of fog and from then on out find themselves lost in the middle of nowhere. After getting their van stuck trying to drive over a creek, they grab their camping gear and decide to hike to the nearest town by foot. As night falls, they stumble upon a huge crumbling church where they decide to spend the night and also discover a spooky tavern located on the other side, go in and find it populated by a bunch of strange, ghoulish people with red glowing eyes. The deformed tavern keeper (Lino Salemme) promises them a treasure if they're able to survive the night in an underground catacomb of crypts located beneath the church, and like all moronic horror movie teenagers, the five take up the challenge. Yeah, like allowing yourselves to be locked up in a dark, spooky place by creepy and, from all indications, inhuman strangers is ever going to have a good outcome...

So after cracking a lame "American Werewolf in London," joke, down below they go, finding themselves even more lost than they were before in an Escher-style maze of staircases, ladders and various tombs and crypts. Other than encountering the expected cobwebs, gravestones, coffins, spiders and rats, there are also zombies, an animated eyeball, some kind of large wolf creature and a skull-faced Grim Reaper complete with a scythe he never uses. Unfortunately, the zombies never come off in a threatening way and are used mostly for pathetically unfunny and completely out-of-place comic scenes (such as when a male zombie grabs a female zombies boob and she slaps him) and the werewolf itself is never once shown. Boo! In fact, this entire movie, which I believe was made for Italian TV, is virtually gore free.

On the plus side, the art direction and sets are (surprisingly) quite good, and mix that with the cinematography, score and liberal use of a fog machine, and the film manages to be fairly atmospheric at times. I found myself really enjoying the first half, but soon after the teens enter the crypt, the film becomes annoying, repetitive and even more illogical than it already was. After encountering various creatures, I seriously doubt you'd be giggling, cracking jokes or even lying down to take a nap if you only have to survive until dawn. The characters are extremely annoying and do consistently stupid things, the dialogue and English-dubbing are both terrible and the tone uneasily fluctuates between being jokey to wanting to be taken seriously. A senseless twist ending drives the final nail in the coffin, relegating this potentially good film to failed opportunity status.

0 out of 1 people found the following review useful:
Something's turning up the heat on a small island., 7 April 2009

*** This review may contain spoilers ***

It's winter, and on the British mainland the temperatures are an accurate reflection of the season. However, right off the English coast on the small island of Fara, the temperatures are steadily on the rise, reaching triple digits by nightfall with no decrease in sight. Because of the stifling heat, glass explodes, cars overheat, TV and radio signals are drowned out by fuzz and people start behaving a little on the animalistic side. Even more peculiarly, fields of sheep are found fried, strange lights are seen in the sky, certain energy sources are being sucked dry, trails of a black coal-like substance seem to be everywhere and people are mysteriously turning up dead, with only charred corpses left to tell their fates. Understandably concerned writer Jeffrey Callum (Patrick Allen) and his wife Frankie (Sarah Lawson), who run a local inn/tavern called "The Swan," and others in the town try to get to the bottom of things before its too late. They also try to figure out what mysterious, antisocial boarder Godfrey Hanson (Christopher Lee), who has converted his room into a lab and seems to enter and exit at the strangest times with a camera and various equipment, is up to. Also stopping by the inn (where much of the film takes place) is town doctor Vernon Stone (Peter Cushing) and Jeffrey's sexy new "secretary" Angela Roberts (Jane Merrow), amongst others.

Based on a novel of the same name by John Newton Chance (written under the alias John Lymington) and released in the U.S. under the title ISLAND OF THE BURNING DOOMED, this is a passable sci-fi/horror programmer from the short-lived Planet Film Productions, who also made the genre pictures DEVILS OF DARKNESS (1965) and ISLAND OF TERROR (1966) before calling it quits in the late 60s. This one's fairly well-made, entertaining and has decent production values and acting, with Lee in a major part, Cushing in a minor one and the rest of the actors and actresses doing good jobs with their roles. It's talky and slow-moving for the first hour, but strangely enough it was this first hour of mystery, character drama (including an adultery subplot) and rising tension amongst the citizens of the town that I felt was the stronger portion of the film, as opposed to the later action-oriented scenes. When finally visualized, the beings causing the heat wave, hysteria and deaths resemble giant hairy eggs. But hey, it was 1967, so that's pretty much to be expected anyway, right? Oh well. At least now I know where M. Night Shyamalan got his ending for SIGNS from.

Homebodies (1974)
6 out of 6 people found the following review useful:
Original, well-made black comic horror with a social conscience., 6 April 2009

*** This review may contain spoilers ***

Looking for something different? Then look no further! HOMEBODIES is an absolute gem of a film that has unfortunately become difficult to find over the years. In fact, it's been released on a home viewing format in the States just one time - in 1984 - by Embassy Home Entertainment. Now that the tape is 25-years-old, I think it's about time someone rescued this one from complete obscurity and put it out on DVD already. Why we need a dozen special edition reissues of films like "Friday the 13th Part 20" and a great film like this is able to slip through the cracks is something I'll never quite understand.

In Cincinnati, Ohio, a construction company is busy at work erecting a huge skyscraper. Across the street, the city has condemned a block of tenement buildings. One by one, the buildings are being demolished after its elderly citizens are dragged from the comfort of their homes to live in some colorless, sanitized new apartment home against their wishes. However, the tenants of one of the buildings set to be torn down are not going down without a fight. This is, after all, their home we're talking about. They've been living there 30 years. And since no one seems to care about them and their welfare, why should they return the favor? Mattie (Paula Trueman), who spends her days sitting by the construction site munching on prunes, witnesses a fatal accident and then conspires with her friends to rig similar accidents to delay the destruction of their home. One thing leads to another and before long they're resorting to stabbing a cold social worker and burying a wealthy land developer alive in wet cement! One could accuse the film of being far-fetched, but most dark comedies are, and the film manages to skillfully blend social drama, horror and black comedy together in an entertaining, thought-provoking and unique way.

One of the big pluses here is that the plight of the low-income elderly is shown in a grim, though very realistic and plausible, light. These people ARE often bullied, pushed around and treated if they don't matter, so despite their murderous schemes, there's never a moment where we don't identify with, and sympathize for, the people involved. Another huge plus is the cast and level of characterization. Many genre filmmakers mistakenly believe the target audience for these films only want to see hot young things strutting their stuff, not a bunch of senior citizens. They're wrong. Here we get six veteran character actors capable of adding those intangibles to their roles that only come with experience.

Trueman as the spunky, unpredictable and increasingly more unstable Mattie seems to be the centerpiece of the film and she does an excellent job. Just as good are Ian Wolfe as the building superintendent, Ruth McDevitt as his wife (also the conscience of the group), William Hansen as a widowed writer, blind Peter Brocco and Frances Fuller as a wig-wearing agoraphobic who still talks to her dead husband and hasn't left the building in 20 years. Each of the performers bring a human element to their role, and the characters aren't just tenants. They're created their own little microcosm in the building and each depend on one another in equal measure to simply get by. To disrupt their environment is to destroy their lives, so why should they care if a bunch of greedy big wigs or whoever else go down with them? Co-stars Douglas Fowley, Linda Marsh and veteran horror/sci-fi star Kenneth Tobey as the construction boss also deliver fine performances in less-sympathetic roles.

Quirky, unique, thoughtful, very well-written, directed and acted on a modest budget; this independently-produced film is probably not going to be for all tastes, but for fans of both horror flicks and black comedies, I can't recommend this one enough. It's worth the search.

1 out of 1 people found the following review useful:
Highly entertaining women-in-prison drive-in fun!, 4 April 2009

*** This review may contain spoilers ***

If you're a fan of 70's era WIP films, this is clearly one of the best in the genre. Free-spirited, big-busted Sugar Bowman (Phyllis Davis) is framed for drug possession by one of her sleazy lovers and is then shipped off to a Costa Rican sugar cane plantation to do hard labor for a couple of years. There she meets some of barely-dressed fellow sisters-in-crime, including feisty prostitute Simone (Ella Edwards), rich-bitch-murderess-in-hiding Fara (Jacqueline Giroux) and naive underage blonde Dolores (Pamela Collins). As if the long hours, lousy pay, exhausting work and leering guards weren't bad enough, the ladies also have to deal with pervert prison camp director Dr. John's (Angus Duncan) various sadistic and degrading "experiments." One involves shooting them up with an aphrodisiac, and another involves heaving domesticated cats (given a special serum to make them rabid) at them! When the girls are pushed too far, they decide to overthrow the plantation and escape.

SWEET SUGAR is a great 70s exploitation/drive-in flick that manages to amuse, entertain and basically hit all the right notes for one of these things. It's full of witty one-liners, action, violence, some mild lesbianism, whipping, obligatory topless scenes from all of the female stars, a great break-out finale featuring machine guns and explosions and an incredible theme song I just can't get out of my head. Hell, even some cannibalism, voodoo and gore are thrown in for good measure. Most of the actors give it their all and deliver fun and lively performances. Davis and Edwards are spirited heroines. Duncan is hilariously OTT as the mad scientist. There are also amusing turns by Cliff Osmond as the most sadistic guard (playing it straight to good effect) and Albert Cole as a comic hustler trying to get his dimwitted friend Ric (James Houghton) laid. Also appearing in roles are blaxploitation star Timothy Brown as Mojo, a male prisoner at an adjacent facility, and THE HILLS HAVE EYES star James Whitworth as another guard.

Though released on VHS about half-a-dozen times under multiple titles (CHAIN GANG GIRLS, CAPTIVE WOMEN 3, etc.) over the years, this has become somewhat hard to find these days. I'd love to see a DVD release sometime soon.

100 Tears (2007)
9 out of 10 people found the following review useful:
Proves yet again that OTT gore isn't everything., 4 April 2009

*** This review may contain spoilers ***

Two tabloid reporters, Jennifer Stevenson (Georgia Chris) and Mark Webb (writer/producer Joe Davison) are wanting to be taken seriously as journalists and begin investigating a serial murderer known as "The Teardrop Killer," who has been hacking up people over a 20 year period but has somehow managed to elude the police all that time by hiding out in an abandoned building's cellar. Jennifer and Mark piece the clues together, which lead them to a flea-bag circus (which seems to be right in the middle of some junkyard) and revelation that the psycho is actually an obese, jilted clown named Gurdy (Jack Amos) who murdered a few people decades earlier before disappearing. Also disappearing around the same time was Gurdy's lover Tracey (Leslie Crytzer), who has successfully managed to change her name and live in the same small town along with her and Gurdy's whorish cutter daughter Christine (Raine Brown) for two decades without being detected. Other characters include a dwarf and bartender who know the clown's whereabouts and a pair of ineffectual police detectives (Kibwe Dorsey and Rod Grant), as well as various victims (a real estate agent, partying teens, etc.) who show up just long enough to get killed.

This very low-budget film (shot on digital) excels at one thing and one thing only - gore. Heck, during the first fifteen alone the body count has already reached double digits as the clown killer goes around a halfway house hacking up anyone he can get his hands on with a huge meat cleaver. There are cut off limbs, slashings, decapitations, guts spilling out all over the floor, a head getting stomped in and blood literally gushing out all over the place. These scenes are actually pretty entertaining and well done. Unfortunately after the first fifteen minutes of almost non-stop carnage, the film then tries to add the plot and deal more with characters and this is where it starts to come apart. In fact, 100 TEARS seems to falter any time it isn't being gory. The entire mid-section of the film is slow-moving, tedious and badly written, with uneven performances and a sense of humor primarily centered around farts and bowel movements. The ending is also rather sloppy, and the overdone gore scenes themselves start growing tiresome and monotonous after awhile.

A good point of comparison might be with Peter Jackson's DEAD ALIVE (aka BRAINDEAD), which has even more gore than this one but also managed to be entertaining and fun when it wasn't being disgusting. Jackson's film is also much more clever and inventive when it comes to creating new and original gore scenes, while the kills in this one - bloody as they may be - aren't particularly clever. Though in this film's defense, it only had a 75K budget while DEAD ALIVE's was 3 million, so I guess they did a good job cramming as much blood and gore in as possible. It's just too bad the other areas of the film aren't quite as strong. From a technical standpoint (cinematography, score, sound, editing, etc.), it's pretty uneven, though again not bad for the budget.

So if you're looking simply for gore and a high body count, then this will satiate your blood lust. However, if you're looking for a scary or otherwise good horror film, you'll probably find less to like here.

6 out of 6 people found the following review useful:
Stupid... and proud of it!, 1 April 2009

*** This review may contain spoilers ***

If you're not a fan of forced comedy, pop culture references and low-budget B-horror/exploitation, then I wouldn't bother with this one... It's a maybe for everyone else. A slew of airhead community college students, led by the original bikini bloodbath slumber party massacre survivor Jenny (Rachael Robbins, replacing Leah Ford) accidentally resurrect pudgy Chef Death (Robert Cosgrove Jr.) while playing around with a OUIJA board. The now somewhat dead-looking killer (in a minimal makeup job) then goes around killing our bikini-clad heroines off one-by-one. Lesbian gym coach Miss Johnson (Debbie Rochon), who got a hatchet planted in her chest in the first film but managed to survive the attack, is now running a bikini car wash where all the girls work. Miss J also hosts a party for her employees and their dates where the most of the "carnage" takes place.

This follow-up to 2006's BIKINI BLOODBATH is more of the same; overlong dance sequences you might want to fast-forward through, hit-or-miss comedy (that usually misses to be quite honest), three brief topless scenes, lots of bikini action (obviously inspired by the BIKINI CAR WASH COMPANY flicks), rock soundtrack, etc. As was the case last time, everyone looks like they're having a good time, so that helps. Also several noticeable improvements have been made over the first film. For starters, Rochon has a major role instead of a cameo and does a great job here as usual. Secondly, the film has more gore. I'm not saying it's pulled off very well (the editing is a bit choppy), but at least they tried to increase the amount of bloodshed and cheap fx so this actually seems more like a horror-comedy this time out. Lastly (editing aside), the film looks more professionally done than the first, which was a bit rough around the edges at times. Here they did a nice job with the cinematography and such for the budget range. Many of the same actors and actresses killed in the first film also show up again, but playing different roles.

While this isn't going to appeal to everyone, it's an OK time-filler for fans of cheap horror-comedies. Amusing at times (including a Michael Jackson "Beat It" parody that comes out of nowhere), annoying at others (some of the running gags are lame). I'll still be sure to check out the thrilling conclusion to the trilogy - BIKINI BLOODBATH CHRISTM AS (announced at the end of this one) - as soon as I can cause I'm a completist like that.

Pony Girl (1985) (V)
3 out of 3 people found the following review useful:
Lord, some of the things I watch..., 29 March 2009

I'm a fan of both Traci Lords and Michelle Bauer, but did I really need to see the two of them gallop around a dirt track for 60-minutes? Not really, but what's done is done. Lords actually briefly discussed this film in her autobiography "Underneath It All," and mentioned it being a strange and amusing job she did, and I'm sure it was. It's also one of only a handful of non-pornographic films she did before the underage porn scandal hit the news. Though this (a specialty BDSM tape) caters to a similar adult audience, there's nothing hardcore about it and it pretty much fits in with all the R-rated exploitation films both Lords and Bauer would later make. Bauer herself was one of the top bondage models of the 1980s (under the names Pia Sands, Kim Bittner and other aliases) and was even crowned "Miss Bondage World" a number of years, so what goes on in this film is certainly nothing new for her.

So how's THIS for a plot... Wealthy flagrant line-flubber Boris (Pierre Banus) and his cowboy-hat-wearing colleague Jay (John Graham) run a profitable business kidnapping random women and then turning them into horses! Well, they're not literally turned into horses, they're just shipped off to a farm where whip-wielding Mitzi (Bunnie White) forces the girls to dress in bondage gear, fastens them to a horse walker and makes them walk or run circles around a track as she barks out various orders ("prance!" "gallop!"). Vicki (Bauer), Daphne (Lords) and Kim (porno actress Lois Ayres) aren't having it though and quietly plot their escape. Maybe they're sick of being walked around on leashes and having to sleep on the barn floor.

Secret cameras are apparently everywhere and the footage from the farm is being sent to a yacht where Boris and Jay are breaking in a few new girls so they'll be ready for their strenuous new lives as ponies. One girl dressed is a full-body leather outfit and breathing apparatus is shown numerous times whining and squirming on a bed. They also find Marilyn (Crystal Breeze) stranded at sea, invite her on-board, drug her drink and then tie her up after she passes out. When she comes to she learns what they plan on doing with her and hilariously screams "I'm gonna be a horse?!" Meanwhile, Bauer, Lords and the other girl manage to untie themselves and escape, but they're found and brought back to the farm just as the scuba girl and Breeze are brought in. The video then abruptly ends, but don't worry, there's a sequel - PONY GIRL TWO: THE STORY CONTINUES!

To some this might be degrading in the extreme, but it's so badly acted and silly I seriously couldn't see anyone really being offended by it. I didn't find it the least bit erotic either, but I'm sure some people out there would. Many of the takes are extremely long and the film has the expected camcorder production values and terrible acting. Bauer is pretty funny at times though, and even lets out an audible laugh when she's forced to "canter." She and Lords don't have much dialogue, but I guess it's hard to talk when you spend half your scenes with a steel bar in your mouth.

Witchery (1988)
3 out of 5 people found the following review useful:
Witchery - A real mixed bag., 28 March 2009

*** This review may contain spoilers ***

There are many different versions of this one floating around, so make sure you can locate one of the unrated copies, otherwise some gore and one scene of nudity might be missing. Some versions also omit most of the opening sequence and other bits here and there. The cut I saw has the on-screen title WITCHCRAFT: EVIL ENCOUNTERS and was released by Shriek Show, who maintain the original US release title WITCHERY for the DVD release. It's a nice-looking print and seems to have all of the footage, but has some cropping/aspect ratio issues. In Italy, it was released as LA CASA 4 (WITCHCRAFT). The first two LA CASA releases were actually the first two EVIL DEAD films (retitled) and the third LA CASA was another film by the same production company (Filmirage), which is best known here in America as GHOSTHOUSE. To make matters even more confusing, WITCHERY was also released elsewhere as GHOSTHOUSE 2. Except in Germany, where GHOSTHOUSE 2 is actually THE OGRE: DEMONS 3. OK, I better just shut up now. I'm starting to confuse myself!

Regardless of the title, this is a very hit-or-miss horror effort. Some of it is good, some of it isn't. I actually was into this film for the first half or so, but toward the end it became a senseless mess. A large, vacant hotel located on an island about 50 miles from Boston is the setting, as various people get picked off one-by-one by a German- speaking witch (Hildegard Knef). Photographer Gary (David Hasselhoff), who wants to capture "Witch Light," and his virginal writer girlfriend (Leslie Cumming), who is studying witchcraft, are shacking up at the hotel without permission. Along comes real estate agent Jerry (Rick Farnsworth), who's showing off the property to potential buyers Rose (Annie Ross) and Freddie (Robert Champagne) Brooks. Also tagging along are their children; pregnant grown daughter Jane (Linda Blair) and very young son Tommy (Michael Manchester), as well as oversexed architect Linda Sullivan (Catherine Hickland - Hasselhoff's wife at the time). Once everyone is inside, their boat driver is killed (hung) and the boat disappears, so they find themselves trapped and basically at the mercy of the "Lady in Black."

So what can you expect to find here? Plenty of unpleasantries! One of the characters has their lips sewn shut and is then hung upside down in the fireplace and accidentally slow-roasted by the rest of the cast. There's also a crucifixion, witches eating a dead baby, a swordfish through the head, someone set on fire, a possession, a Sesame Street tape recorder, the virgin getting raped by some demon, a guys veins bulging and exploding thanks to voodoo doll pokes and some other stuff. From a technical standpoint, it's a nice-looking film with pretty good cinematography, a decent score and good gore effects. The hotel/island setting is also pretty nice. Blair (particularly at the end) and Ross both seem like they're having fun and Knef is great as the evil witch. Even though people like to ridicule Hasselhoff these days, he's not bad in his role, either.

On the down side, despite all the gore, the film seems somewhat dull and it gets monotonous after about an hour. The supernatural themes are muddled and confusing, too. When characters are being swept into the witches lair to be tortured and killed, the filmmakers unwisely decided to superimpose the screaming actors over some silly looking red spiral vortex effect that looks supremely cheesy. And the witch lair itself is vacant and cheaply designed with unfinished lumber. And while most of the cast is at least decent, a few of the performances (particularly the "actress" who plays Hasselhoff's girlfriend and the kid) are so bad they're constantly distracting.

Talisman (1998)
1 out of 2 people found the following review useful:
I left my heart in Romania., 24 March 2009

*** This review may contain spoilers ***

TALISMAN is yet another late 90s Full Moon release that was filmed on location in Bucharest, Romania (no doubt a cheaper place to produce these 'B' horrors). This one was directed by David DeCoteau under the name "Victoria Sloan," the same alias he used to direct two other Full Moon releases - SHRIEKER (1997) and CURSE OF THE PUPPET MASTER (1998). Now Mr. DeCoteau has had an interesting enough career, I guess. He started out making gay porn under the name "David McCabe" before churning out some popular cult classic 'Scream Queen' movies in the late 80s/early 90s. He then moved on to Full Moon Studios for a period of time before forming his very own studio called Rapid Heart Pictures, which specialize in (awful) homoerotic horror flicks that are basically just thinly-disguised excuses to feature hairless young men running around in their underwear. This effort, which is better than anything DeCoteau would make with Rapid Heart, is more of a happy medium. While there are a couple of the expected underwear scenes here, there's also some blood, a plot, a good filming location and a couple of actors who seem to actually be actors instead of Calvin Klein models who couldn't emote if their life depended on it.

At a European boys school, supposedly a place where wealthy people drop off their trouble-making kids, mysterious new student Elias Storm (Billy Parish) has just enrolled. Most of the other students are away at break, aside from about a half-dozen guys. There's a friendly black guy named Jacob (Walter Jones), a bully named Burke (Jason Andelman) and a couple of Eastern European guys who seem to have been horribly dubbed. The school is run by the stern and strict Mrs. Greynitz (Oana Stefanescu), who has a shy, attractive young daughter named Lilia (Ilinca Goia) she forbids the students from talking to. There's also some some bald demon dude who roams the halls, has red glowing eyes and rips out hearts. It all has something to do with a talisman necklace, human sacrifices, the new millennium approaching and flashbacks to when Elias saw his parents trying to perform some ceremony in a graveyard. Unlike what DeCoteau started putting out a few years after this, there are decent sets, OK special effects and a few bloody moments (including eyeballs getting poked out). Though most of the younger male actors are predictably awful, the performances from the Romanian actors - Goica, Stefanescu, Claudiu Trandafir as the school's doctor and (especially) Constantin Barbulescu as the caped demon - help to carry the film pretty well.

So while this is nothing special and runs only 72 minutes (barely over an hour if you exclude the credits), it's still watchable for the most part and that's more than I can say for the director's endless series of boxer brief "horror" films of late. For the faithful, you do get some guys doing push-ups in their underwear, but that's about it.

4 out of 5 people found the following review useful:
Fun times with the curare-dipped pussycat killa., 20 March 2009

*** This review may contain spoilers ***

I'll go ahead and sacrifice my "helpful" score by admitting that I'm not the biggest giallo fan. For every one film classified as such that's an enjoyably stylish thriller (the best seem to come from Mario Bava, Dario Argento and Sergio Martino), there are about three that are pedestrian, lifeless, sloth-paced, visually unexciting and completely and utterly devoid of any originality. I've honestly had a difficult time trying to stay awake while watching some of these films. So, not surprisingly, I tend to disagree with others about what are actually the better films in this genre. One can gouge from the lower-than-usual score on here that this isn't one of the more popular films of its type, but I actually thought it was more entertaining than the majority of others I've seen. Why? Because it's nutty, goes OTT a few times and the killer's modus operandi is every bit as ingenious as it is ridiculous! Don't get me wrong, this is painfully derivative of many other, better films (Bava's BLOOD AND BLACK LACE and Argento's CAT O' NINE TAILS instantly come to mind), but since the exact same thing can be said for about 95 percent of the films this one shares company with, that really didn't bother me a whole lot. And silly as this was at times, it also had some legitimately great moments that deserve mention.

Blind pianist Peter Oliver (Anthony Steffen) decides to play freelance Sherlock Holmes after his unfaithful model ex-girlfriend Paola Whitney (Isabelle Marchall) is killed under mysterious circumstances. A fashion house run by wealthy Françoise Ballais (Sylva Koscina) and her ex-con playboy husband Victor Morgan (Giacomo Rossi-Stuart), soon becomes the centerpiece for the obligatory string of cover-up murders to follow the first crime. Since Peter can't see, he enlists the aid of his assistant (Umberto Raho) and a fashion house employee (Shirley Corrigan) to help uncover the killer. Throw in a caped, strung-out heroin addict ("Jeannette Len"/Giovanni Lenzi), a photographer, a police inspector, a temperamental black kitty cat with toxic paws and a pair of lesbian models and your list of suspects and victims is now complete. There's the expected backstabbing, blackmail and adultery to help provide a motive, plus some nudity and gore thrown in for good measure. The cast isn't too bad (Steffen and Lenzi both do good jobs) and there are some pretty solid scenes, especially one taking place at some outdoor recycling facility (I think that's what it was) full of broken glass. Also worth mentioning is an awesomely gory shower slashing that's one of the nastiest (and best) set pieces in the entire giallo oeuvre. On the down side, the ending feels very rushed and the score isn't quite up to par, but all in all, this was a decent enough effort.

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